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A Letter from the Authors
Becoming a writer is a lifelong journey. While this
journey often begins in the classroom, it continues and
changes throughout an individual’s professional, civic,
and personal life.
With The McGraw-Hill Guide students learn to
apply a goals-oriented approach to any writing situation,
making effective choices by asking three questions:
• How do I set my goals?
by the Council of Writing Program Administrators
because we know how important they have been in
shaping discussions about writing curricula in the
United States and other countries. These learning
outcomes demonstrate the value of the full range of skills
and knowledge that writers need to develop: rhetorical
knowledge; critical thinking, reading, and writing;
composing processes; knowledge of conventions; and
composing in electronic environments.
• How do I achieve my goals?
The McGraw-Hill Guide Works
• How do I assess my goals?
Two groundbreaking multi-institutional research studies
illustrate the efficacy of The McGraw-Hill Guide.
Why a Goal-Setting Approach?
• The MARC (McGraw-Hill Assessment Research in
Composition) study showed that students who focused
on the goal-setting approach of the Guide performed
better across all outcomes than those who did not.
These students outperformed their peers on average
by the equivalent of a full grade point.
• The SCORE (Southern California Outcomes Research
in English) study showed that students who used
Connect also performed better across all outcomes
and had superior gains in holistic scores than
their peers!
In our lengthy careers as writing program administrators
and instructors, we have discovered that students are most
successful when they have a clear idea about their writing
goals. Consequently, we structured The McGraw-Hill Guide
to help students set goals for their writing, use effective
composing strategies to achieve those goals, and assess
their progress toward achieving them. By understanding
these goals, and the processes by which they can accomplish
them, students are empowered to take ownership of their
writing and their development as writers. In the short term,
once they understand the underlying principles on which
their writing is assessed—by assessing it themselves—the
grades they receive from their instructors no longer seem
arbitrary or mystifying. In the long term, students develop
the strategies they need to support their writing development
when they leave the classroom.
Goals Based on the WPA
Learning Outcomes
The student writing goals in The McGraw-Hill Guide
are drawn from the learning outcomes established
We are proud of the fact that The McGraw-Hill
Guide is the only product of its kind to have a researchproven track record of success. To review the evidence
yourself, please visit www.mhhe.com/hssl/roen.
We hope you enjoy the time you spend with
The McGraw-Hill Guide.
Sincerely,
Duane Roen
Gregory R. Glau
Barry M. Maid
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How do I set my goals?
Research has shown that effective writers set goals that address the particular situation—the purpose, audience, and
context—in which they are writing. With The McGraw-Hill Guide, instructors can help students understand and set
their writing goals using the assignment chapters in Parts Two and Three (Chapters 5–12). Every chapter of the guide
can be assigned and customized online—using only the material needed for any particular assignment. By following the
unique structure of The Guide, students will be encouraged to:
Preview each chapter.
How do I set my goals?
SET
Setting Your Goals (p. 240)
ACHIEVE
How do I achieve my goals?
Rhetorical Knowledge: Understanding the rhetorical situation
for your project (p. 242)
Assignment chapters begin with newly
expanded outlines that show students how
that chapter will help them to set, achieve,
and assess their writing goals.
Critical Thinking, Reading, and Writing: Thinking critically about
this type of writing (p. 246)
Writing Processes: Establishing a process for composing your
project (p. 260)
Knowledge of Conventions: Polishing your work (p. 272)
How do I assess my goals?
ASSESS
Self-Assessment: Reflecting on Your Goals (p. 278)
Setting Your Goals for Persuasive Writing
Consider their writing goals.
Rhetorical Knowledge (pp. 242–46)
roe05922_ch09_238-279.indd 238
• Invention: Use various invention activities, such as questioning or freewriting, to help you consider the arguments that you might use to support your persuasive essay or the opposing
arguments you need to accommodate or refute.
• Organizing your ideas and details: Most often, you will state the main point—your
thesis—clearly at the start of your persuasive essay and then present the evidence supporting
that point. Other methods of organization are useful, however, depending on your audience and
context.
• Revising: Read your work with a critical eye to make certain that it fulfills the assignment and
displays the qualities of effective persuasive writing.
• Working with peers: Listen to your classmates as they tell you how much you have persuaded them, and why. They will give you useful advice on how to make your essay more persuasive and, therefore, more effective.
Critical Thinking, Reading, and Writing (pp. 246–59)
Knowledge of Conventions (pp. 272–73)
• Learning/inquiry: Writing to persuade helps you learn the important arguments on all sides
of an issue, so such writing deepens your understanding.
• Responsibility: As you prepare to write persuasively, you will naturally begin to think critically about your position on the subject you are writing about, forcing you to examine your initial ideas, based on what you learn through your research. Persuasive writing, then, is a way
of learning and growing, not just of presenting information.
• Reading and research: You will usually need to conduct interviews and online and library
research to gather evidence to support the claims you are making in your persuasive writing.
• Editing: Citing sources correctly adds authority to your persuasive writing. The round-robin
activity on page 273 will help you edit your work to correct problems with your in-text citations
and your works-cited or references list.
• Genres for persuasive writing: Possible genres include academic essays, editorials, position
papers, letters to the editor, newspaper and magazine essays—even e-mails or letters you might
send to friends or family members to persuade them about a problem or issue.
• Documentation: You will probably need to rely on sources outside of your experience, and if
you are writing an academic essay, you will be required to cite them using the appropriate documentation style.
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Scenarios for Writing | Assignment Options
Your instructor may ask you to complete one or more of the following assignments that call for persuasive writing. Each of these assignments is a scenario,
Writing for College
SCENARIO 1
Writing Processes (pp. 260–72)
• Audience: When you write to convince your readers, your success depends on how accurately you have analyzed your audience: their knowledge of and attitudes toward your topic.
• Purpose: A convincing text is meant to persuade readers to accept your point of view, but it
can also include an element of action—what you want readers to do once you’ve convinced them.
• Rhetorical situation: Think about all of the factors that affect where you stand in relation to
your subject—you (the writer), your readers (the audience), the topic (the issue you are writing
about), your purpose (what you wish to accomplish), and the exigency (what is compelling you to
write your persuasive essay).
• Voice and tone: When you write to persuade, you are trying to convince readers to think or
act in a certain way. The tone you use will influence how they react to your writing, so you
should consider carefully how you want to sound to your readers. If your tone is subdued and
natural, will that convince your readers? What if you come across as loud and shrill?
• Context, medium, and genre: Decide on the most effective medium and genre to present your
persuasive essay to the audience you want to reach. Often, you can use photographs, tables,
charts, and graphs as well as words to provide evidence that supports your position.
The Setting Your Goals feature, located
near the beginning of Chapters 3 and
5–12, introduces the foundational
concepts that will guide students’
writing—rhetorical knowledge, critical
thinking, writing processes, and
knowledge of conventions. Based on
the WPA outcomes, these goals
encourage students to create a
framework for their writing
assignments grounded in sound
rhetorical principles.
Academic Argument about a Controversial Issue
What controversial issues have you learned about in other college classes?
Here are some possibilities:
Writing for Life
SCENARIO 3 Civic Writing: An Editorial
about a Campus—Community Problem
Every college campus has problems, ranging from scarce parking, to overcrowded computer labs, to under-age drinking, to too little community involve-
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Consider contexts.
Recognizing that writing is a lifelong journey, The
McGraw-Hill Guide gives students and instructors the
option—and the flexibility—of responding to writing
scenarios based on academic, professional, civic, and
personal contexts. Customizable assessment rubrics are
available online for each assignment, giving instructors
the ability to show students how writing in different
contexts can have an impact on their goals.
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Let CONNECT COMPOSITION Help Your Students Set Their Goals:
McGraw-Hill’s solutions are proven to improve student performance. Powered by a four-year student subscription
to Connect Composition 2.0, The McGraw-Hill Guide incorporates groundbreaking adaptive diagnostic technology
and a personal learning plan (PLP) that truly individualizes grammar instruction and helps improve student writing.
Connect equips instructors and students with tools for practicing, sharing, posting, and assessing student writing
and other composition coursework.
The CONNECT COMPOSITION PLUS 2.0 eBook for
The McGraw-Hill Guide, 3e
The Connect Composition Plus 2.0 eBook provides The McGraw-Hill Guide content in a digital format that is
accessible from within Connect and Blackboard. Students can link directly to activities and assignments within
Connect from the eBook, giving them all the resources from The McGraw-Hill Guide right on their computer’s
desktop!
With digital tools developed by composition experts, Connect Composition Plus 2.0 enables you to create a
state-of-the-art teaching and learning environment that engages your students with their course assignments,
including:
•
•
•
•
Group assignments
Discussion board assignments
Blog assignments
Writing assignments
Connect’s Personal Learning Plan (PLP)
Through an intuitive, adaptive diagnostic that assesses proficiencies in five core areas of grammar and mechanics,
students generate a personalized learning plan tailored to address their needs in the study time
available to the student. The personalized program includes contextualized grammar and
writing lessons, videos, animations, and interactive exercises, and it provides immediate
feedback on students’ work and progress.
Based on metacognitive learning theories, the Personal Learning Plan continually adapts
with each interaction, while built-in time-management tools keep students on track to
ensure they achieve their course goals. The Personal Learning Plan is designed to
improve student writing while allowing instructors to focus on critical writing
processes in the classroom. The Plan supports writing program goals with reports
that present data related to student progress and achievement.
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How do I achieve my goals?
After presenting the qualities of effective writing related to a particular purpose, each assignment chapter (3 and 5–12)
then illustrates the steps of the writing process with clear examples of a student writer adapting to a specific writing
situation. Designed to emphasize their goals as writers, each assignment chapter helps students to:
Emphasize critical thinking
and synthesize information.
A new chapter (Chapter 3) on Writing
to Understand and Synthesize Texts
helps students develop the strong
reading skills and ability to synthesize
ideas from different sources they will
need to achieve their writing goals.
A section on “Synthesizing and
Integrating Sources into Your Draft”
appears in Chapters 6–12.
Strategies
FOR
INTEGRATING SOURCES
Including Others’
Perspectives in
Narratives (p. 97)
Quoting Sources (p. 139)
Paraphrasing Sources
(p. 181)
Incorporating Numerical
Data (p. 224)
Incorporating Partial
Quotes (p. 266)
Creating Visuals to Show
Your Data (p. 311)
Summarizing
Information from
Sources (p. 356)
Including Research
Information (p. 401)
Synthesizing and Integrating Sources: Incorporating
Partial Quotes in Your Sentences
Often, your research will provide you with lots of quotations, which means you
have to determine how to incorporate the quotations you want to use into your
text. One way to use quotations, whether they come from a source you interviewed
or from source you read, is to incorporate them into your sentences, a using a phrase
such as “she said” or “Johnson comments”:
I interviewed Joy Watson and she said, “The recycling program is working.”
Another method of incorporating a quotation is to integrate it into the structure of your sentence. For instance, in the following example, Santi DeRosa quotes
Joe Watson from an article in the campus newspaper by integrating the quotation
within his own sentence, and then he repeats part of the quotation that he wants to
emphasize in his next sentence:
f
Develop strategies for success.
|
Success: Openness
Based on the eight “habits of mind” that have
been developed by the WPA, the National
Council of Teachers of English (NCTE), and the
National Writing Project and identified by the
WPA as “essential for success in college
writing,” this feature offers students tips on
how to develop their curiosity, openness,
engagement, self-reflection, flexibility, creativity,
persistence, and responsibility.
Successful writers are open to new ideas and a wide range of perspectives. In writing
to convince, openness is especially important because readers are more likely to
accept your ideas if they think that you are open-minded. As you consider other perspectives, think about how they compare and contrast with your own ways of looking at the world. How does viewing an issue from another perspective enable you to
roe05922_ch09_238-279.indd 266
see the world in new ways? If you find a new idea easy to accept, why is that the
case? If you find a new idea difficult to accept, why is that so? If a perspective differs
from yours, what distinguishes the two? What are the points of agreement? How can
the two perspectives be combined to form yet another way of looking at the world?
Choose the appropriate genre.
Ways of Writing tables present examples of
different genres relevant to the chapter topic and
describe their advantages and limitations. “Genres
Up Close” provides a closer look at one genre
relevant to the chapter’s writing purpose. Genres
covered include a literacy narrative, a profile, and a
poster. An example of the genre follows each of
these sections.
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Ways of Writing to Analyze
Genres for Your
College Classes
Advantages
of the Genre
Limitations
of the Genre
Behavioral analysis
In your social psychology
class, you are asked to construct a statistical analysis of
the behavior in specific situations of male college students in groups, as compared
to how they act individually
in those same situations.
Your research and statistical
analysis will provide your
readers with useful information about behavior.
It is difficult to find enough
reliable statistics for such an
analysis; there sometimes are
time constraints that limit
your research.
Rhetorical analysis
Your writing professor asks
you to analyze the rhetorical
appeals on a Web site.
This analysis will help you to
understand how a Web site
appeals to its readers.
This is only one way to examine a Web site.
Nutrition analysis
In your health and nutrition
class, your professor asks you
to analyze several new diets.
You can provide useful information to readers.
Your analysis is not an evaluation of a diet, which often
is what readers want.
Letter to your campus
newspaper
Your ethics professor asks
you to draft a letter to your
college newspaper analyzing
a campus problem.
Your college newspaper is a
useful forum in which to
publicize your analysis of the
campus problem to the right
audience.
A letter to the editor allows
only limited space for your
analysis. It might not be
published.
Chemical analysis report
Your biology teacher asks
you to construct a report on
the toxicity of a specific
group of chemicals when
they are combined.
This report helps readers
understand the interaction
between chemicals. Such
knowledge is critical whenever medicine is dispensed.
A chemical analysis report
might not provide everything needed for your biology class.
Visual analysis
Your writing teacher asks
you to analyze the visual features of advertisements for
A visual analysis will help you
to understand that visuals
can have as much impact on
A focus on visual elements
can divert attention from
verbal content.
Sample Situation
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Let CREATE’s customizable resources help you achieve your program goals.
Your courses evolve over time, shouldn’t your course material? With McGraw-Hill Create™, you can easily arrange
and rearrange material from a variety of sources, including your own. You can select content by discipline or collection,
including 4,000 textbooks, 5,500 articles, 25,000 cases, and 11,000 readings. When you build a Create book, you’ll
receive a complimentary print review copy in 3 to 5 business days or a complimentary electronic review copy (eComp)
via e-mail in about one hour.
Go to www.mcgrawhillcreate.com and register today.
With Create you can:
. . . choose what you want from:
•
•
•
•
The McGraw-Hill Guide’s print text chapters
Two additional chapters (also available online through CONNECT)
Any of the selections currently in the text
A range of additional selections designed for the Guide
. . . choose which resources you want from:
• other McGraw-Hill collections such as The Ideal Reader (800 readings
by author, genre, mode, theme, and discipline), Annual Editions
(5,500 articles from journals and periodicals), Traditions
(readings in the humanities), Sustainability (readings with an
environment focus), American History and World
Civilization Documents (primary sources including maps,
charters, letters, memoirs, and essays)
• your own works, such as syllabi, institutional information,
study guides, assignments, diagrams, artwork, student
writing, art, and photos
. . . choose which format you want:
• Print
• Electronic
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How do I assess my goals?
The McGraw-Hill Guide gives students experience evaluating the work of their peers and responding to others’
evaluations of their own work through Writer’s Workshop activities and online peer-reviewing tools. Then, by
reflecting on the writing process, students assess themselves. To help students assess whether they have achieved
their goals, The McGraw-Hill Guide encourages students to:
Learn effective strategies for assessing writing.
Throughout The McGraw-Hill Guide, students are shown how to assess writing critically and
rhetorically—whether written by a professional, another student, or themselves. Framed in the
context of the core outcomes of the course, this skill has been shown to improve student
performance. A compelling assortment of both professional selections and student samples—
60 percent of which are new to this edition—features authors such as Sherman Alexie, Marian
Wright Edelman, Susan Cain, Andrew
Sullivan, Maureen Dowd, and Jonathan
WRITER’S Workshop
Responding to Full Drafts
Liu, with additional selections available
online.
|
Working with one or two classmates,
read each paper, and offer comments
and questions that will help each of you
see your papers’ strengths and weaknesses. Consider the following questions as you do:
• What is your first impression of this
draft? How effective is the title at
drawing you in? Why? What are
your overall suggestions for
improvement? What part(s) of the
text are especially persuasive? What
reasons could use more support?
Indicate what you like about the
draft, and provide positive and
encouraging feedback to the writer.
• How tight is the writer’s focus?
Does the paper wander a bit? If
so, where?
• How accurate and appropriate is
the supporting evidence? How
clearly does the author indicate
the sources of statistics and other
supporting evidence?
• Might visuals such as charts, tables,
photographs, or cartoons make
the text more convincing?
• How clearly and effectively does
the writer present any opposing
points of view? How effectively
does the writer answer opposing
viewpoints? How might the writer
acknowledge, concede, and/or
refute them more effectively?
• How well has the writer demonstrated an awareness of readers’
knowledge, needs, and/or expectations? How might the writer
Collaborate with peers.
Online, The Guide provides several powerful tools that help
students to improve their writing skills, better understand their
readers, assess the impact of their
writing, and revise to address the
needs of their audience. With The
Guide’s digital peer-review system,
not only can students see and
consider the comments of others, but
they can also reflect on their work
and create a road map for revision
based on the feedback they receive.
roe05922_ch09_238-279.indd
Instructors271can use the technology to
arrange peer groups and improve the
peer group experience.
9/20/12 11:13 AM
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Let CONNECT COMPOSITION help you assess your goals.
Outcomes-based assessment tools
The McGraw-Hill Guide’s powerful, customizable
assessment tools in Connect provide instructors with a
way to communicate assessment criteria for each class
or across the entire writing program so that students
clearly understand the outcomes of the course as well
as the grading rubrics used to assess their writing.
These tools allow instructors to define learning
outcomes for the course and create rubrics to assess
students’ writing holistically or in the context of
outcomes for each writing assignment. Powerful
reporting tools give instructors opportunities to
generate assessment data for individual students, one
or more sections of the course, or all sections to
evaluate the success of their entire writing program.
Blackboard and MH Campus
All the content of The McGraw-Hill Guide—writing
instruction, readings, assignments, documentation
flowcharts—can be integrated with your program’s course
management system to offer single sign-on, seamless use of
all Connect Composition 2.0 assets, and synchronization for
all assignment and grade book utilities.
Tegrity
TEGRITY CAMPUS is a service that makes class time available
all the time. By automatically capturing every lecture in a
searchable format, students can review course material when
they study and complete assignments. With a simple one-click
start-and-stop process, you can capture all computer screens
and corresponding audio. Students replay any part of any
class with easy-to-use browser-based viewing on a PC or Mac.
®
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Go Digital with McGraw-Hill’s Best-in-Class
Support Team
• Digital Success Academy—The Digital Success Academy offers a wealth
of online training resources and course creation tips for instructors. Broken
down into easy-to-navigate sections, the Digital Success Academy offers
Connect 100 and 200 level video clips, PowerPoint documents, and
Clickthrough Guides that explain how to navigate the Connect platform
and how to use course-specific features. http://create.mcgraw-hill.com/
wordpress-mu/success-academy/
• Digital Success Team—The Digital Success Team is a group of
dedicated McGraw-Hill professionals available to work online with
instructors—one-on-one—to demonstrate how the Connect
platform works and recommend the best ways to incorporate
Connect with your syllabus. You can request a Digital Success
Team personal consultation through your McGraw-Hill sales
representative (http://catalogs.mhhe.com/mhhe/findRep.do)
or by visiting our Digital Products Support Center at http://mpss.
mhhe.com/orientation.php.
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• Digital Learning Consultants—Digital Learning Consultants are local resources who work closely
with your McGraw-Hill sales representative and can provide face-to-face instructor support and training.
To request a Digital Learning Consultant to speak with you, please e-mail your McGraw-Hill sales
representative.
• National training webinar schedule—join us online at http://fd7.formdesk.com/mh/
Connect_Composition_2.0_webinar to learn more about what Connect has to offer and how
you can incorporate into your course!
• Customer Experience Group (CXG)—McGraw-Hill is dedicated to making sure that instructors
and students can reach out and receive help for any of our digital products. To contact our customer
support team, please call us at 800-331-5094, or visit us online at http://mpss.mhhe.com/contact.php.
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New to This Edition!
* Indicates a new chapter.
Chapter 1: Writing Goals and Objectives
for College and for Life
• Coverage of composing in electronic environments
has been updated.
• A new section that introduces the “Strategies for
Success” feature has been added.
Chapter 2: Reading Critically for College and for Life
• “Genres Up Close: Writing a Rhetorical Analysis”
and the Writing Activity that goes with it have
been moved to the chapter’s end so that students
can apply the instruction on reading critically to
this assignment.
*Chapter 3: Writing to Understand and Synthesize Texts
• Two professional readings on the issue of
protecting intellectual property on the Internet,
“Kill the Internet—and Other Anti-SOPA Myths”
by Danny Goldberg and “We Are the Media, and
So Are You” by Jimmy Wales and Kat Walsh, serve
as the texts the student writer responds to and
synthesizes.
• Two new student papers and assignment options
are included: a critical response and a synthesis.
Chapter 4: Writing to Discover and to Learn
• Minor updates and adjustments.
In Chapters 6 through 12:
• Visual Thinking: This new element shows the
student writer selecting an appropriate visual for
his or her paper and ends with critical-thinking
questions that get students to reflect on how a
visual or visuals will work within the context of the
student essay.
• Strategies for Success: New feature shows
students how successful habits of mind in areas
such as persistence, creativity, openness, and
engagement will help them as writers.
Chapter 5: Writing to Share Experiences
• This is now a briefer assignment chapter, with
fewer selections and streamlined process coverage.
• New selections include “Superman and Me”
by Sherman Alexie and “Augustinian Influences” by
Brad Whetstine (eBook). “Facing Poverty with a Rich
Girl’s Habits” by Suki Kim appears in the eBook.
Chapter 6: Writing to Explore
• New selections include “Why I Blog” by Andrew
Sullivan, “The Tuskegee Airmen Plane’s Last Flight”
by Owen Edwards, “World’s Best Blogger?” by
Jesse Kornbluth (eBook), and a new Web site (Kiva,
a nonprofit organization that facilitates microloans).
Chapter 7: Writing to Inform
• New selection: “A Brief History of Wikipedia”
by Dan Fletcher.
• A new “Genres Up Close” that focuses entirely on
writing an annotated bibliography, with a sample
annotated bibliography tied to the student paper
for this chapter, replaces the example of a review
of the literature by Pamela Brandes.
Chapter 8: Writing to Analyze
• New selection: “The Power of Introverts”
by Susan Cain.
Chapter 9: Writing to Convince
• New selection: “Still Hungry in America”
by Marian Wright Edelman.
Chapter 10: Writing to Evaluate
• New selections include “The 5 Best Toys of All
Time” by Jonathan H. Liu and two reviews of Harry
Potter and the Deathly Hallows: Part 2 by Roger
Ebert and Andrew O’Hehir.
• A revised section on “Synthesizing and Integrating
Sources into Your Draft: Creating Visuals to Show
Your Data” discusses how to present data as a table.
Chapter 11: Writing to Explain Causes and Effects
• New selections include “How Urban Myths Reveal
Society’s Fears” by Neal Gabler, a new student
essay “Brothers, Brethren, and Kin: The Role of
Family in the Lives of Harriet Jacobs and Black
Hawk” by Hanna Lake, and a new anti-smoking
poster. “The Real Reason Why Highway Deaths
Are Down” by Robert Reich appears in the eBook.
Chapter 12: Writing to Solve Problems
• New selections include “The Case for Girls” by
Anya Kamenetz, “Education Needs a Digital-Era
Upgrade” by Virginia Heffernan, and a new
student essay “Staying Ahead of Skimming
Scams” by Susan DeMedeiros.
Chapter 13: Using Strategies That Guide Readers
• An updated box on “Electronic Environments”
and an updated food diagram in Figure 13.3.
Chapter 14: Using Strategies for Argument
• An updated box on “Electronic Environments.”
• New selection: “The Myth of Energy Independence:
Why We Can’t Drill Our Way to Oil Autonomy” by
Jordan Weissman.
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Chapter 15: Using Strategies for Collaboration
• Minor updates and adjustments.
Chapter 16: Making Effective Oral Presentations
• A new section on online presentations has been
added.
Chapter 17: Choosing a Medium, Genre,
and Technology for Your Communication
• The sections on synchronous chat, wikis, peerreview applications, and graphics software have
been revised and updated, with a new example of
a digitally manipulated image.
Chapter 18: Communicating with Design and Visuals
• Updates include a new example of a poster using
cool colors, updated examples of common
typefaces, and a new example of a table.
• The section on “Designing New Media” has been
moved to the end of the “Principles of Document
Design” section.
Chapter 19: Finding and Evaluating Information
• New screen images showing the results of searches
of an academic database (JStor) and Google.
• New or updated examples of a book, a popular
magazine, a public affairs magazine, the Web site
of a government agency, a blog, and Wikipedia.
Chapter 20: Synthesizing and Documenting Sources
• The section on “Plagiarism” has been revised to
make it more concise and focused.
• New examples have been added to the section on
•
•
•
•
•
•
“Quotations,” and new examples of faulty and
acceptable paraphrases have been added to the
section on “Paraphrases.”
A new “Electronic Environments” box on
managing research notes has been added.
New examples of unacceptable and acceptable
summaries have been added to the section on
“Summaries.”
For “MLA Style: In-Text Citation,” there is a new
example for a Work with One Author (replacing
the previous example).
For “MLA Style: Constructing a List of Works
Cited,” pairs of entries that show the difference
between the MLA and APA styles have been
updated (replacing previous examples).
A new example of a title page and copyright page
from a book has been added (Figure 20.2): The
Classical Tradition, replacing Unpaid Professionals.
For “MLA Style: Constructing a List of Works Cited”:
14 new examples
• A new “Electronic Environments” box on “Using
Microsoft Word to Develop Citations” has been
added.
• For “APA Style: In-Text Citation”: 4 new examples
• For “APA Style: Constructing a References List”:
10 new model entries
*Chapter 21: Writing about Visual Texts (eBook Chapter)
• Two professional readings that analyze visual texts,
“Revisiting the Daisy Revolution” by Will Storey (an
analysis of a famous political advertisement) and
“From Chaos, a Suspended Beauty” by Sebastian
Smee (an analysis of a sculpture), are included.
• Seven assignment options, with visuals, offer
students a wide range of ideas to choose from.
• A student visual analysis of an advertisement is
provided, with examples of the student’s writing
process and first draft in the “Writing Processes”
section of the chapter.
Chapter 22: Writing about Creative Works
(eBook Chapter)
• Chapter now includes the Set-Achieve-Assess
framework to make it consistent with the other
assignment chapters, providing a “Setting Your
Goals” box at the beginning of the chapter and a
“Self-Assessment: Reflecting on Your Goals”
section at the end.
• Chapter now includes sections on Rhetorical
Knowledge; Critical Thinking, Reading, and
Writing; Writing Processes; and Knowledge of
Conventions—making it consistent with other
assignment chapters.
• “Girl” by Jamaica Kincaid replaces “Ascent by
Balloon from the Yard of Walnut Street Jail” by
John Edgar Wideman. The book review, “Haiku for
Cats” by Joanna Rudge Long,” has been cut.
• Chapter now includes a student analysis of “Girl”:
“Indirect Characterization in Jamaica Kincaid’s
‘Girl’” by Katrina Montgomery.
Appendix A: Constructing a Writing Portfolio
• Minor updates.
Appendix B: Writing Effective Essay Examinations
• Minor updates and adjustments.
Appendix C: Standard Document Forms
• Updates and adjustments
• New sample memo
• New sample Listserv posting
• New sample newsletter
• New sample Web site
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Acknowledgments
On a personal level, we’d like to thank our colleagues at Arizona State University and at Northern
Arizona University, who’ve heard us talking about
the project (probably more than they’d wished to!),
offered constant support, and gave us good advice:
Shealyn Campbell, Fred Corey, Barbara D’Angelo,
Chitralekha Duttagupta, Scott Guenthner, Shari
Gustafson, Barbara Hanks, Ashley Hopf, Claire
Lauer, Keith Miller, Margaret Munson, Camille
Newton, Cynthia Villegas, Brooke Wonders, and
Allen Woodman. Duane would like especially to
thank Hanna, Maureen, and Harley Roen.
A number of people have made important contributions to this text and its media components.
Sherry Rankins-Robertson of the University of
Arkansas at Little Rock updated the Electronic Environments boxes and provided valuable insights and
suggestions for Chapter 17 and 18 and the Visual
Thinking boxes, for which we thank her. Video producers Peter Berkow and Bruce Coykendahl prepared the videos that are part of the McGraw-Hill
Guide Online and the Faculty Development Web
site. Whitney Olson wrote the learning objectives
for Connect and provided helpful guidelines for
using Connect in the Instructor’s Manual.
At McGraw-Hill, we were fortunate to have
some of the best in the business helping us with
this project, including Mike Ryan, vice-president and
general manager, Humanities, Social Science, and
Language group; David Patterson, Managing Director, Skills group; Kevin Colleary, our tireless and creative marketing manager; Nanette Giles, executive
market development manager; and Ray Kelley, our
terrific field publisher. Sherree D’Amico, our senior
sales representative, and Mina Mathies, our regional
manager, have both provided us with valuable
advice. Preston Thomas oversaw the beautiful
design of the text, Jan Fehler copy edited the text,
Margaret Marco and Ann Janette handled the
photo research, and Jolynn Kilburg and Danielle
Clement were responsible for seeing the text and
Connect through production. We owe special
thanks to Lisa Moore, who originally helped us
develop the concept and signed the project, and to
Chris Bennem, executive sponsoring editor, who has
guided us “editorially” in a thoughtful and kind
manner. We also owe a special thanks to Carla
Samodulski, senior development editor, who is quite
simply the best developmental editor in the
business—and to Cara Labell and Judith Kromm,
who served cheerfully and professionally as the
developmental editors for the second edition.
Thanks Lisa, Chris, Carla, Cara, and Judith.
Finally, we are indebted to all our fellow FirstYear Composition instructors whose valuable advice
helped shape the third edition.
McGraw-Hill Assessment Research in
Composition (MARC) Partners
McGraw-Hill is honored to partner with these five
higher education institutions to conduct research on
the ways in which pedagogical tools can constructively impact student performance in writing.
Collin College
Martha Tolleson
Sonja Andrus
Lauryn Angel-Cann
Betty Battacchi
Tammy Brightwell
Cathy Cloud
David Flanagin
Margaret Gonzalez
Susan Grimland
Lisa Kirby
Sarah Moore
Dana Moran
Beth Morley
Gordon O’Neal
Ray Slavens
Clay Stevens
John Wu
Johnson & Wales
University—Providence
Donna Thomsen
Eileen Medeiros
Terry Novak
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Northern Arizona University
Jacquelyn Belknap
Valerie Robin
Nicholas Tambakeras
Richland College
Paula Eschliman
Anthony Armstrong
Suzie Baker
Sarah Bowman
Debra Frazier
University of Texas—El Paso
Beth Brunk-Chavez
Christie Daniels
Judith Fourzan
Maggie Smith
Adam Webb
Judika Webb
Reviewers
This edition of The McGraw-Hill Guide was
developed with the guidance of the following
instructors.
Abraham Baldwin Agricultural College Bonnie
Asselin, Erin Campbell, Sandra Giles, Wendy
Harrison, Jeff Newberry
Arizona State University Regina Clemens Fox,
Nicole Khoury
Atlanta Metropolitan College Hristina Keranova,
Kokila Ravi
Bakersfield College David Moton
Bellarmine University Olga-Maria Cruz
Chesapeake College Eleanor Welsh
Cleveland Community College Tajsha Eaves
College of DuPage Jacqueline McGrath,
Sheryl Mylan, Beverly Reed, Helen Szymanski
College of Saint Rose Megan Fulwiler,
Jennifer Marlow
Community College of Aurora Susan Achziger
Cowley County Community College Marlys
Cervantes, Julie Kratt
Dixie State College Tim Bywater, Cheri Crenshaw,
Randy Jasmine
Drexel University Scott Warnock
El Paso Community College Gloria Estrada
Front Range Community College Donna Craine
Glendale Community College Alisa Cooper
Grand Rapids Community College Mursalata
Muhammad
Guilford Technical Community College Jo Ann Buck,
Carolyn Schneider
Harrisburg Area Community College Valerie Gray
Hawaii Pacific University-Honolulu Rob Wilson
Henderson Community College William Gary
Indiana University–Purdue University
Indianapolis Steve Fox, Scott Weeden,
Anne Williams
Iowa State University Sheryl McGough
Ivy Tech Community College Sandy Hackemann,
Susan Howard, Dodie Marie Miller, John D.
Miller, Carol Schuck
James A. Rhodes State College Sally Angel, James
Fallon
Johnson and Wales University Eileen Medeiros,
James Anderson, Terry Novak
Kansas City Kansas Community College James Krajewski
Lake-Sumter Community College Jacklyn Pierce,
Melanie K. Wagner, Patricia Campbell
Lee College David Hainline, Gordon Lee,
Loyola Marymount University K. J. Peters
Madisonville Community College Gregory Dennis
Hagan, Lawrence Roy, Jr.
Maryville University Jesse Kavadlo
MCC-Longview Community College Dawnielle Walker
McLennan Community College Arvis Scott,
Jim McKeown
Mississippi College Kerri Jordan, Jonathan Randle
Northern Arizona University Jacquelyn Belknap,
Valerie Robin, Nicholas Tambakeras
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Northern Carolina State Susan Miller-Cochran
Northern Kentucky University Kristi Brock
Oklahoma City Community College Angela Cotner,
Michael Franco, Jon Inglett, Kim Jameson, Chris
Verschage
Owens Community College Brenna Dugan,
Jen Hazel, Deborah Richey, Ellen Sorg
Pittsburg State Universty John Franklin
Prince Georges Community College Leela Kapai,
Odeana Kramer, Wendy Perkins,
Pueblo Community College Deborah Borchers
Purdue University–Calumet Karen Bishop Morris
Riverside City College Jason Spangler
Seminole State College of Florida Karen L. Feldman,
Chrishawn Speller
Shawnee State University Neil Catpathios,
Deborah S. Knutson
South Suburban College Laura Baltuska
Southeast Community College Kimberly Ann
Fangman, Janet Kirchner
State Fair Community College Anneliese Homan
Texas Christian University Charlotte Hogg
Triton College Bill Nedrow, William Nedrow
University of Alabama at Birmingham Peggy Jolly,
Cynthia Ryan, Rita Treutel
University of Alabama–Tuscaloosa Karen Gardiner,
Steffen Guenzel, Jessica Fordham Kidd,
Maryann Whitaker
University of Arkansas Sherry Rankins-Robertson
University of California–Irvine Lynda Haas
University of Central Florida Lindee Owens
University of Findlay Terri LaRocco, Ronald J. Tulley
University of Georgia Brandy James
University of Montana Amy Ratto Parks
University of Southern Indiana Jill Kinkade
University of Texas–El Paso Beth Brunk-Chavez,
Christie Daniels, Judith Fourzan, Cira Montoya,
Maggie Smith, Adam Webb, Judika Webb
University of Wisconsin–River Falls Jenny Brantley,
Kathleen Hunzer, Lissa Schneider-Rebozo
Wilkes Community College Lisa Muir, Julie Mullis
Symposium Attendees
As part of its ongoing research in composition and
in the design and administration of writing
programs, McGraw-Hill conducts several symposia
annually for instructors from across the country.
These events offer a forum for instructors to
exchange ideas and experiences with colleagues
they might not have met otherwise. The feedback
McGraw-Hill has received has been invaluable and
has contributed directly to the development of The
McGraw-Hill Guide.
Abraham Baldwin Agricultural College Jeff Newberry
Angelina College Diana Throckmorton
Arapahoe Community College Sallie Wolf
Brevard Community College Heather Elko
Brigham Young University Brett McInnelly
Broome Community College David Chirico
Broward Community College Sandra Stollman
Chattanooga State Technical Community
College Joel Henderson
Clayton State University Mary Lamb
Coastal Bend College Anna Green
College of the Canyons Jia-Yi Cheng-Levine
Dutchess Community College Angela Batchelor
Ferrum College Katherine Grimes
Florida A&M University Nandi Riley
Glendale Community College Alisa Cooper
Heartland Community College Jennifer Cherry
Ithaca College Susan Adams Delaney
Indiana University-Purdue University
Indianapolis Mel Wininger
Kapiolani Community College Georganne
Nordstrom
Lake Sumter Community College Patricia Campbell
Lehigh Carbon Community College Douglas Rigby
Lindenwood University Ana Schnellmann
Loyola Marymount University K. J. Peters
Mercer County Community College Noreen Duncan
Michigan State University Bill Hart-Davidson
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Montgomery County Community College Diane
McDonald
Naugatuck Valley Community College Anne Mattrella
North Central Texas College Rochelle Gregory
North Idaho College Lloyd Duman
Northern Illinois University Eric Hoffman
Oakland Community College Subashini Subbarao
Old Dominion University Matt Oliver
Oregon State University Susan Meyers
Pearl River Community College Greg Underwood
Pima Community College-Downtown Kristina
Beckman-Brito
Quinnipiac University Glenda Pritchett
Seminole State College Ruth Reis-Palatiere
Spokane Community College Angela Rasmussen
Salt Lake Community College Brittany Stephenson
Sacramento City College Jeff Knorr
Santa Ana College Gary Bennett
Savannah State University Gwendolyn Hale
Sinclair Community College Kate Geiselman
Southeastern Louisiana University Jeff Wiemelt
Southern Illinois University-Carbondale Ronda Dively
Southwestern Illinois College Winnie Kinney
Southwestern Oklahoma State University Jill Jones
St. Louis Community College-Florissant Valley James Sodon
St. Louis University Janice McIntire-Strasburg
Sussex County College James Rawlins
Tarrant County College Jim Schrantz
Tidewater Community College Joe Antinarella
Truman State University Monica Barron
University of California-Irvine Lynda Haas
University of the District of Columbia LaTanya Reese
Rogers
University of Florida Creed Greer
University of Idaho Jodie Nicotra
University of Missouri-St. Louis Suellynn Duffey
University of Nevada-Las Vegas Ruby Fowler
University of Rhode Island Libby Miles
University of Texas-El Paso Beth Brunk-Chavez
University of Wisconsin-Eau Claire Shevaun Watson
University of Wisconsin-Stout Andrea Deacon
Wilbur Wright College Phillip Virgen
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WPA Outcomes Statement for First-Year Composition
Adopted by the Council of Writing
Program Administrators (WPA), April
2000; amended July 2008
For further information about the development of the Outcomes Statement, please see
http://comppile.tamucc.edu/WPAoutcomes/
continue.html
For further information about the Council of Writing Program Administrators, please see
http://www.wpacouncil.org
A version of this statement was published in WPA: Writing
Program Administration 23.1/2 (fall/winter 1999): 59–66.
Introduction
This statement describes the common knowledge, skills,
and attitudes sought by first-year composition programs in
American postsecondary education. To some extent, we
seek to regularize what can be expected to be taught in
first-year composition; to this end the document is not
merely a compilation or summary of what currently takes
place. Rather, the following statement articulates what
composition teachers nationwide have learned from practice, research, and theory. This document intentionally
defines only “outcomes,” or types of results, and not “standards,” or precise levels of achievement. The setting of standards should be left to specific institutions or specific
groups of institutions.
Learning to write is a complex process, both individual
and social, that takes place over time with continued practice and informed guidance. Therefore, it is important
that teachers, administrators, and a concerned public do
not imagine that these outcomes can be taught in
reduced or simple ways. Helping students demonstrate
these outcomes requires expert understanding of
how students actually learn to write. For this reason we
expect the primary audience for this document to be
well-prepared college writing teachers and college writing
program administrators. In some places, we have chosen
to write in their professional language. Among such readers, terms such as “rhetorical” and “genre” convey a rich
meaning that is not easily simplified. While we have also
aimed at writing a document that the general public can
understand, in limited cases we have aimed first at communicating effectively with expert writing teachers and
writing program administrators.
These statements describe only what we expect to find
at the end of first-year composition, at most schools a
required general education course or sequence of courses.
As writers move beyond first-year composition, their writing
abilities do not merely improve. Rather, students’ abilities not
only diversify along disciplinary and professional lines but
also move into whole new levels where expected outcomes
expand, multiply, and diverge. For this reason, each statement of outcomes for first-year composition is followed by
suggestions for further work that builds on these outcomes.
RHETORICAL KNOWLEDGE
R
By the end of first-year composition, students should
• Focus on a purpose
• Respond to the needs of different audiences
• Respond appropriately to different kinds of rhetorical
situations
• Use conventions of format and structure appropriate
to the rhetorical situation
• Adopt appropriate voice, tone, and level of formality
• Understand how genres shape reading and writing
• Write in several genres
Faculty in all programs and departments can build on this
preparation by helping students learn
• The main features of writing in their fields
• The main uses of writing in their fields
• The expectations of readers in their fields
CRITICAL THINKING, READING,
C
AND WRITING
A
By the end of first-year composition, students should
• Use writing and reading for inquiry, learning,
thinking, and communicating
• Understand a writing assignment as a series of tasks,
including finding, evaluating, analyzing, and
synthesizing appropriate primary and secondary
sources
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• Integrate their own ideas with those of others
• Understand the relationships among language,
knowledge, and power
Faculty in all programs and departments can build on this
preparation by helping students learn
• The uses of writing as a critical thinking method
• The interactions among critical thinking, critical
reading, and writing
• The relationships among language, knowledge, and
power in their fields
PROCESSES
P
By the end of first-year composition, students should
• Be aware that it usually takes multiple drafts to create
and complete a successful text
• Develop flexible strategies for generating, revising,
editing, and proofreading
• Understand writing as an open process that permits
writers to use later invention and re-thinking to
revise their work
• Understand the collaborative and social aspects of
writing processes
• Learn to critique their own and others’ works
• Learn to balance the advantages of relying on others
with the responsibility of doing their part
• Use a variety of technologies to address a range of
audiences
Faculty in all programs and departments can build on this
preparation by helping students learn
• To build final results in stages
• To review work-in-progress in collaborative peer
groups for purposes other than editing
• To save extensive editing for later parts of the writing
process
• To apply the technologies commonly used to
research and communicate within their fields
KNOWLEDGE OF CONVENTIONS
K
By the end of first-year composition, students should
• Develop knowledge of genre conventions ranging
from structure and paragraphing to tone and
mechanics
• Practice appropriate means of documenting
their work
• Control such surface features as syntax, grammar,
punctuation, and spelling
Faculty in all programs and departments can build on this
preparation by helping students learn
• The conventions of usage, specialized vocabulary,
format, and documentation in their fields
• Strategies through which better control of
conventions can be achieved
Composing in Electronic Environments
As has become clear over the last twenty years, writing in
the twenty-first century involves the use of digital technologies for several purposes, from drafting to peer reviewing
to editing. Therefore, although the kinds of composing
processes and texts expected from students vary across
programs and institutions, there are nonetheless common
expectations.
By the end of first-year composition, students should
• Use electronic environments for drafting, reviewing,
revising, editing, and sharing texts
• Locate, evaluate, organize, and use research material
collected from electronic sources, including scholarly
library databases, other official databases (for
example, federal government databases), and
informal electronic networks and Internet sources
• Understand and exploit the differences in the
rhetorical strategies and in the affordances available
for both print and electronic composing processes
and texts
Faculty in all programs and departments can build on this
preparation by helping students learn
• How to engage in the electronic research and
composing processes common in their fields
• How to disseminate texts in both print and
electronic forms in their fields
• Learn common formats for different kinds of texts
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