Summary/Critical Response – Working At McDonald’s (1 Book Attached) Only A Is Required

Summary/Critical Response

Major Paper #1—Summary/Critical Response

Purpose:

Most of us use critical reading strategies everyday to effectively process all of the information we are consistently bombarded with.  This assignment allows you continue to explore ideas of reading and writing rhetorically, as you will use different strategies to write your summary and your strong response.

The Assignment:

This assignment will have two parts:

The Summary.

The Critical Response.

The Summary

Summarize in 150-200 words the article your instructor has chosen from the assignment.  Please use “Working at McDonald’s” on pages 260-262 of your 10th edition textbook (or pages 280-283 of your 9th edition book).  In this summary, you should relay the article’s main points, completely and accurately, in your own words. 

If you find yourself in a situation in which the author’s words needed to be quoted directly (perhaps for emphasis), you must make it clear that these words are the author’s by using quotation marks appropriately.  You will not want to quote anything over one sentence in length, and you will want to limit yourself to no more than 2-3 direct quotes, if you use any at all.  Remember that the whole point of this portion of the assignment is for you to restate the author’s points objectively in your own words.

In general, I recommend you structure your first sentence something like this:

           In “Working at McDonald’s,” Amitai Etzioni argues that…

This will function as the thesis statement of your summary, so this first sentence will need to convey the main point(s) of the article to give your reader an overall view.

Critical Response

Write a 1 ½ to 2 page response to the article your instructor has chosen from the assignment.  Please use “Working at McDonald’s” on pages 260-262 of your 10th edition textbook (or pages 280-283 of your 9th edition book).  

Before you even begin drafting, you will want to decide on the terms of your response.  Once you decide on the terms (or grounds) of your response, you’ll want to figure out how you can support your points—using logic, outside evidence—whatever is appropriate.  Your response cannot be based on simply your opinion about the issue.

What is a summary?

A summary is simply a recounting of the main points of an article.  But what should it really include?  How is the summary formatted?  The best way to learn how to write a summary is to read and examine someone else’s summary. 

Before you read the rest of this lecture, please read the short essay entitled “Sticks and Stones and Sports Team Names” from the bottom of page 255 through page 257 in your 10th edition textbook (pages 275-276 in your 9th edition textbook).** After you’ve read this essay, then please continue with the lecture.

A Sample Summary

The following is an example of how one student summarized the article “Sticks and Stones and Sports Team Names.”  (Remember: “Sticks and Stones” is not the article that you will be reading and responding to. 

However, this example does provide a good example of how to craft summaries in general.)  As you read this example, ask yourself what you notice about the summary—in terms of purpose, focus, tone, organization and formatting.

Summary of  “Sticks and Stones and Sports Team Names” 

In “Sticks and Stones and Sports Team Names,” Richard Estrada argues that sports teams should not be allowed to continue using ethnic-based names and mascots.  Estrada claims that teams such as the Braves, Indians, Seminoles, and Redskins—no matter how established or popular—should change their team names and mascots, which are degrading to Native Americans. 

He further suggests that the stereotypes accompanying these mascots, such as “tomahawk chops and war chants,” dehumanize and single out Native Americans, setting them aside from the rest of society.

  “Nobody likes to be trivialized or deprived of his or her dignity,” Estrada asserts, and yet allowing ethnic-based mascots enables—and even promotes—such trivialization.  What makes matters worse, according to Estrada, is that such mascots target one of our nation’s least politically powerful ethnic groups. 

He provides examples of other possible team names based on other ethnic minorities (such as the “New York Jews”), which would never be tolerated in our society.  As a result, Estrada concludes that Native Americans should be treated with simple human dignity, just like everyone else.   178 Words

So what did you notice?  What does the summary include?  How is it formatted?

Perhaps first you noticed that the student writer’s opinion of “Sticks and Stones and Sport Team Names” is not included.  Rather, the student is trying to simply convey the main points of Estrada’s original article.  Remember:   Whether you liked the article or didn’t like it, whether you agreed with the author or disagreed, your opinion does not belong in the summary.

Second, you may have realized that the first sentence is very important in the summary.  The first sentence must to three things clearly and concisely:  1.) Mention the name of the original article; 2.)  Identify the author of the original article; 3.) give a sense of the overall claim or point the author was trying to make.

Maybe next you observed that the original author was referred to in some way in every sentences. Richard Estrada argues, Estrada claims, He further suggests, Estrada asserts, according to Estrada, He provides examples, Estrada concludes—these are all called “attributive tags.”  Attributive tags are designed to remind the reader that these are Estrada’s ideas (not yours), and thus give proper credit where credit is due. 

Notice how the student writer in the example above has varied his attributive tags, using different ways to refer to the author (Estrada and he), and using different verbs to explain what Estrada was communicating.  The student writer also varied the placement of the attributive tag in several places.

  (Often the attributive tag comes at the beginning of the sentence, but sometimes an attributive tag will fit into the middle or end of the sentence.  You will also want to include an attributive tag in each sentence of your summary, and you will want to vary these references.

You may have also noticed that the student writer who is summarizing Estrada’s work has used direct quotes very sparingly.  Any time he did use even a phrase of Estrada’s word-for-word, he put it in quotation marks to indicate this.  

**NOTE:  While in most papers you would need to use intext parenthetical citations with the author’s last name and page number such as (Estrada 280) any time you summarized any ideas or material from your source, these are not necessary in a contained summary such as this.  They will be necessary in future assignments such as the research paper.

Next, you may have observed how the last sentence of the summary really seems to wrap things up and provide a sense of conclusion.  You will want the last sentence of your summary to provide the reader with a sense of conclusion as well.

Finally, you probably noticed the word count, included at the end of the summary.  Sticking within 150-200 words is important in the summary, so I will want you to include your word count.

But how do I get from here to there?

I recommend you use the concepts discussed in your reading from Chapter 12 as a sort of step-by-step guide to get you organized to write your summary. 

1.) Annotate.  Read and re-read the essay “Working at McDonald’s,” and take notes.  Mark things in the text that you think are important, especially noting what seem to be the main points of the article. 

Write questions you have in the margins, and note places where you are convinced or skeptical.  (This will also help you in the next unit when you’re trying to get ideas for your strong response.)

2.) Take Inventory.  Group your notes in a way that makes sense to you. 

3.) Outline.  This does not have to be a formal outline in any sense of the term.  But it can be a good idea to try to list or map the main points of the article, before you actually start drafting your summary.

4.) Write your summary, restating the article’s main points in your own words.

A Sample Critical Response

The following is an example of how one student responded to the article “Sticks and Stones and Sports Team Names.”  (Again, remember: “Sticks and Stones” is not the article that you will be reading and responding to.  However, this example does provide a good example of how to craft the critical response, in general.) 

As you read this example, ask yourself what you notice about the critical response—in terms of purpose, focus, tone, organization and formatting.

Sticks and Stones and Contradictions

   I found Richard Estrada’s article, “Sticks and Stones and Sports Team Names,” unconvincing, and also a bit confusing.  Estrada’s language seems inflated, exaggerated, and even contradictory.  His evidence is entirely anecdotal, and as a result, we receive very few concrete facts to support his claims.  In addition, Estrada’s credibility is unclear throughout the article. 

   To begin with, Estrada uses many exaggerated and contradictory phrases.  For instance, Estrada claims that using ethic sports teams names and mascots is “dehumanizing” to Native Americans (280).  To “dehumanize” is to deprive someone of human qualities, yet Estrada never proves that this is actually what ethic sports names actually do. 

In fact, he completely contradicts this notion of “dehumanization” in the previous sentence, by discussing why these mascots were chosen in the first place. 

“The noble symbols of the Redskins or college football’s Florida Seminoles or the Illinois Illini are meant to be strong and proud” (Estrada 280).  Noble.  Strong.  Proud.  These are all human qualities; indeed, they are qualities many people aspire to attain.  So how can such symbols be dehumanizing?

   In addition, the title “Sticks and Stones and Sports Team Names” itself seems to contradict Estrada’s claims.  By invoking the children’s rhyme, “Sticks and stones may break my bones, but words will never hurt me,” Estrada seems to imply that mascots and team names don’t matter at all. 

I had to read the article several times before I finally grasped his intentions.  Estrada is trying to be ironic.  Although his title alludes to the children’s rhyme, “Sticks and stones may break my bones, but words will never hurt me,” Estrada is actually trying to prove the opposite: 

Words can hurt us, and deeply.  While most people are probably familiar with the original children’s rhyme, I don’t believe that most readers will know that they should be reading Estrada’s title ironically.  This is particularly true when we consider Estrada’s intended audience. 

This column was written for the Dallas Morning News, not for the classroom setting.  How many people really critically read their morning newspapers?  How many people study such articles carefully, rather than skimming, and read them several times?

   Next, Estrada’s lack of concrete evidence is problematic. Other than references to particular teams, his evidence is entirely anecdotal and often hearsay. 

For example, overhearing a father’s complaint on the radio about a largely unrelated incident—a school dress-up day—does little to prove the real harms of ethnic sports names and mascots.  This story only shows that one person was offended by an irresponsible decision made by a few insensitive teachers.  What Estrada needs to prove is real harm done: 

Perhaps interviewing or surveying a group of Native Americans to hear their thoughts on this subject.  Perhaps citing a psychological or sociological study that proves the lasting impacts of mascots in social development. 

How does seeing these mascots affect the way people of other races view Native Americans?  How does seeing these mascots affect the way Native Americans view themselves?  Do most Native Americans feel offended by mascots such as the Braves and the Redskins?  These are all questions Estrada needs to answer with more concrete evidence.

   Finally, Estrada’s credibility and investment in this issue are unclear throughout his article.  Is Estrada Native American?  He certainly doesn’t have to be to care about this issue, but either way, he should make it clearer why he cares. 

If Estrada is Native American, does he presume to speak on behalf of all Native Americans?  If Estrada is not Native American, how does he know any Native Americans are actually offended?  (Other than the father who called the radio station, of course.)  What Estrada thinks about this issue is clear.  But what does he really know about it?

   Before I read this article, I already believed that ethnic-based mascots could be degrading.  But Estrada does nothing to actually prove this degradation.  His article includes exaggerated and contradictory language, but no concrete facts, and no clear evidence of the author’s credibility.  In the end, sticks and stones may break my bones, but Estrada’s words cannot convince me.

Again, what did you notice?  What does the strong response include?  How is it formatted?

The first paragraph of this section defines the terms of the response and the student’s claims.  In the example above, for instance, the student is focusing on exaggerated language, lack of evidence, and the author’s lack of credibility.  You will want the terms of your response to be clear in the first paragraph as well, so that your reader will know where you’re going.

The last paragraph of this section provides a sense of conclusion and restates the student’s claims/terms of response.  You will also want your closing paragraph to wrap things up, and reemphasize your points.

Between the first paragraph and the last paragraph, however, what’s happening?  The student is devoting at least one paragraph to each of his claims.  For instance, paragraphs 2 and 3 offer examples and explanation to support the student’s claim that Estrada uses exaggerated, contradictory language.

  Paragraph 4 offers examples and explanation to support the student’s claim that the article lacks evidence.  Paragraph 5 offers examples and explanation to support the student’s claim that Estrada’s lack credibility.  I recommend you use this 1-2 paragraphs per claim structure, which should help keep you organized and the reader on track.   

Finally, perhaps you also noticed the funny little (280) things dispersed throughout the response.  Those are known as parenthetical citations.  They tell us the page of the article from which the student is paraphrasing ideas that are not his own (and/or places in which he is directly quoting the author, though the direct quotes also need to be in “quotation marks”). 

But how do I get from here to there?

As with the summary, I recommend you consider the materials in your chapter as a guide in crafting your critical response.  In particular, the last five reading strategies in Chapter 12 offer a helpful guide to determining the grounds of your response. 

However, unlike the strong response in Comp I, in which you were allowed to reflect on your own views of the issue at hand, you may not do much of that in the paper.  You want to talk about the successfulness of the writing, not your opinions or believes.

While you may not just focus on your personal beliefs, you do have the following options in terms of the grounds of your response:

*EVALUATING THE LOGIC OF THE ARGUMENT  

       – This includes questions of “appropriateness,” “believability,” and “consistency/completeness,” as discussed on pages 594-596.

*RECOGNIZING EMOTIONAL MANIPULATION

     – This includes questions relating to emotionally manipulative techniques such as overly emotional or tear-jerking language, exaggerated   statistics, scary stories, doomsday-type imaginative scenarios, and other over-the-top emotionally-laden moves that the writer may be using to manipulative the reader.  (See pages 596-597.)

*JUDGING THE WRITER’S CREDIBILITY 

    – This includes questions related to the writer’s “knowledge,” “fairness,” and use of “common ground,” as discussed on pages 597-598.

To determine your grounds, you may want to ask yourself the following questions:

1.)  Do you want your response to focus on evaluating the logic of the argument?  In other words, do you want to critically analyze whether the reasoning and support offered in the article is believable and sufficient?

2.)  Do you want your response to focus on the issue of emotional manipulation?  In other words, do you want to discuss areas in the article where the author seems to be exaggerating or using other tools inappropriately to gain your sympathy or compliance to his/her point of view?

3.)  Do you want your response to focus on the credibility of the author?  In other words, do you want to consider whether the author seems appropriately knowledgeable and fairly considers other arguments or points of view?

You may be able to focus your entire response on just one of the above issues.  Or you may decide to discuss two or three issues that seem related.

  (For instance, in the sample strong response, the student chose to discuss emotional manipulation—number 2 on this list, lack of evidence—number 1 on this list, and the author’s lack of credibility—number 3 on this list.)

Please keep in mind that while the strong response must be “critical” in some way, this does not mean that it has to be negative.  Despite the example above, a critical response may discuss the ways in which the article is successful and convincing.

NOTE FOR THOSE WITH OLDER EDITIONS:  If you have the 8th edition, please use “Working at McDonald’s” on pages 283-286 in the 8th edition.  If you have the 7th edition, please use “Nickel and Dimed” on pages 270-273. 

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Ninth Edition

The St. Martin’s Guide to Writing

Rise B. Axelrod University of California, Riverside

Charles R. Cooper University of California, San Diego

Bedford / St. Martin’s

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Library of Congress Control Number: 2009932161 (with Handbook) 2009932166 (without Handbook)

Copyright © 2010, 2008, 2004, 2001 by Bedford/St. Martin’s All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except as may be expressly permitted by the applicable copyright statutes or in writing by the Publisher.

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ISBN-10: 0-312-53612-7 ISBN-13: 978-0-312-53612-1 (with Handbook) ISBN-10: 0-312-53613-5 ISBN-13: 978-0-312-53613-8 (without Handbook)

Acknowledgments

Acknowledgments and copyrights appear at the back of the book on pages A1-A3, which consti- tute an extension of the copyright page.

Advisory Board

We owe an enormous debt to all the rhetoricians and composition specialists whose theory, research, and pedagogy have informed The St. Martin’s Guide to Writing. We would be adding many pages if we were to name everyone to whom we are indebted.

The members of the Advisory Board for the ninth edition, a group of dedicated composition instructors from across the country, have provided us with extensive insights and suggestions for the chapters in Part One and have given us the benefit of their advice on new features. The St. Martin’s Guide to Writing has been greatly enhanced by their contributions.

Samantha Andrus-Henry Grand Rapids Community College

Melissa Batai Triton College

Mary Bishop Holmes Junior College–Ridgeland

Jo Ann Buck Guilford Technical Community College

Kevin Cantwell Macon State College

Anne Dvorak Longview Community College

Leona Fisher Chaffey College

Diana Grahn Longview Community College

Dawn Hubbell-Staeble Bowling Green State University

Amy Morris-Jones Baker College of Muskegon

Gray Scott University of California, Riverside

Susan Sebok South Suburban College

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Preface for Instructors

When we first wrote The St. Martin’s Guide to Writing, we aimed to demystify writing and authorize students as writers. We wanted to help students learn to commit them- selves to writing projects, communicate effectively with chosen readers, and question their own certainties.

We also wanted them to understand that knowledge of writing comes both from analyzing writing and from working hard on their own writing. To achieve this aim, we took what we had learned from classical rhetoric and from con- temporary composition theory and did our best to make it accessible to students.

The response from instructors and students was overwhelmingly positive: The first edition of The Guide, published in 1985, immediately became the most widely adopted text of its kind in the nation.

As with every new edition, we began work on this ninth edition with the goal of adapting the best of current composition research and practice to the needs of instructors and students.

We listened closely to our Advisory Board and dozens of talented reviewers (students as well as instructors), and we were confirmed in our belief that the essential purpose and approach of The Guide is more relevant than ever:

Students need clear guidance and practical strategies to harness their potential as writers — an achievement that will be key to their success in their other college courses, in their jobs, and in the wider world.

At the same time, we realized that we needed to reach out to these students, and help them connect with writing, in new ways.

Every aspect of the academic landscape has changed since we wrote the first edition. The texts we read and write, the tools we use to find them, the options we have for communicating, the habits of mind we rely on, even the students them- selves —

all are more varied and complex than in the past, sometimes overwhelm- ingly so. At the same time, students and instructors alike are increasingly burdened with demands on their time, attention, and energy that emanate from outside the classroom.

For all of these reasons, this edition represents a bold reimagining of our origi- nal vision. The chapters containing the Guides to Writing have been reengineered to reflect and build on the actual writing processes of students, and the Guides them- selves are streamlined and more visual.

Throughout the book, we attempt to help students focus on what is important, yet offer multiple options for critical reading and writing. The result of this reimagining is what you hold in your hands: a text that we believe to be more flexible, more engaging, and more pedagogically effective than any previous edition.

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vi PREFACE FOR INSTRUCTORS

An Overview of the Book The Guide offers everything you need for the writing course.

Part One: Writing Activities

Part One presents nine different genres of writing, all reflecting actual writing assign- ments that students may encounter both in and out of college. While the chapters can be taught in any order, we have organized Part One to move from writing based on personal experience and reflection, through writing based on research and obser- vation, to writing about controversial issues and problems.

Each chapter follows the same organizational plan:

Three brief illustrated scenarios providing examples of how the genre is used in college courses, in the community, and in the workplace

A brief introduction to the genre A collaborative activity helping students start working in the genre An orientation to the genre’s basic features and to questions of purpose and audience specific to the genre

A set of readings illustrating the genre accompanied by questions and prompts designed to help students explore connections to their culture and experience and to analyze the basic features and writing strategies

A “Beyond the Traditional Essay” section discussing examples of the genre drawn from unexpected contexts — advertising, blogs, museums, even public parks

A Guide to Writing, tailored to the genre, that helps students refine their own writing processes, with activities for invention and research, easy-reference guides for drafting and revision, a Critical Reading Guide for peer review, strat- egies for integrating sources, and more

Editing and proofreading guidelines, based on our nationwide study of errors in first-year college students’ writing, to help students check for one or two sentence-level problems likely to occur in a given genre

A section exploring how writers think about document design, expanding on one of the scenarios presented at the beginning of the chapter

A look at one student writer at work, focusing on one or more aspects of the writing process of a student whose essay is featured in the chapter

Critical thinking activities designed to help students reflect on what they learned and consider the social dimensions of the genre taught in the chapter

Part Two: Critical Thinking Strategies

Part Two consists of two chapters that present practical heuristics for invention and reading. Chapter 11, “A Catalog of Invention Strategies,” covers clustering, looping, dramatizing, and questioning, among other strategies, while Chapter 12, “A Catalog of Reading Strategies,” includes annotating, summarizing, exploring the significance of figurative language, and evaluating the logic of an argument.

PREFACE FOR INSTRUCTORS vii

Part Three: Writing Strategies

Part Three looks at a wide range of writers’ strategies: paragraphing and coherence; logic and reasoning; and the familiar methods of presenting information, such as narrating, defining, and classifying.

In the ninth edition of The Guide, a new Chapter 20 provides students with criteria for analyzing visuals and illustrates them with several lengthy sample analyses and one full-length, documented student paper.

Part Three concludes with a heavily illustrated chapter on document design, which provides principles to guide students in construct- ing a wide range of documents, along with examples of some of the most common kinds of documents they’ll create in school, at work, and in their everyday lives.

Examples and exercises in Part Three have been drawn from a wide range of contemporary publications as well as reading selections appearing in Part One. The extensive cross-referencing between Parts One and Three allows instructors to teach writing strategies as students work on full essays.

Part Four: Research Strategies

Part Four discusses field as well as library and Internet research and includes thorough, up-to-date guidelines for using and documenting sources, with detailed examples of the 2009 Modern Language Association (MLA) and 2010 American Psychological Association (APA) documentation styles.

An annotated sample student research paper models ways students can integrate citations into their own work in accordance with the rules for MLA documentation. The final chapter in Part Four, new to the ninth edition of The Guide, offers detailed guidelines for creating anno- tated bibliographies and literature reviews.

Part Five: Writing for Assessment

Part Five covers essay examinations, showing students how to analyze different kinds of exam questions and offering strategies for writing answers. It also addresses portfolios, helping students select, assemble, and present a representative sample of their writing.

Part Six: Writing and Speaking to Wider Audiences

Part Six includes chapters on oral presentations, collaborative learning, and service learning, offering advice to help students work together on writing projects and to write in and for their communities.

The Handbook

The Handbook offers a complete reference guide to grammar, word choice, punctua- tion, mechanics, common ESL problems, sentence structure, and usage. We have designed the Handbook so that students will find the answers they need quickly, and we have provided student examples from our nationwide study so that students will see errors similar to the ones in their own essays. In addition to the section on ESL problems, boxes throughout the rest of the Handbook offer specific support for ESL students.

viii PREFACE FOR INSTRUCTORS

Proven Features

While this edition of The Guide represents a bold reimagining of the way students work, it has retained the three central features that have made it a best-seller since its first edition: the detailed, practical guides to writing in different genres; the sys- tematic integration of reading and writing; and continuing attention to changes in composition pedagogy.

Practical Guides to Writing

Each chapter in Part One offers practical, flexible guides that help students with different aspects of writing, such as invention or revision, as they write. Common- sensical and easy to follow, these writing guides teach students to assess a rhetorical situation, identify the kinds of information they will need, ask probing questions and find answers, and organize writing to achieve a particular purpose for chosen readers.

In the ninth edition, we’ve done even more to make these guides effective and easy to use, by streamlining them, by adding easy reference charts and tables, and by offering students multiple entry points into the composing process.

Systematic Integration of Reading and Writing

Each chapter in Part One introduces a single genre of writing, which students are led to consider both as readers and as writers. Chapters begin with an essay written in the genre by a student writer using The Guide; these essays are annotated with questions designed to encourage students to discover the ways in which the essay exemplifies that genre’s basic features.

Each of three professional readings in the chapter is accompanied by carefully focused apparatus to guide purposeful, productive rereading. First is a response activity, Making Connections, which relates a central theme of the reading to stu- dents’ own lives and cultural knowledge. The section following, Analyzing Writing Strategies, asks students to examine how the writer makes use of the basic features and strategies typical of the genre.

Essays that include visuals are followed by an Analyzing Visuals section, which asks students to write about the way(s) in which photos, graphs, and other visual elements enhance the text. Finally, in Considering Topics for Your Own Essay, students approach the most important decision they have to make with a genre-centered assignment: choosing a workable topic that inspires their commitment to weeks of thinking and writing.

Continuing Attention to Changes in Composition

With each new edition, we have responded to new thinking and new issues in the field of composition and turned current theory and research into practical class- room activities — with a minimum of jargon. As a result, in every new edition The Guide incorporated new material that contributed to its continued effectiveness, including more on appropriate methods of argument, research, and working with

PREFACE FOR INSTRUCTORS ix

sources; attention to new technologies for writing and researching; activities that promote group discussion and inquiry and encourage students to reflect on what they have learned; and material on document design, oral presentations, and writ- ing in the community.

Changes in the Ninth Edition

In this edition, we have taken instructors’ advice and revised the text to make it an even more effective teaching tool.

Streamlined and redesigned Part One chapters provide more visual cues for students who learn visually, more “easy-reference” features for students who need help navigating a lengthy text, and more “ways in” to each assignment for students whose writing processes don’t conform to an imaginary norm.

The Basic Features of each chapter’s genre of writing are now introduced at the start of the chapter, to lay the groundwork for students’ understand- ing of the genre and to prepare them for their work with that chapter’s readings.

A new color-coding system calls out the Basic Features in the annotated stu- dent essay, the post-reading apparatus, and throughout the Guide to Writing, helping students see the connections among the chapter’s various parts and more easily grasp what makes a successful example of a given genre.

New “Beyond the Traditional Essay” sections illustrate and discuss ex- amples of that chapter’s genre of writing drawn from advertising, blogs, museums — even public parks.

New easy-reference charts in each Guide to Writing — “Starting Points” and “Troubleshooting Your Draft” — help students self-assess and efficiently find the advice and models they need for overcoming individual writing challenges.

Newly designed Invention activities highlight different paths through the processes of generating and shaping material.

Chapter 5, newly revised as “Finding Common Ground,” now teaches students how to analyze opposing positions and find “common ground” between them — a key step in analyzing and synthesizing sources and in con- structing academic as well as civic arguments.

New material brings the book up-to-date and teaches students what they’ll need to succeed at academic writing.

To help students understand and evaluate the visual data that increas- ingly dominate our culture, we have added a new Chapter 20, “Analyzing Visuals,” which provides clear guidance on how to critically read and write about photos, ads, works of art, and other image-based texts.

The chapter also offers a multi-stage model of a student’s analysis of a photo by Gordon Parks, as well as exercises in visual analysis that students can do in class or on their own.

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To help them cope with information overload while doing research, we have added a new Chapter 25, “Annotated Bibliographies and Literature Reviews,” which offers detailed guidance on these important elements of the research process.

To help them make useful connections between their previous writing ex- periences and the writing they will do in college, Chapter 1 now focuses on the literacy narrative, encouraging students to reflect on their own literacy experiences in preparation for the reading and writing challenges they’ll en- counter in the course.

Fifteen new readings, with at least one new reading in every Writing Assignment chapter, introduce compelling topics, multicultural perspectives, and fresh voices, including Trey Ellis on a family member’s battle with AIDS, Saira Shah on finding her roots in Afghanistan, and Amy Goldwasser on what kids learn online — and why it matters.

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Student Resources

The St. Martin’s Guide Student Center (bedfordstmartins.com/theguide). Send students to free and open resources, allow them to choose an affordable e-book op- tion, or upgrade to an expanding collection of innovative digital content — all in one place.

Free and open resources for The St. Martin’s Guide provide students with easy-to-access book-specific materials, exercises, and downloadable con- tent, including electronic versions of the Critical Reading Guides, Starting Points and Troubleshooting Your Draft charts; tutorials for the sentence strategies in the Part One chapters; and additional essays on topics of con- temporary debate for use with Chapter 5, “Finding Common Ground.”

Additional free resources include Research and Documentation Online by Diana Hacker, with clear advice on how to integrate outside material into a

PREFACE FOR INSTRUCTORS xi

paper, how to cite sources correctly, and how to format the paper in MLA, APA, Chicago, or CSE style; and Exercise Central, a database of over 9,000 editing exercises designed to help identify students’ strengths and weak- nesses, recommend personalized study plans, and provide tutorials for com- mon writing problems.

The St. Martin’s Guide e-Book and enhanced Web site let students do more and pay less. This flexible e-book allows users to highlight important sections, insert their own sticky notes, and customize content; the enhanced Web site includes Marriage 101 and Other Student Essays, a collection of 32 essays inspired by The Guide, and a peer-review lesson module and online role- playing game.

The St. Martin’s Guide e-Book and access to the enhanced Web site can be packaged free with the print book or purchased separately at the Student Center for less than the price of the print book. An activation code is required.

Re:Writing Plus, now with VideoCentral, gathers all of Bedford/St. Martin’s premium digital content for composition into one online collection. It includes hundreds of model documents and VideoCentral, with over 50 brief videos for the writing classroom. Re:Writing Plus can be purchased separately at the Student Center or packaged with the print book at a significant discount. An activation code is required.

Sticks and Stones and Other Student Essays, Seventh Edition. Available for packaging free with new copies of The Guide, Sticks and Stones is a collection of es- says written by students across the nation using earlier editions of The Guide. Each essay is accompanied by a headnote that spotlights some of the ways the writer uses the genre successfully, invites students to notice other achievements, and supplies context where necessary.

Who Are We? Readings in Identity and Community and Work and Career. Available for packaging free with new copies of The Guide, Who Are We? contains selections that expand on themes foregrounded in The Guide. Full of ideas for class- room discussion and writing, the readings offer students additional perspectives and thought-provoking analysis.

i·series on CD-ROM. Free when packaged with new copies of The St. Martin’s Guide, the i·series includes multimedia tutorials in a flexible CD-ROM format — because there are things you can’t do in a book:

ix visual exercises help students visualize and put into practice key rhetorical and visual concepts.

i·claim visualizing argument offers a new way to see argument — with 6 tutorials, an illustrated glossary, and over 70 multimedia arguments.

i·cite visualizing sources brings research to life through an animated introduc- tion, four tutorials, and hands-on source practice.

xii PREFACE FOR INSTRUCTORS

Course Management

CompClass for The St. Martin’s Guide (yourcompclass.com). An easy-to-use online course space designed for composition students and instructors, CompClass for The St. Martin’s Guide comes preloaded with the St. Martin’s Guide e-Book as well as other Bedford/St.

Martin’s premium digital content, including VideoCentral. Powerful assignment and assessment tools make it easier to keep track of your stu- dents’ progress. CompClass for The St. Martin’s Guide can be purchased separately at yourcompclass.com or packaged with the print book at a significant discount. An activation code is required.

Content cartridges for WebCT, Angel, and other course management systems. Our content cartridges for course management systems — Blackboard, WebCT, Angel, and Desire2Learn — make it simple for instructors using this online learn- ing architecture to build a course around The Guide. The content is drawn from the Web site and includes activities, models, reference materials, and the Exercise Central gradebook.

Ordering Information (Package ISBNs)

To order any of the following items with the print text you order for your students, please use the ISBNs provided below. For different packages or a more complete listing of supplements, contact your Bedford/St. Martin’s sales representative, e-mail sales support at sales_support@bfwpub.com, or visit the Web site at bedfordstmartins .com/theguide/catalog.

9th Edition (hardcover) Short 9th Edition

The St. Martin’s Guide e-Book and

enhanced Web site

ISBN-10: 0-312-58408-3

ISBN-13: 978-0-312-58408-5

ISBN-10: 0-312-58409-1

ISBN-13: 978-0-312-58409-2

Re:Writing Plus ISBN-10: 0-312-63790-X

ISBN-13: 978-0-312-63790-3

ISBN-10: 0-312-62901-X

ISBN-13: 978-0-312-62901-4

Sticks and Stones and Other

Student Essays, Seventh Edition

ISBN-10: 0-312-62539-1

ISBN-13: 978-0-312-62539-9

ISBN-10: 0-312-63793-4

ISBN-13: 978-0-312-63793-4

Who Are We? Readings in Identity

and Community and Work

and Career

ISBN-10: 0-312-62532-4

ISBN-13: 978-0-312-62532-0

ISBN-10: 0-312-63791-8

ISBN-13: 978-0-312-63791-0

CompClass for

The St. Martin’s Guide

ISBN-10: 0-312-62533-2

ISBN-13: 978-0-312-62533-7

ISBN-10: 0-312-63792-6

ISBN-13: 978-0-312-63792-7

PREFACE FOR INSTRUCTORS xiii

Instructor Resources

You have a lot to do in your course. Bedford/St. Martin’s wants to make it easy for you to find the support you need — and to get it quickly.

Instructor’s Resource Manual (ISBN-10: 0-312-58260-9/ISBN-13: 978-0-312- 58260-9 (print); also available for download at bedfordstmartins.com/theguide).

The Instructor’s Resource Manual includes helpful advice for new instructors, guide- lines on common teaching practices such as assigning journals and setting up group activities, guidelines on responding to and evaluating student writing, course plans, detailed chapter plans, an annotated bibliography in composition and rhetoric, and a selection of background readings.

Additional Resources for Teaching with The St. Martin’s Guide to Writing, available for download at bedfordstmartins.com/theguide, supports classroom in- struction with PowerPoint presentations offering lists of important features for each genre, critical reading guides, collaborative activities, and checklists, all adapted from the text. It also provides more than fifty exercises designed to accompany the Handbook section of the hardcover edition of The Guide.

The Elements of Teaching Writing (A Resource for Instructors in All Disciplines) (ISBN-10: 0-312-40683-5/ISBN-13: 978-0-312-40683-7). Written by Katherine Gottschalk and Keith Hjortshoj, The Elements of Teaching Writing provides time- saving strategies and practical guidance in a brief reference form.

Drawing on their extensive experience training instructors in all disciplines to incorporate writing into their courses, Gottschalk and Hjortshoj offer reliable advice, accom- modating a wide range of teaching styles and class sizes, about how to design effective writing assignments and how to respond to and evaluate student writing in any course.

Teaching Central (bedfordstmartins.com/teachingcentral). Designed for the con- venience of instructors, this rich Web site lists and describes Bedford/St. Martin’s acclaimed print series of free professional sourcebooks, background readings, and bibliographies for teachers. In addition, Teaching Central offers a host of free online resources, including

Bits, a blog that collects creative ideas for teaching composition from a com- munity of teachers, scholars, authors, and editors. Instructors are free to take, use, adapt, and pass the ideas around, in addition to sharing new suggestions.

Just-in-Time Teaching and Adjunct Central — downloadable syllabi, hand- outs, exercises, activities, assignments, teaching tips, and more, organized by resource type and by topic

Take 20 — a 60-minute film for teachers, by teachers, in which 22 writing teachers answer 20 questions on current practices and emerging ideas in composition