Timed Writing Essay Guide or How to write those darn Timed Writings
Remember, AP stands for Answer the Prompt!
Websites that may help: http://writing-program.uchicago.edu/resources/collegewriting/index.htm
http://writing.wisc.edu
https://apstudent.collegeboard.org/apcourse/ap-english-language-and-composition/writing-study-skills
https://owl.english.purdue.edu/owl/section/1/
http://www.visuwords.com/ (Vocabulary fun “web” site)
Suggested books: Elements of Style by E.B. White and William Strunk (Excellent guide about using language
when writing) The Lively Art of Writing Lucile Vaughan Payne (Great ideas on how to write for academia and other
areas)
Remember, reading and writing are highly intellectual activities. The more you do, the better you become.
Have patience with yourself!! Don’t expect to be perfect!
Part 1: Introductions: Prove that your essay has something important to say right from the start. Don’t merely
restate the prompt, but incorporate the answer into the prompt.
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Example Prompt: Some novels and plays seem to advocate changes in social and political attitudes or in
traditions. Choose such a novel or play and note briefly the particular attitudes or traditions that the author
apparently wishes to modify. Then analyze the techniques the author uses to influence the reader's or
audience's views. Avoid plot summary.
Here are some sample introductions:
1. “Novels can be about anything. Writers can say anything from love and romance to the need for change
they see around them. One such writer who saw the need for change was John Steinbeck. He wrote
Grapes of Wrath to show how society should change. Many novels advocate changes to social situations,
but the best one is Grapes of Wrath.”
2. “The perfect storm of economic and environmental forces collided in America during the late 1930’s.
Americans lost their finances to the Great Depression, and then the mid-west farmers lost their farms to the
Dust Bowl. John Steinbeck’s controversial novel, Grapes of Wrath, uses the excruciating journey the Joad
family makes in desperately finding work to demonstrate the clear need for social change with unions and
labor laws”
Which introduction is more effective? It’s the second one. Why? It addresses the prompt, introduces the
material, and gives a theme.
Another Example:
Prompt: “Carefully read the following excerpt from the novel Under the Feet of Jesus by Helena María
Viramontes. Then write a well-organized essay in which you analyze the development of Estrella’s character. In
your analysis, you may wish to consider such literary elements as selection of detail, figurative language, and
tone.”
1. “From the very beginning of the story, the reader was introduced to a little girl named Estrella. IT was
evident that she has recently moved to a country that was completely different to the country she used to
know. This little girl formed an obsession with learning new information in order to ease the assimilation.
Estrella was introduced to a new form of writing the alphabet, which is script. She was unable to decipher
the purpose of the script letters and soon begins to feel angry and hopeless.”
2. Within Viramontes novel Under the Feet of Jesus, Estrella’s determined and resilient character comes to
fruition as a result of her prior experiences. Viramontes reveals the character’s development through
using selective detail, figurative language, and tone.
Which is the better introduction? The first one merely recounts the story—there is no introduction to the
essay. This one never addresses the prompt nor the literary devices as well. The better introduction is
the second paragraph, which outlines the literary devices and addresses the prompt.
Part 2: Paragraphs of Support: Be clear in your assertion, give examples and then a sentence (or two) of
analysis. Remember, the analysis connects to “the novel as a whole” or the purpose of the piece. Don’t fall into
plot summary, but select those examples which clearly prove your point. And show how things connect, don’t
just tell. Remember the pattern: Identify (the term) Evidence (of the term) Analysis (of the term)l.
Don’t just say that a character shows an emotion—prove it with examples.
“Scrooge is pleased with himself at the end of the book”—tells what he is, but doesn’t show it. “After purchasing
the prize turkey for the Cratchit’s feast, Scrooge, feeling very pleased with himself, embarks to Fred’s house while
cheerfully wishing others a joyous holiday.” --much more specific.
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“Daisy in The Great Gatsby is very shallow. She spends her time being lazy and not doing anything constructive.
She whines and complains, but doesn’t do anything to fix her situation. She has a lot of stuff, but still isn’t happy.
Gatsby has been in love with her for five years, and even though she is married, he is convinced she still loves him.
Gatsby is disillusioned because his dreams don’t fit into reality.” (This paragraph is all over the place! Be more
focused.)
“Gatsby’s disillusionment of Daisy is directly due to money. She is enamored by his huge mansion, wild parties,
fancy suits, and cars. All these items may have great monetary worth, but are completely worthless to Gatsby
without Daisy. He knows Daisy couldn’t love him five years ago because he was poor; however, now he is rich, he
simply will buy her back. Ironically, she isn’t worth his devotion, and all his rich trappings.” (Better! Focused on
the literature and analysis/meaning of the piece)
Avoid: “Pip believes that Estella will love him once he becomes a gentleman. He thinks this because Miss
Havisham invited him to his house one day, and when he met Estella he believed that Miss Havisham wanted the
two of them to be together. So he goes to London to become a gentleman once he received his “Great
Expectations.” Once in London he works really hard to become a gentleman so he can earn Estella’s love. He
works with Herbert Pocket to learn the ways of the upper class. Once he is a gentleman he is mean, though. And,
he never gets Estella anyway.”
(Too much plot summary, too wordy, no real direction and no real focus.)
Better: “Pip incorrectly assumes his “Great Expectations” are from Miss Havisham preparing him to marry
Estella. Pip met Estella in their youth , and has been enamored by her ever since. He is devoted to becoming a
gentleman to prove to Estella he is worthy of her. He learns the ways of a gentleman, and loses his innocence. He
is embarrassed by Joe and treats him rudely and with discontent. Ironically as he becomes a gentleman, he loses
some of his happiness. The “Great Expectations” don’t bring him the joy he believed they would.”
Things to avoid: “I feel” “I think” “feel there” and “be there”
Avoid: “To me, Mark Twain’s writing is very funny, but I think it is also very bitter.” (This is reader response, not
literary analysis.)
Better: Mark Twain’s writing is very funny and bitter. (With supporting evidence—a direct quote or example
after—this works well.)
Avoid: “I really like the way Twain has Huck speak. It sounds realistic and almost like you can hear him.”
Better: Twain’s use of language provides a realistic setting to the novel. When Huck states “Says I. Could ne’r see
whats agoing on” gives the novel a backwoods feel and an authentic voice to a naïve boy.
Avoid: This novel is really great and lots of lessons were learned. I think everyone should read it. (yuck)
Better: One universal truth from this novel is that appearances can be deceiving. People tend to make judgments
based on skin color or types of clothing; however, these outward appearances shouldn’t be the basis for
establishing judgment.
Avoid: The imagery is so vivid it makes you think like you are really there in the mountains. (Gads, that’s bad!)
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Better: The scenic mountain imagery connects to a peaceful tone. The author uses the mountains as a source of
respite for the characters—a chance to escape the pressures of city life. The imagery shows the serene feeling
and contributes to a relaxing feeling.
Remember that “I think” or “I feel’ aren’t needed. In your writing, it is implied what you think, so you don’t ned to
say “I think.” These phrases get in the way, and remember, as the essay’s writer you are always lurking in the
background of your essay. The reader sees your opinion, so why add “I think” to it? Too obvious.
Don’t convert these to “One” or “you” either. Don’t say “One can sense Victor’s annoyance with the monster.”
Or “You can feel Victor’s hatred of the monster”— avoid the “feel” phrases—but “You” doesn’t work here either.
“Scrooge’s change is so real you feel his sense of joy and possible future.”
Better: Victor’s annoyance with his creation is evident from the moment the creature came to life and Victor
abandoned him.
Better: Scrooge’s enthusiasm is apparent as he embraces his newfound attitude.
The bottom line is your reader wants to know if you understand the prompt and can address it clearly, concisely,
and thoughtfully. Show maturity and complexity of life in your writing.
________________________________________________________________
AP students agonize over essay writing, knowing that their essays account for a major portion of their score on the
exam. Understandably, there is concern. They want to do well. I wish there were a magic formula to essay success,
but there isn't. I have tried to come up with an essay planner that works, but the trouble with something like that is
that it cannot possibly account for all the variables that exist when a particular student reads and responds to a
passage. Therefore, this little essay is an attempt to steer my AP students towards a philosophy of essay writing
instead of trying to have an approach or a system.
Where to begin?
A few thoughts on beginning any essay
Before all else, as writers we must have something to say. And if it's not important or significant, then it is not
generally worth saying. From what I can tell, all passages used on AP tests have something to reveal to readers.
Before we write one single word about imagery or diction, we MUST figure out what that something is. What does this
author have to say to us about being human, about our shared experiences, about our fears, our sorrows, our
victories? Find this and you will have something to say. This something is what I call the "So What" and without it,
your essay will be meaningless.
So, if there is a step one, it is this: read and understand the passage given. This understanding of the meaningful, of
the So What, is what will allow you to write an insightful essay. When you have something to say, your voice will be
heard in your writing and you will have a place to go. When you have something to say, all else falls into line to fit that
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purpose. When you realize, for example, that the passage from Obasan is about (for one thing) heroism in small acts
of kindness, then you can write about the images that helped you see that. When you realize what the author wanted
you to know, it suddenly becomes easier to see how she/he crafted the work to reveal the truth to you. You will see,
almost as a revelation, that the structure of the passage gives us the universal contrasted with the individual. The
hopelessness of the whole is contrasted with the hopefulness of the one. But until you see the human purpose in the
writing, you won't have anything to say.
It seems the hardest thing for AP students to do is write literary analysis. If that term bothers you, let’s call it
something else. Let's just say we're writing our ideas about a particular piece of writing. Why is it that when I supply
thought-provoking questions about a novel or other work that the answers (small little essays, really) are often welldeveloped, thoughtful, empathetic responses that are, essentially, literary analysis, but when I present students with
an essay prompt designed to effect the same result, the results are dismal and disappointing, not only for me but also
for the writer. I am disappointed because I know what you can do. You are disappointed because you don't
understand why you can't write.
You can write. You have simply fallen into the trap of trying to be a writer. Let's see, how do I explain this. When you
just write what you think and know, you can write. When you try to write what you think I want (or worse, what the
invisible omnipotent AP readers want), you can't write. Hmmm. Interesting. So it is a matter of your perception of the
outcome and the pressure to perform that results in, perhaps, a negative emotional connection to the task, making it
therefore, impossible!!!! I do understand your frustrations. I do. If I could change how you feel, I would. I guess this
essay is my attempt to try to get you to think differently about how you approach writing in this class.
The typical AP essay (one that gets a big shiny 9 star) will have the following qualities:




insightful analysis of the passage (define the effect of the passage and demonstrate how the author conveys
the effect (through literary elements)
control of rhetoric (you can argue a point: state a claim, support it and explain it; make specific references to
the text)
control of conventions (no comma splices or egregious errors in agreement, etc.)
control of structure (you will be expected to have an introduction and a conclusion)
Does this list sound scary? Why? It's not asking for anything you cannot do. Very few 12th grade AP students have
trouble with conventions. Whatever specific problems you have we will try to make right, so cross that one off your list
of concerns. You also don't have to trouble yourself too much about structure: think essay, not paragraph, not answer
to a question--think essay! That's two down. You have been learning to support your claims for years now, so why
would you suddenly forget how to do that? Whenever you state something is true, you must show how or why with
textual evidence and you must make your thinking evident to your reader, so you have to explain. Your thoughts are
self evident to you (that's why they're self evident), but you MUST explain to your reader. But this is nothing new.
What is new in that list is this: define the effect of the passage and demonstrate how the author conveys the effect.
We're back to the beginning now. This is step one: read the passage and figure out the So What. What is it this
author has to say to us? This is absolutely the most important thing you must do. Without this there is no reason to
write an essay at all. Without this insight, I will give your essay back and say, "So What?" To point out that the author
has created an extended metaphor is meaningless unless you can explain the value of that metaphor in his/her
overall purpose.
Think about your writing as the opportunity to voice your ideas about engaging pieces of writing in an intelligent way.
If you ever wonder why we read the kind of literature we do, the depressing stuff about human beings in situations
that make them think about all the important questions, it is precisely so that you can think about all the important
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questions and from those great plays, novels, stories and poems and from our discussions, your ideas, your beliefs
will further evolve. Then, when you get a little nugget (a prose passage or a poem) on an AP test and have to think
about what it means, you will surely have a pretty good idea. Go with that. Write what you think. It is as simple and as
difficult as that.
AP Essay Planning Guide: A Planner (This is my attempt to put into
a graphic organizer how to format an AP essay. Again, there are so
many variables that this organizer may not fit all prompts. Use this as
a guide, but be flexible.)
1. Answer this question: What does this prompt want me to do? Identify the
parts of the prompt, and what each is asking.
2. What parts of the passage/novel will help me to do it?
3. What literary elements do I need to consider?
4. What is the insight you gain from this text? What truths are revealed? What theme is given?
Use the guide as needed.
Introduction
A good introduction invites reading. It will give the author and the title of the work (even if you only have a
passage) and lead the reader into a clear, concise thesis statement that will accurately reflect the given
prompt. The introduction will also begin to address your “answer” to the “so what?” question.
Author: _____________________________________
Work: _______________________________________________
Paraphrase the prompt.
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Literary Elements to consider:
_______________________________________________________________________
Working Thesis:
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Body (develop 3-4 supporting paragraphs that remain focused on your thesis)
Paragraph #1
Topic Sentence (your claim):
_______________________________________________________________________
_______________________________________________________________________
Support: (from the text):
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Explanatory sentence(s): (your “how” and/or “why”)
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Transitions that would help make logical connections:
_______________________________________________________________________
Paragraph #2
Topic Sentence (your claim):
_______________________________________________________________________
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_______________________________________________________________________
Support: (from the text):
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Explanatory sentence(s): (your “how” and/or “why”)
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Transitions that would help make logical connections:
_______________________________________________________________________
Paragraph #3
Topic Sentence (your claim):
_______________________________________________________________________
_______________________________________________________________________
Support: (from the text):
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Explanatory sentence(s): (your “how” and/or “why”)
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Transitions that would help make logical connections:
_______________________________________________________________________
Paragraph #4
Topic Sentence (your claim):
_______________________________________________________________________
_______________________________________________________________________
Support: (from the text):
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Explanatory sentence(s): (your “how” and/or “why”)
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Transitions that would help make logical connections:
_______________________________________________________________________
Conclusion
The purpose of the conclusion is to bring the essay to a satisfactory ending. You don’t want to
introduce new ideas in the conclusion, but you can extend the thinking into the realm of personal
reflection (your thinking about the “so what?” question). You can summarize the main points of the
essay, also, but sometimes summary conclusions sound stilted and voiceless.
A good conclusion needs a good transition sentence.
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
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RULES FOR LITERARY ANALYSIS
THE NEVER RULES
Never use plot summary.
Never use casual diction—“this was awesome” “what a stupid
idea”
Never discuss what is not there—discuss what was in the piece
Never “be there”—“I felt like I was there.”
Never “paint a picture in the reader’s head”
Try to avoid “the reader” “one” “you”
Never have a one-sentence paragraph (exception—conclusion and you’re out of time)
Never have plot summary in the introduction
Never address the author by first name or as Mrs., Ms., Miss, or Mr.
Never rate the author’s work or style (by saying “He does an excellent job of
portraying the theme.” Or “The book is wonderful.”)
Never define the technique that you are writing about (like “Irony is expecting one
thing to happen and the opposite occurring.”)
THE ALWAYS RULES
Always address the prompt
Always have a strong thesis.
Always put quotations around the title of a poem or short
story.
Always underline the title of a novel
book.
Always refer to the author by his/her full name or last name only.
Always avoid use of “be” verbs.
Always make the conclusion worth reading by including new insightful analysis,
connection to another similar work of literature, and an interesting, yet relevant,
ending (a quote if possible).
Always use literary analysis
Use the pattern: Identify, Evidence, Analysis
Always connect to a purpose
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or
Theme Statements
Complete the following sentence using the instructions below:
[Title] is a novel/short story/poem/essay about
____________________________________. It shows that
______________________________________________________________.
1. Place a single word or a short phrase (an abstract idea or concept) in the first blank. Then explain the
truth about human condition as it relates to the work.
2. Your completion of the sentence should show insight into the issues in the novel. You should ask yourself:
“What is the book really about?”
3. Do not complete the sentence with plot summary. Do not just tell what happens in the story.
Ex 1:
Huck Finn is a book about the horrors of slavery and the denigration of human beings.
Ex 2:
Huck Finn is a book about one person’s ethical stand against the immoral practices of society.
Ex 3:
Huck Finn is a book about the hypocrisy of religion.
The length of the sentence is up to you, but it must be only one sentence. You may
choose to write a lengthy statement or a short one, but insightfulness is key!
Abstract Ideas and Concepts to Consider:
Alienation
Ambition
Appearance v. reality
Custom/tradition
Betrayal
Bureaucracy
Chance/Fate/Luck
Children
Courage/cowardice
Cruelty/violence
Defeat/failure
Despair/discontent/disillusionment
Domination/suppression
Dreams/fantasies
Duty
Education/school
Escape
Exile
Faith/loss of faith
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Falsity/pretense
Family/parenthood
Free will/will power
Games/contests/sports
Greed
Guilt
Heaven/paradise/utopia
Home
Initiation
Illusion
Innocence
Instinct
Journey
Law/justice
Loneliness
Loyalty
Materialism
Memory
Mobs
Music/dance
Mysterious/stranger
Persistence/perseverance
Patriotism
Poverty
Prejudice
Prophecy
Reason
Repentance
Resistance/rebellion
Revenge/retribution
Ritual/ceremony
Scapegoat/victim
Social status
Supernatural/time/eternity
War
Women/feminism
Taking A-I-M
LIST OF TRANSITIONAL WORDS FOR WRITING ESSAYS
John A. Braithwaite
The following is a list of transition words to help students write more fluently and
meaningful essays.
I.
another
as
as if
as much as
as though
besides
II.
III.
IV.
Indicating similarity or addition:
again
also
and
for example
for instance
further(more)
in addition
in addition to
in a like manner
Indicating dissimilarity, or contradiction
although
even though
and yet
however
another
in comparison
as if
in comparison to
away from
in place of
besides
in spite of
but
instead
by comparison
less important
conversely
neither
differing from
nevertheless
even if
notwithstanding
Indicating cause, purpose, consequence, or result
as
for this reason
accordingly
fortunately
as a result
hence
because
in any case
consequently
in fact
for
it began with
finally
of course
Indicating spatial order or reference
above
behind
across
below
across from
beneath
adjacent
beside
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equally
in fact
equally important
in general
for
in the same fashion
likewise
moreover
of course
similarly
too
on the contrary
on the other hand
otherwise
still
than
unfortunately
unless
whereas
while
yet
provided that
since
so
then
therefore
thus
unfortunately
here
in a corner
in back of
in front of
against
alongside
among
around
at
before
outside
over
throughout
through
V.
VI.
VII.
between
beyond
down
eventually
facing
farther
to the side of
toward
under
underneath
Indicating Chronology or Sequence:
after
first, second, etc.
afterward
formerly
as soon as
hereafter
at first
in the beginning
at last
in the meantime
at length
in the second place
at present
in the first place
at the same time
later
before
meanwhile
during
moments later
earlier
next
finally
now
first of all
once
Indicating priority or importance
above all
further
also
furthermore
greater
besides
in addition to
equally important
in the first place
first, second, etc.
more(most) important
for one reason
moreover
Indicating example or summary
as a result
in brief
as I have said
in conclusion
first, second, etc
in fact
for example
in other words
for instance
in short
in any case
in the first place
in the second place
inside
in the middle
near
next to
on
opposite
up
upon
within
without
presently
provided that
secondly
since
then
thereafter
soon
to begin with
until
when
while
yet
next
of
of less importance
provided that
to begin with
on the whole
once
second
specifically
to sum up
in any event
PARAGRAPH HOOKS/CONNECTIONS
Repeated words: repeating key words can help tie a paragraph or longer writing together
Pronouns: using pronouns to take the place of words or ideas can help you avoid needless repetition
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Synonyms: using synonyms for some words can increase variety and interest and
help the reader move form one step in the thought of the paper to another
NOTE: Transitions, when used sparingly and accurately, add to the overall polished
effect of your writing. However, the overuse or incorrect use of transitions can
create an artificial or “’canned” effect and can also create confusion in your
readers. Be familiar with the expressions, but in addition, become more aware of
the ways in which published writers employ transition to accomplish their ends.
AVOIDING COMMON WRITING ERRORS
Organization
1.
2.
3.
4.
5.
6.
7.
8.
9.
Avoid announcing your intentions (This report will examine; In this paper I will argue).
NEVER start a paper with "According to Webster's New Collegiate Dictionary..." or any other dictionary reference.
Avoid opening your paper with a “dictionary definition”
DO NOT EQUIVOCATE. DO NOT BE TENTATIVE. Make assertions. Then prove them with evidence.
At the heart of this is an ARGUMENT. Support your assertions with evidence.
Develop your paragraphs. One or two sentences cannot form a developed paragraph.
Refer to an author’s full name only when is it initially used; thereafter, use last name only and. With few exceptions,
never with a title such as Dr. or Ms. (Doctor Johnson replaces Samuel Johnson, a notable exception.) Never use the
author’s first name by itself-which is disrespectful.
Novels are ALWAYS FICTION! Do not write that a work is a “novel” if it is NOT!
Avoid using a quotation as a thesis statement or topic sentence.
Embed your quotations.
Word Choice and Academic Voice
10. USE ACTIVE VOICE! Avoid the passive voice. (Do not write: "The short story was written by Bubba." Do write: "Bubba
wrote the short story." Do write: The information confused the student instead of The student was confused by the
information).
11. Stay in literary or historical present tense when “in the text” when writing about literature: As Shakespeare
characterizes him, Hamlet is (not was) a tragic figure.
12. Replace the words he/she or him/her with a plural subject if appropriate: Students realize they must develop solid
study habits replaces A student realizes he/she must develop solid study habits.
13. Watch the over use of “also” and “obviously”
14. Avoid redundant rhetoric (separate out; focus in on; exact same).
15. Avoid the use of this, that, which, and similar pronouns to cover more than one specific antecedent (the noun or
pronoun that the pronoun refers to)
Sentence Fluency and Support
16. Punctuate compound sentences correctly to avoid comma splices and run-ons.
17. Use parallel construction. Remember to use “to” in a parallel construction with infinitives (to observe and to discern
the facts)
18. Vary your sentence pattern by combining sentences to create a balance of complex, simple, and compound patterns.
19. Many writers think commas are cool; semicolons are special and sophisticated. Use a semicolon between
independent clauses.
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20. Indent four lines or more of quoted material without the use of quotation marks because indention in itself is the
“signpost” ‘to your reader that you have borrowed the information. Use a single quotation mark, however, to
indicate a speaker within the indented citation.
21. Introduce long quotations with a context sentence and always offer some analysis or commentary (not summary)
before or after the introduction of a quotation. Distinguish the narrator’s or speaker’s voice from the author’s when
you analyze literary works (for poetry, the speaker’s voice replaces the narrator’s).
22. Avoid using an ellipsis (. . .) to indicate an omission from the beginning of a quotation.
23. LESS IS MORE. Every word should add to your argument. If a word or phrase is not necessary for clarity or beauty,
LEAVE IT OUT!
Conventions
24. Check your spelling before turning in work.
25. Double space your typed work.
26. Avoid shifting voice: In the speech, students learned that you had to prepare carefully to hold an audience’s
attention.
27. Distinguish subjective from objective forms of pronoun case; he/him; she/her; they/them; we/us.
28. With prepositional prhases i.e. between you and me . . . Use the objective case, i.e., me, after prepositions.
29. "Person" and "one" are singular. So are "everybody", "everyone", "no one", "nobody." It means these words must be
followed by singular pronouns such as "he" or "she." And, of course, the verbs must be singular as well. DO NOT
WRITE: "Everybody thinks they are a good writer." DO WRITE: "Everybody thinks he or she is a good writer."
30. Refer to a usage glossary to avoid using who’s for whose; affect for effect; loose for lose; to for too; presently for
currently; beside for besides, Accept for except, affect for effect.
31. Avoid contractions. Then you will never confuse the contraction it’s (meaning it is or it has) with the possessive
pronoun its (e.g., The dog wagged its tail). You will NEVER USE "it's" in formal prose if you follow these rules
because it is a contraction. Remember, “it’s” is a contraction for “it is.” Do not confuse it with the possessive “its”.
Distinguish correctly between "their," "there," and "they're". “They’re very angry when there are misuses of these
homophones in their student’s papers.” Distinguish correctly between "your" and "you're." You’re going to wear
your leather jacket to the PETA rally.”
32. People are who and things are that.
33. Place quotation marks outside commas and periods; generally place them inside semicolons.
34. Underline or italicize only that portion of a title you borrow from another author.
35. Do not abbreviate.
36. Tense agreement! Use all past tense or all present tense.
37. Avoid the use of the verb feel when you think or believe (e.g., The character feels like he needs to get revenge). The
character believes that he needs to get revenge is acceptable usage.
38. Underline or italicize those works that are long enough to be published separately. They include television sitcoms,
movies, epic poems, and music albums.
39. Space ellipses correctly, space/period/space/period/space/period ( . . . )
40. Use brackets to reflect a change in capitalization if different from the text you are quoting: John Kenney’s philosophy
was to ‘[a]sk what you can do for your country.’
41. Spell out all numbers ten (O-IO) and below. Always spell any number if it is the first word of the sentence.
Words/Phrases to avoid in your paper:
42. Do not start or end a paper with useless or obvious phrases such as "The question I choose to answer is...," "This
paper is about...," "I am going to prove thus-and-such and use evidence" “Throughout history. . .” “All throughout
mankind. . .” Follow Nike: Just Do It.
43. DO NOT begin compare/contrast papers with generic openings like "This and that are very different but they also
have similarities."
44. Tired phrases to avoid:
a) An author "goes on to say..."
b) Something is a "key factor" or worse yet, something is "key."
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45. Avoid first and second person in critical essays or reports. That means NO "I", "you", "we", "me," "your," "our," or
"us."
46. Adverbs such as "definitely," "really," "very," "greatly," "strongly," "basically" weaken your writing.
47. "Lastly" is not a good word. Use "finally." And while you are at it, avoid numerical adverbs like "firstly" or "secondly".
Use instead "first" or "second."
48. Do not use "this" as a noun. When it is an adjective, it needs a noun to modify. In general, after “this” you need a
noun. This study shows the negative impact on high school students who do not follow the guidelines for the paper.
49. Avoid the excessive use of the expletives there is; there are; there would have been; .
50. Avoid faulty predication or faulty pronoun reference: This is when; The reason is because; In the book it says; it was
then . . that . . .” o “It was this person who”
51. Eliminate empty phrases: in today’s society (in today’s anything); hopefully; in my opinion; due to the fact, the reader
52. Do not use “in order to.” Just use a nice active verb
53. NEVER WRITE "would of," "could of," or "should of" for "would have," "could have," or “should have." Never! Never!
Never!
54. Do not use words like "scenario" or "utilize" when you can use words like "scene" or “use."
55. DO NOT EVER write “he made a difference”. It is vague and banal. Remember that the Bubonic Plague, Adolph Hitler
and Hurricane Katrina all “made a difference.”
56. Do not write "in conclusion." If the reader cannot tell you are concluding, you have not done your best work.
57. Avoid Colloquialisms (contemporary slang or overwrought clichés).
Don’t make these common errors:
58.
59.
60.
61.
62.
63.
64.
65.
66.
67.
68.
69.
70.
71.
72.
73.
74.
75.
76.
77.
78.
79.
80.
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"Hate" is a verb. "Hatred" is a noun.
"Quote" is a verb. "Quotation" is a noun.
"Cite" is a verb. "Citation" is a noun.
Learn or remember that "a lot" is TWO words. That is a lot!
Spell "separate" correctly.
Do not write, "hopefully" when you mean, "it is to be hoped," or "one hopes." "Hopefully" is an adverb.
DO NOT use "economical" which means "tending to save money" for "economic" which means "having to do with
the economy"
Do not confuse “want” with either “lack” or “desire.”
Do not write that a country or a leader was “upset” by something. Similarly do not write that countries or people
were “happy” about something.
“Impact’ is NOT a verb in formal English. Neither is “disrespect.”
Things are BASED ON other things, NOT “based off of” other things.
Nations should be referred to as “it” or “her” (the old-fashioned style) but not as “they.”
Do not use “amongst.” There is nothing wrong with “among.” Same thing for “betwixt” and “amidst.”
. If you can count something use “number.” If you must measure something use “amount.”
Fewer/less and number/amount: “Fewer” and “number” refer to distinct, countable items (“fewer Democrats”, “the
number of Republicans”), while “less” and “amount” refer to uncountable quantities (“less grains of sand”, “amount
of stars”).
Than/then: “Than” compares. (“I’m better looking than you.”) “Then” tells when. (“She ate the pop-tart and then
went to school.”)
Capitalize the most important subject . . . or proper nouns.
Do NOT use invented words that are not in the English language like “conversate” or “brung” or “irregardless”.
Use “versus” in reference to contests or competitions, not “VERSE”.
“Dialogue” and “conference” are nouns and NEVER verbs.
The act of speaking never requires any form of the verb “to go”. Thus, never begin a description of what someone
said with either “He or she goes on to say…” or “He or she went on to say…”
Principal/principle: “Principal means “first, foremost.” “Principle” means “rule, precept.” (“A principal principle of
teaching is to be patient.”)
“Alright” is not all right with me.