New User Special Price Expires in

Let's log you in.

Sign in with Facebook


Don't have a StudySoup account? Create one here!


Create a StudySoup account

Be part of our community, it's free to join!

Sign up with Facebook


Create your account
By creating an account you agree to StudySoup's terms and conditions and privacy policy

Already have a StudySoup account? Login here

St. Martin's Guide to Writing PDF file

by: Avid Notetaker

St. Martin's Guide to Writing PDF file English 001B

Marketplace > University of California Riverside > Foreign Language > English 001B > St Martin s Guide to Writing PDF file
Avid Notetaker
GPA 4.0

Preview These Notes for FREE

Get a free preview of these Notes, just enter your email below.

Unlock Preview
Unlock Preview

Preview these materials now for free

Why put in your email? Get access to more of this material and other relevant free materials for your school

View Preview

About this Document

This is the entire book for St. Martin's Guide to Writing 10th Edition.
Intermediate Composition
Harder, B
St. Martin's Guide, english, textbook
75 ?




Popular in Intermediate Composition

Popular in Foreign Language

This 884 page Bundle was uploaded by Avid Notetaker on Friday April 1, 2016. The Bundle belongs to English 001B at University of California Riverside taught by Harder, B in Spring 2016. Since its upload, it has received 105 views. For similar materials see Intermediate Composition in Foreign Language at University of California Riverside.


Reviews for St. Martin's Guide to Writing PDF file


Report this Material


What is Karma?


Karma is the currency of StudySoup.

You can buy or earn more Karma at anytime and redeem it for class notes, study guides, flashcards, and more!

Date Created: 04/01/16
e-Pages SHORT TENTH EDITION THE ST . MARTIN’S GUIDE TOWRITING Rise B. Axelrod Charles R. Cooper Brief Contents 1 Introduction: Thinking about Writing 1 21 Designing Documents 640 22 Writing in Business and Scientific PART 1 Writing Activities Genres 652 2 Remembering an Event 8 PART 4 Research Strategies 3 Writing Profile58 4 Explaining a Concep116 23 Planning a Research Proje666 24 Finding Sources and Conducting Field 5 Finding Common Ground 172 6 Arguing a Positio242 Research 674 25 Evaluating Sources690 7 Proposing a Solutio296 26 Using Sources to Support Your Ide697 8 Justifying an Evaluati350 27 Citing and Documenting Sources in MLA 9 Speculating about Cause402 Style 709 10 Analyzing Storie457 28 Citing and Documenting Sources in APA Style 739 PART 2 Critical Thinking Strategies 11 A Catalog of Invention Strate508s PART 5 Writing for Assessment 12 A Catalog of Reading Strateg521 29 Essay Examinations 752 30 Writing Portfolio766 PART 3 Writing Strategies PART 6 Writing and Speaking to 13 Cueing the Reader546 14 Narrating561 Wider Audiences 15 Describing574 31 Oral Presentation772 16 Defining 586 32 Working with Others 777 17 Classifyin594 33 Writing in Your Community 781 18 Comparing and Contrasting601 19 Arguing 608 20 Analyzing Visuals626 Insidethee-PagesforTheSt.Martin’sGuide Chapter 2: Remembering an Event Farhad Manjoo, Troll,RevealThyself [annotated web page and Shannon Lewis, We Were Here[student reading selection] linked podcast interview] Laurie Fendrich, Sex for Tuition [op-ed] Juliane Koepcke, How I Survived a Plane Crash [newspaper article and linked podcast interview] Playing with Genre:Ad Council / U.S. Department of Transportation, AndrewLam, Waterloo[book excerpt] The “It’s Only Another Beer” Black and Tan [annotated advertisement] Playing with Genre: Kate Beaton, Treasure[annotated cartoon] Chapter 7: Proposing a Solution Chapter 3: Writing Profiles Molly Coleman, Missing the Fun [student reading selection] Brianne O’Leary, Fatty’s Custom Tattooz and Body Piercing [student reading selection] TempoHousing,Keetwonen (Amsterdam Student Housing) Sam Dillon, 4,100 Students Prove “Small Is Better” Rule Wrong [interactive web page] [newspaper article and slideshow] Zach Youngerman, Did Bad Neighborhood Design Doom Trayvon Martin? [op-ed] Veronica Chambers, The Secret Latina [magazine article with illustrations] Playing with Genre: Ad Council, The $9 Lunch [annotated Playing with Genre: Dirty Jobs with Mike Rowe, Skull Cleaner advertisement] [linked video] Chapter 8: Justifying an Evaluation Chapter 4: Explaining a Concept Brittany Lemus, Requiem for a Dream: Fantasy versus Reality [student reading selection] Ammar Rana, Jihad: The Struggle in the Way of God [student Marlon Bishop, Gig Alert: Bright Eyes [interactive web page reading selection] Slate, What Extremely Walkable and Unwalkable Neighborhoods and sound file] LookLike [interactive maps and chart] Jean M. Twenge and W. Keith Campbell, Isn’tNarcissism Beneficial, Especially in a Competitive World? [book excerpt] Melinda Beck,What Cocktail Parties Teach Us[newspaper article] Playing with Genre: Yelp,Kuma’sKorner [annotated web page] Playing with Genre:National Geographic Online, MappingMemory [annotated web pages] Chapter 9: Speculating about Causes Chapter 5: Finding Common Ground Michele Cox, The Truth about Lying[student reading selection] Chris Sexton, VirtualReality? [student reading selection] On the Media, The Reel Sounds of Violence [podcast interview with daniel engber] Playing with Genre: [podcast interview with jonathan haidt] Shirley S. Wang, A Field Guide to the Middle-Class U.S. Family Understanding the Issue of Unpaid Internships [newspaper article] Playing with Genre: Jonathan Jarvis, TheCrisisofCreditVisualized Raphael Pope-Sussman, Let’s Abolish This Modern-Day Coal Mine [animated infographic] [op-ed] David Lat, Why Mess with a Win-Win Situation? [op-ed] Chapter 10: Analyzing Stories Sally Crane,GazingintotheDarkness[student reading selection ] Camille Olson, A Valuable Idea, If We Follow the Law [op-ed] Understanding the Issue of Global Warming David Ratinov, From Innocence to Insight: “Araby” as an Initiation Story [student reading selection] David McCandless, The Global Warming Skeptics vs. the Scientific Playing with Genre: Natalie George, Lacey Patzer, and Sam Consensus [infographic] Williams, “The Story ofAnHour” byKateChopin[student video] Chapter 6: Arguing a Position Adrian Tomine, MandarinAccent [graphic story (excerpt)] Michael Niechayev, It’s Time to Ban Head-First Tackles and BlocksSandra Tsing Loh, My Father’s Chinese Wives [story] [student reading selection] Jamaica Kincaid, Girl [audio recording ] To access the e-Pages that accompany this text, visit Students who do not buy a new book can purchase access to e-Pages at this site. this page left intentionally blank The St Martin’s Guide to Writing this page left intentionally blank Prefaciii SHORT TENTH EDITION The St Martin’s Guide to Writing University of California, Riverside Charles R. Cooper University of California, San Diego Bedford / St. Martin’s #PTUPO▯t▯/FX▯:PSL For Bedford/St. Martin’s Senior Developmental Editor: Jane Carter Production Editor: Peter Jacoby Senior Production Supervisor: Jennifer Peterson Executive Marketing Manager: Molly Parke Editorial Assistant: Amy Saxon Copy Editor: Diana Puglisi George Indexer: Melanie Belkin Photo Researcher: Debbie Needleman Permissions Manager: alinaIngham Art Director: Lucy rikorian Text Design: Jerilyn Bockorick Cover Design: Marine Bouvier Miller Composition: Cenveo Publisher Services Printing and Binding: RR Donnelley and Sons President, Bedford/St. Martin’s: Denise B Wydra Presidents, Macmillan Higher Education: Joan E Feinberg and Tom Scotty Editor in Chief: aren S Henry Director of Development: Erica T Appel Director of Marketing: aren R Soeltz Production Director: Susan W Brown Associate Production Director: Elise Saiser Managing Editor: Shuli Traub Copyright © 2013 2010 2008 2004 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 Manufactured in the United States of America 8 7 6 5 4 3 f e dc ba For information, write: Bedford St Martin’s 75 Arlington Street Boston MA 02116 617-399-4000 ISBN 978-1-4576-3250-1 paperback with Handbook ISBN 978-1-4576-0442-3 hardcover with Handbook ISBN 978-1-4576-4081-0 loose-leaf edition with Handbook ISBN 978-1-4576-0450-8 paperback without Handbook Acknowledgments Acknowledgments and copyrights are continued at the back of the book on pages A-1–A-4 which constitute an extension of the copyright page It is a violation of the law to reproduce these selec- tions by any means whatsoever without the written permission of the copyright holder 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 tenth 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 Writinhas been greatly enhanced by their contributions Lisa Bickmore Lesa Hildebrand Salt Lake Community College Triton College Mary Brantley Stephanie Kay Holmes Community College–Ridgeland University of California–Riverside Jo Ann Buck Donna Nelson-Beene Guilford Technical Community College Bowling Green State University Wallace Cleaves Gail Odette University of California–Riverside Baton Rouge Community College Leona Fisher Gray Scott Chaffey College Texas Woman’s University Gwen Graham David Taylor Holmes Junior College–Grenada St. Louis Community College v this page left intentionally blank Preface When we first wrote The St. Martin’s Guide to Writing our goal was to provide stu- dents with the clear guidance and practical strategies they needed to ha▯rness their potential as writers—an achievement that will be key to their success in college at work and in the wider world We also wanted to provide instructors with the hands- on tools they needed to help their students write with a clear understan▯ding of their rhetorical situation Our goals have remained the same and so The St. Martin’s Guide retains the core features that over the years have drawn so many instruc - tors and programs to the Guide But now it also includes many new features that we believe will keep the Guide the most practical hands-on text for teachers and students Core Features of the Guide The St. Martin’s Guideretains its emphasis on active learning—learning by doing—by providing practical guides to writing promoting genre awareness to aid the transfer of writing skills from one genre or context to another and integrating reading and writing through hands-on activities of critical thinking reading and analysis Practical Guides to Writing Each chapter in Part One offers practical flexible guides that help students draft and revise essays in a variety of analytical and argumentative genres Commonsensical and easy to follow these writing guides teach students to assess the rhetorical situation focusing on their purpose and audience with spe- cial attention to the genre and medium in which they are writing ask probing analytical uestions practice finding answers through various kinds of research including memory search field research and traditional source-based research These flexible guides to writing begin with a Starting Points chart to offer students multiple ways of finding the help they need when they need it Each also includes a Critical Reading Guide to help students assess their own writing and the writing of their classmates and a Troubleshooting Guide to help students find ways to improve their drafts All these guides are organized and color-coded to emphasize the genre’s basic features In short the guides to writing help students make their writing vii viii Preface thoughtful clear organized and compelling—in a word effective for the rhetorical situation THINKING CRITICALLY A CRITICAL READING GUIDE Has the writer presented the subject effectively? Summarize: Tell the writer what you understand the subject of the evaluation to be, and identify the kind of subject it is. "▯8FMM▯1SFTFOUFE▯ Praise: Point to a place where the subject is presented effectively—for example, where Subject recognizable genre or category.urately, where it is named, or where it is clearly placed in a Critique: Tell the writer where readers might need more information about the subject, and whether any information about it seems inaccurate or possibly only partly true. Suggest how the writer could clarify the kind of subject it is, either by naming the category or by giving examples of familiar subjects of the same type. Has the writer supported the judgment effectively? Summarize: Tell the writer what you understand the overall judgment to be, and list the criteria on which it is based. Praise: Identify a passage in the essay where support for the judgment is presented "▯8FMM▯4VQQPSUFE▯ effectively—for example, note particularly strong supporting reasons, appeals to criteria +VEHNFOU readers are likely to share, or especially compelling evidence. Critique: Let the writer know if you cannot find a thesis statement or think the thesis is vague or overstated. Tell the writer where the evaluation could be improved—for example, suggest another reason that could be added; propose a way to justify one of the criteria on which the evaluation is based; or recommend a source or an example that could be used to bolster support for the judgment. (FOSF▯"XBSFOFTT Each chapter in Part One introduces a genre of writing By working through several genres students learn how writers employ the basic features and strategies of a genre to achieve their purpose with their readers The Arguing a Position essay for exam ▯ ple teaches students to examine critically their views on a controversial issue as well as those of their prospective readers with an eye toward developing an argument that not only is well reasoned and well supported but also responds constructively to read▯ ers’ likely uestions and concerns The Finding Common Ground essay teaches stu ▯ dents how to analyze opposing arguments on a controversial issue—unpacking the ways writers use the classical appeals of logos ethos and pathos to promote their underlying values and beliefs Whereas the primary purpose in Arguing a Position is persuasive to convince readers to take seriously the writer’s point of view the primary purpose in a Finding Common Ground essay is analytical to explain the basis for divergent points of view and determine where if anywhere compromise might be forged Studying multiple genres—as well as multiple examples of each genre—helps students understand that genre is not simply a way for rhetoricians to classify texts or Preface ix for teachers to construct assignments More important genre awareness helps them understand how we actually communicate with one another in a variety of contexts and situations Genre awareness makes us better communicators better readers and writers in whatever medium we are using Systematic Integration of Critical Reading and Reflective Writing Students are asked to read and analyze essays in the genre they are learning to write The activities following the professional reading selections prompt students to read actively by asking them to reflect on the essay and connect it to their own experience and to read like a writer paying attention to the strategies the writer uses to convey his or her ideas and connect with readers What’sNew Although the tenth edition of The St. Martin’s Guide to Writing builds on the success of previous editions many of the strategies the Guide employs have changed in order to connect more effectively with a new generation of teachers and students Even in the years since the publication of the ninth edition there have been the increasingly burdensome demands on the time attention and energy of teachers and students and the tremendous growth in access to high-speed Internet So the guiding principle for the tenth edition has been to maximize active learning by enhancing the book’s visual rhetoric, giving students more opportunities for hands-on learning, and pro- viding students and instructors with more readings and more interactive activities than ever before: more showing more doing more options more learning More Readings in the e-Pages The Guide is the first rhetoric to integrate e-Pages that come alive online with video Web sites podcasts and more An electronic extension of the printed page e-Pages make it possible for us to include more reading selections in the Guide than ever before The e-Pages for The St. Martin’s Guide, Tenth Edition include the following: Ten more student essays. Each is accompanied by a headnote identifying the student writer and describing the assignment that the essay was written to fulfill are available free through the e-Pages Additional student essays are also avail- able on the book’s companion site and inSticks and Stones, a collection of student essays from across the country that is available free to adopters Twenty-one more professional readings take advantage of what the Web can do to give instructors more choices than ever before Each reading is accompa- nied by a headnote describing the writer and the venue in which the selection originally appeared and each is followed by an Analyze Write activity that x Preface asks students to think and write about how the selection employs a basic feature of the genre A Consider Possible Topics feature is also included to help students identify topics about which they could write GUIDE TO READING Vedantam The Telescope Effect GUIDE TO WRITING 415 A WRITER AT WORK THINKING CRITICALLY Shankar Vedantam Th e Telescope Effect SHAN AR VEDANTAM is a National Public Radio correspondent and a journalist for thePhiladelphia Inquirer, Slate,and the Washington Post He has been honored with fellowships and awards by Harvard University the World Health Organization the Society of Professional Journalists and the American Public Health Association In addition to his many articles Vedantam writes plays and fiction including his short story collection The Ghosts of Kashmir 2005 “The Telescope Effect” is excerpted from his bookThe Hidden Brain: How Our Unconscious Minds Elect Presidents, Control Markets, Wage Wars, and Save Our Lives2010 The photograph of the rescued dog Hokget which appears in the reading selection on p 416 is from theHonolulu 4UBS▯#VMMFUAs you read consider the following uestions: 2˜ p¦˜=pF’˜▯F=!mš!h˜FmV!VF˜F!=F’Œ˜amšFF’š˜am˜š^F˜pzFmamV˜z!!V!z^’… 2˜ p¦˜haV^š˜am3d£=amV˜!˜z^pšpV!z^˜pO˜š^F˜=pV˜!OOF3š˜F!=F’Œ˜zF’zF3ša¥F… 1 he Insiko 1907 was a tramp tanker that roamed the Taiwanese crew did not insist on it Whatever the T 1BDJGJD▯ 0DFBO▯▯ *UT▯ UXFMWF▯NBO▯ 5BJXBOFTF▯ DSFX▯ SFBTPO ▯UIF▯CVSOFE▯PVU▯UBOLFS▯BOE▯JUT▯MPOFMZ▯JOIBCJUBOU▯ hunted the seas for fishing fleets in need of fuel the were abandoned on the terrible immensity of the Insiko had a cargo of tens of thousands of gallons of Pacific The Norwegian Star NBEF▯B▯TUPQ▯BU▯.BVJ▯▯"▯QBT▯ diesel It was supposed to be an Indonesian ship except senger who heard the barking dog called the Hawaiian that it was not registered in Indonesia because its Humane Society in Honolulu The Humane Society owner who lived in China did not bother with taxes BMFSUFE▯ GJTIJOH▯ CPBUT▯ BCPVU▯ UIF▯ MPTU▯ UBOLFS▯▯ .FEJB▯ SF▯ In terms of international law the Insiko 1907▯XBT▯TUBUF▯ ports began appearing about the terrier whose name MFTT ▯B▯UXP▯IVOESFE▯TJYUZ▯GPPU▯NJDSPTDPQJD▯TQFDL▯PO▯UIF▯ was Hokget largest ocean on earth On March 13 2002 a fire broke 4 Something about a lost puppy on an abandoned out in the Insiko’s engine room The ship was about ship on the Pacific gripped people’s imaginations eight hundred miles south of Hawaii’s Big Island and .POFZ▯QPVSFE▯JOUP▯UIF▯)VNBOF▯4PDJFUZ▯UP▯GVOE▯B▯SFT▯ adrift Its crew could not call on anyone for help and cue One check was for five thousand dollars “It no one who could help knew of the Insiko’s existence XBT▯KVTU▯BCPVU▯B▯EPH w▯<)BXBJJBO▯)VNBOF▯4PDJFUZ▯QSFT▯ 1 let alone its problems JEFOU▯1BNFMB>▯#VSOT▯UPME▯NF▯▯▯▯▯▯▯▯i5IJT▯XBT▯BO▯PQQPS▯ 2 Drawn by wind and currents the Insiko eventually tunity for people to feel good about rescuing a dog got within two hundred twenty miles of Hawaii where People poured out their support A handful of people it was spotted by a cruise ship called the Norwegian StarXFSF▯JODFOTFE▯▯5IFTF▯QFPQMF▯TBJE ▯A:PV▯TIPVME▯CF▯HJW▯ on April 2 The cruise ship diverted course rescued the ing money to the homeless ’” But Burns felt the great Taiwanese crew and radioed the United States Coast thing about America was that people were free to give Guard But as the Norwegian Star pulled away from the money to whatever cause they cared about and people Insiko and steamed toward Hawaii a few passengers on cared about Hokget UIF▯DSVJTF▯TIJQ▯IFBSE▯UIF▯TPVOE▯PG▯CBSLJOH▯▯5IF▯DBQ▯ 5 On April 26 nearly one and a half months after tain’s puppy had been left behind on the tanker the puppy’s ordeal began the American Quest found 3 It is not entirely clear why the cruise ship did not the Insiko BOE▯CPBSEFE▯UIF▯UBOLFS▯▯5IF▯GPSUZ▯QPVOE▯ rescue the Jack Russell mixed terrier or why the female pup was still alive and hiding in a pile of :PV▯BOE▯ZPVS▯TUVEFOUT▯DBO▯BDDFTT▯UIF▯F▯1BHFT▯CZ▯OBWJHBUJOH▯UP▯UIF▯Student Site for The St. Martin’s Guide to Writing ——or by typing the following URL into the address bar of a Web browser: /theguide/epages Students receive automatic access with the purchase of a new book If the activa▯ tion code printed on the inside back cover of the student edition has expired students Preface xi DBO▯QVSDIBTF▯BDDFTT▯BU▯UIF▯TUVEFOU▯TJUF▯▯*OTUSVDUPST▯DBO▯BDDFTT▯UIF▯F▯1BHFT▯CZ▯WJTJUJOH▯ following the instructions there "DUJWF▯-FBSOJOH Leaner chapters make it easier for instructors to get and keep students reading and to focus their attention on what matters most This edition of The St. Martin’s Guide to Writing is tighter and more focused than ever A new design helps guide students through the chapters with headings that show students where they are where they’ve been and where they’re going in the chapter and that help students identify the activities and understand the purpose they serve in active learning GUIDE TO READING %FTNPOE▯)BSSJT 5VQBD▯BOE▯.Z▯/PO▯UIVH▯-JGF GUIDE TO WRITING 25 A WRITER AT WORK THINKING CRITICALLY Make connections: Remembering idols. REFLECT We often fi nd ourselves profoundly affected by what happens to people we’ve never NFU▯▯:PV▯NBZ▯SFNFNCFS▯XIFSF▯ZPV▯XFSF▯BOE▯IPX▯ZPV▯SFBDUFE▯UP▯UIF▯EFBUI▯PG▯.J▯ DIBFM▯+BDLTPO▯PS▯8IJUOFZ▯)PVTUPO ▯GPS▯FYBNQMF▯▯*O▯i5VQBD▯BOE▯.Z▯/PO▯UIVH▯-JGF w▯ %FTNPOE▯)BSSJT▯DBQUVSFT▯UIF▯FNPUJPOBM▯DPOOFDUJPO▯CFUXFFO▯B▯UFFO▯BOE▯IFS▯TMBJO▯ idol showing us not only how Tupac’s death affected her then but what she thinks of her teenage self’s obsession now that she is older Recall a time when the emotional impact of an event that happened to someone else or to other people was powerful enough to affect yourbehavior decisions or actions for the day or longer Consider the reasons for your reactions Your instructor may ask you to post your thoughts to a class discussion board or blog or to discuss them with other students in class Use these uestions to get started: ˜ ▯^¨˜=a=˜¨p£˜a=FmšaO¨˜’p˜3dp’Fd¨˜¦aš^˜š^F˜zF’pm˜|p˜zFpzdF}˜¨p£˜^F!=˜!)p£š…˜ ˜ ▯^!š˜=pF’˜¨p£˜F!3šapm˜’!¨˜!)p£š˜¦^p˜¨p£˜¦FF˜!m=˜¦^!š˜¨p£˜¥!d£F=…˜ ˜ ▯p£d=˜¨p£˜F!3š˜š^F˜’!hF˜¦!¨˜šp=!¨…˜▯^!š˜¦p£d=˜)F˜=aOOFFmš˜!m=˜¦^¨… Use the basic features. "/"-:;& "▯8&--▯50-%▯4503:▯▯64*/(▯%*"-0(6& Dialogue is a narrating strategy that helps writers dramatize a suoting with descriptive speaker tags— He said, “ .” She asked, “ ?” Speaker tag ‰▯JT▯BO▯FTQFDJBMMZ▯FGGFDUJWF▯XBZ▯PG▯NBLJOH▯SFBEFST▯GFFM▯HI▯UIFZ▯XFSF▯UIFSF ▯PWFS▯ hearing what was said and how it was said But all of the dialogue strategies— uoting QBSBQISBTJOH ▯BOE▯TVNNBSJ[JOH▯‰▯DBO▯IFMQ▯SFBEFST▯JEFOUJGZ▯XJUIP▯S▯VOEFSTUBOE▯B▯XSJU▯ FS▯T▯QPJOU▯PG▯WJFX▯BOE▯HJWF▯VT▯BO▯JNQSFTTJPO▯PG▯UIF▯TQFBLFST▯▯%FTNPOE▯)BSSJT▯JODMVEFT▯ POMZ▯B▯GFX▯MJOFT▯PG▯EJBMPHVF▯JO▯i5VQBD▯BOE▯.Z▯/PO▯UIVH▯-JGF VU▯UIPTF▯TIF▯EPFT▯JO▯ clude demonstrate how effective this sentence strategy can be "/"-:;&▯▯▯83*5& 8SJUF▯B▯QBSBHSBQI▯BOBMZ[JOH▯IPX▯%FTNPOE▯)BSSJT▯VTFT▯EJBMPHVF▯ To learn more about quoting 1 Skim the story, highlighting the dialogue and underlining the speaker tags. Also noteFBLFS▯UBHT ▯QBSB▯ XIFSF▯%FTNPOE▯)BSSJT▯TVNNBSJ[FT▯PS▯QBSBQISBTFT▯B▯DPOWFSTBUJPO▯▯ phrasing, and summarizing in autobiographical stories, 2 Consider each bit of dialogue, paraphrase, or summary to see what role it plays. Does 11–12; to learn it tell you something about the speaker or her relationship with another person? Doesout using them in it convey feelings or attitudes? Does it advance the narrative or something else?r own writing, see the Guide to Writing, pp. 35–36 and 38–39. xii Preface A mini table of contents and a Starting Points chart at the opening of each Guide to Writing section in Part One help students fi nd the information they need Starting Points Critical Reading, and Troubleshooting guides use speech bubbles to prompt students to refl ect on interrogate and revise their writing on their own GUIDE TO WRITING The Writing 330 Assignment The Writing Assignment 8SJUJOH▯B▯%SBGU331 8SJUF▯BO▯FTTBZ▯QSPQPTJOH▯B▯TPMVUJPO▯UP▯B▯QSPCMFN▯▯$IPPTF▯B▯QSPCMFN▯GBDFE▯CZ▯B▯DPN▯ Invention, munity or group to which you belong and address your proposal to one or more 3FTFBSDI ▯ members of the group or to outsiders who might help solve the problem Planning, and Composing This Guide to Writing is designed to help you compose your own proposal and apply &WBMVBUJOH▯UIF341 what you have learned from reading other essays in the same genre This Starting %SBGU▯▯(FUUJOH▯B▯ $SJUJDBM▯3FBEJOH Points chart will help you fi nd answers to uestions you might have about composing a proposal Use the chart to fi nd the guidance you need when you need it Improvingthe 343 %SBGU▯▯3FWJTJOH ▯ 'PSNBUUJOH ▯ &EJUJOH ▯BOE▯ Proofreading 45"35*/(▯10*/54▯▯130104*/(▯"▯40-65*0/ How do I come up with r▯"TTFTT▯UIF▯HFOSF▯T▯CBTJD▯GFBUVSFT▯▯"▯GPDVTFE ▯XFMM▯EFGJOFE▯ a problem to write about? problem. (pp. 299–300) r▯$POTJEFS▯QPTTJCMF▯UPQJDT▯▯ QQ▯▯▯▯▯ ▯▯▯▯ ▯▯▯▯ r▯$IPPTF▯B▯QSPCMFN▯GPS▯XIJDI▯ZPV▯DBO▯QSPQPTF▯B▯TPMVUJPO▯▯ (p. 332) r▯5FTU▯:PVS▯$IPJDF▯ QQ▯▯▯▯▯m▯▯ How can I best define the r▯"▯'PDVTFE ▯8FMM▯%FGJOFE▯1SPCMFN▯▯&TUBCMJTIJOH▯UIF▯ problem for my readers? Problem (p. 314) "▯'PDVTFE ▯ 8FMM▯%FGJOFE▯ r▯"▯'PDVTFE ▯8FMM▯%FGJOFE▯1SPCMFN▯▯$JUJOH▯3FTFBSDI▯ 1SPCMFN Studies (p. 320) r▯"▯'PDVTFE ▯8FMM▯%FGJOFE▯1SPCMFN▯▯6TJOH▯4UBUJTUJDT▯ (pp. 326–27) r▯'SBNF▯UIF▯QSPCMFN▯GPS▯ZPVS▯SFBEFST▯▯ QQ▯▯▯▯▯m▯▯ r▯6TF▯TUBUJTUJDT▯UP▯FTUBCMJTI▯UIF▯QSPCMFN▯T▯FYJTUFODF▯BOE▯ seriousness. (pp. 335–36) r▯"TTFTT▯IPX▯UIF▯QSPCMFN▯IBT▯CFFO▯GSBNFE ▯BOE▯SFGSBNF▯JU▯ for your readers. (pp. 336–37) r▯"▯5SPVCMFTIPPUJOH▯(VJEF▯▯"▯'PDVTFE ▯8FMM▯%FGJOFE▯ Problem. (p. 344) How do I come up with a plausible solution? r▯"TTFTT▯UIF▯HFOSF▯T▯CBTJD▯GFBUVSFT▯▯"▯XFMM▯BSHVFE▯TPMVUJPO▯▯ (pp. 301–2) "▯8FMM▯"SHVFE▯ r▯"▯8FMM▯"SHVFE▯4PMVUJPO▯▯1SPWJOH▯*U▯8PSLT▯ QQ▯▯▯▯▯m▯▯ ▯ 4PMVUJPO r▯"▯8FMM▯"SHVFE▯4PMVUJPO▯▯(JWJOH▯(VJEFMJOFT▯GPS▯ Implementation (p. 327) r▯%FWFMPQ▯B▯QPTTJCMF▯TPMVUJPO▯▯ QQ▯▯▯▯▯m▯▯ r▯3FTFBSDI▯ZPVS▯QSPQPTBM▯▯ QQ▯▯▯▯▯m▯▯ 330 $PMPS▯DPEFE▯IJHIMJHIUJOH▯BOE▯BOOPUBUJPOs show students the techni ues writers use to communicate effectively with their readers is worth the expense time and effort to do so Read fi rst to fi nd the proposed solution usually declared in athesis statement early in the essay Typically the thesis describes the proposed solution briefl y and indicates how it would solve the problem as in this example which contrasts the problem’s disadvantages with the solution’s benefi ts: So not only do ▯IJHI▯TUBLFT▯FYBNT▯discourage frequent study and undermine students’ Problem and its performance, they also EP▯MPOH▯UFSN▯EBNBHF▯UP▯TUVEFOUT▯▯DPHOJUJWF▯EFWFMPQNFOU▯ If disadvantages professors gave brief exams at fre uent intervals students would be spurred to learn Thesis proposing more and worry less They would study more regularly perform better on tests and solution and its benefits enhance their cognitive functioning O’Malley par 2 Th h k h h i h i d id d Preface xiii Integrated sentence strategies foreground the sentence patterns writers use to communicate effectively with their readers Examples from the reading selections demonstrate the fl exibility of the pattern Use t e bas c eatu es. "▯'0$64&% ▯8&--▯13&4&/5&%▯*446&▯▯3&'3".*/(▯5)306()▯$0/53"45 Writers sometimes have to remind their readers why an issue is controversial Beginning with the title Solove works to undermine the widely held assumption UIBU▯UIF▯FSPTJPO▯PG▯QSJWBDZ▯TIPVME▯OPU▯CF▯B▯DPODFSO▯▯)F▯EPFT▯UI JT▯QSJNBSJMZ▯CZ▯DPO▯ USBTUJOH▯UXP▯EJGGFSFOU▯XBZT▯PG▯UIJOLJOH▯BCPVU▯UISFBUT▯UP▯QSJWBD Z ▯XIJDI▯IF▯DBMMT▯0S▯ wellian and afkaes ue based on the novels 1984, by George Orwell and The Trial, by Franz afka To present this contrast Solove uses sentence patterns like these: Not , but . focus on , which is characterized by ▯ ▯BOE▯UIFZ▯EPO▯U▯ even notice , which is characterized by . Here are a couple of examples from Solove’s position argument: The problems are not just Orwellian but afkaes ue par 10 Legal and policy solutions focus too much on the problems under the Orwellian metaphor—those of surveillance—and aren’t ade uately addressing the afkaes ue problems—those of information processing par 9 In the Guide to Writing sentence strategies are integrated into the Ways In activities to invite students to use them for their own rhetorical purpose and to make them their own as they revise Frame the problem for your readers. Once you have made a preliminary choice of a problem consider what you know 5P▯MFBSO▯NPSF▯BCPVU▯DPO▯ about it what research will help you explore what others think about it and how you EVDUJOH▯TVSWFZT▯BOE▯JOUFS▯ views, consult Chapter 24, can interest your readers in solving it Then determine how you can frame or reframe QQ▯▯▯▯▯m▯▯▯▯'PS▯BEWJDF▯PO▯ JU▯JO▯B▯XBZ▯UIBU▯BQQFBMT▯UP▯SFBEFST▯▯WBMVFT▯BOE▯DPODFSOT▯▯6TF▯UIF▯RVFTUJPOT▯BOE▯TFO▯MJTUJOH ▯DVCJOH ▯BOE▯GSFF▯ UFODF▯TUSBUFHJFT▯UIBU▯GPMMPX▯BT▯B▯KVNQJOH▯PGG▯QPJOU▯▯ZPV▯DBO▯NBLF▯UIFN▯ZPVS▯PXO▯BT▯ writing, see Chapter 11, you revise later pp. 510, 514–15. 8)"5▯*4▯5)&▯130#-&. 8):▯4)06-%▯3&"%&34▯$"3& 8":4▯*/ 8IBU▯EP▯*▯BMSFBEZ▯LOPX▯BCPVU▯UIF▯QSPCMFN )PX▯DBO▯*▯DPOWJODF▯SFBEFST▯UIF▯QSPCMFN▯JT▯ SFBM▯BOE▯EFTFSWFT▯BUUFOUJPO Brainstorm a list: Spend 10 minutes listing everything you know about the problem Give an example to make the problem Write uickly leaving judgment aside for specific: the moment After the 10 minutes are up ▯ 3FDFOUMZ ▯ has been [in the news/ you can review your list and highlight or in movies/a political issue] because of star the most promising information [name event]. Use cubing: Probe the problem from a Example: variety of perspectives: 2˜▯F’3a)F˜š^F˜zp)dFh Lately the issue of bullying has been in the news sparked by the suicide of 2˜▯phz!F˜š^F˜zp)dFh˜šp˜pš^F:˜’ahad!˜ Tyler Clementi a gay college student problems or contrast it with other XIP▯XBT▯B▯WJDUJN▯PG▯DZCFS▯CVMMZJOH▯▯ related problems Bornstein par 1 ▯ ^ )d ^ )d xiv Preface Greater attention to the writing situation helps students transfer the skills they’re learning to other courses and contexts: Practicing the Genre activities at the beginning of the chapter encourage students to explore the genre collaboratively Playing with Genre boxes at the end of each Guide to Reading section encourage students to consider the effects of genre A new chapter on writing in business and scientific genres encourages students to consider how genre drives design and formatting 1-":*/(▯8*5)▯(&/3& Concept explanations may appear in textbooks or magazines but they alsoInfographics and appear in a variety of other contexts You can fi nd podcasts that explain Other Concept on iTunes University or Web tutorials that explain concepts on sites from to the National Library of Medicine nlm nih gov Infographics likeanations Online the example below from National Geographic Online are used fre uently to explain complex concepts In the next section of this chapter we ask you to explain a concept ConsiderO▯JOUFSBDUJWF▯ version of this feature, how you can best engage your readers’ attention and make the explanatioplus activities, go to to your audience and possibly yourself What explanatory strategies willCFEGPSETUNBSUJOT▯DPN 3!zš£F˜¨p£˜F!=F’Œ˜!ššFmšapm…˜▯^p£d=˜¨p£˜am3d£=F˜¥a’£!d’:˜p˜¦p£d=˜3▯UIFHVJEF▯FQBHFT. your explanation in a different medium in a graphic or an online tutorial help FmV!VF˜¨p£˜F!=F’˜!m=˜Fm!)dF˜š^Fh˜šp˜£m=F’š!m=˜š^F˜3pm3Fzš˜hpF˜F!=ad¨…˜ Consider too whether using visuals or conveying your concept explanation in a different medium would be acceptable to your instructor .PSF▯0QUJPOT With the tenth edition the full version of The St. Martin’s Guide to Writing is now available in a wider variety of formats than ever before including hardcover, Preface xv paperback, loose▯leaf, and F▯CPPL versions For a full list of options visit us online at $PVODJM▯PG▯8SJUJOH▯1SPHSBN▯"ENJOJTUSBUPST▯ 81" ▯0VUDPNFT▯4UBUFNFOU The St. Martin’s Guide to Writing,Tenth Edition helps students build profi ciency in the four categories of learning that writing programs across the country use to assess their students’ work: rhetorical knowledge critical thinking reading and writing writing processes and knowledge of conventions The chart below shows in detail how The St. Martin’s Guide helps students develop these profi ciencies DESIRED STUD&/5▯065$0.ES RELEVANT FEATURES 0' THE ST. MARTIN’S GUIDE Rhetorical Knowledge 'PDVT▯PO▯B▯QVSQPTF &BDI▯XSJUJOH▯BTTJHONFOU▯DIBQUFS▯JO▯1BSU▯0OF▯PGGFST▯FYUFOTJWF▯EJTDVTTJPO▯PG▯UIF▯ purpose(s) for the genre of writing covered in that chapter. 3FTQPOE▯UP▯UIF▯OFFET▯PG▯EJGGFSFOU▯ &BDI▯DIBQUFS▯JO▯1BSU▯0OF▯EJTDVTTFT▯UIF▯OFFE▯UP▯DPOTJEFS▯POF▯T▯BVEJFODF▯GPS▯UIF▯ audiences particular genre covered in that chapter. In Chapters 6–10, which cover argument, there is also extensive discussion of the need to anticipate opposing positions and SFBEFST▯▯PCKFDUJPOT▯UP▯UIF▯XSJUFS▯T▯UIFTJT▯▯ 3FTQPOE▯BQQSPQSJBUFMZ▯UP▯EJGGFSFOU▯ &BDI▯DIBQUFS▯JO▯1BSU▯0OF▯HJWFT▯EFUBJMFE▯BEWJDF▯PO▯SFTQPOEJOH▯UP▯B▯QBSUJDVMBS▯ kinds of rhetorical situations rhetorical situation, from remembering an event (Chapter 2) to analyzing stories (Chapter 10). 6TF▯DPOWFOUJPOT▯PG▯GPSNBU▯BOE▯ &BDI▯DIBQUFS▯JO▯1BSU▯0OF▯QPJOUT▯PVU▯GFBUVSFT▯PG▯FGGFDUJWFMZ▯TUSVDUVSFE▯XSJUJOH ▯BOE▯UIF▯ structure appropriate to the rhetoricalGuides to Writing help students systematically develop their own effective structures. situation Document design is covered in the Guide to Writing in each of these chapters, as well as in a dedicated Chapter 21, “Designing Documents,” and in a new Chapter 22, “Writing in Business and Scientific Genres.” Adopt appropriate voice, tone, and Many of the Sentence Strategies in each chapter in Part One deal with these issues. level of formality Also, see purpose and audience coverage mentioned previously. 6OEFSTUBOE▯IPX▯HFOSFT▯TIBQF▯ &BDI▯DIBQUFS▯JO▯1BSU▯0OF▯PGGFST▯TUVEFOU▯BOE▯QSPGFTTJPOBM▯SFBEJHT▯BDDPNQBOJFE▯ reading and writing CZ▯BOOPUBUJPOT ▯RVFTUJPOT ▯BOE▯DPNNFOUBSZ▯UIBU▯ESBX▯TUVEFOUT▯▯B UUFOUJPO▯UP▯UIF▯ LFZ▯GFBUVSFT▯PG▯UIF▯HFOSF▯BOE▯TUJNVMBUF▯JEFBT▯GPS▯XSJUJOH▯▯&B▯DIBQUFS▯T▯(VJEF▯UP▯ 8SJUJOH▯PGGFST▯EFUBJMFE ▯TUFQ▯CZ▯TUFQ▯BEWJDF▯GPS▯XSJUJOH▯JO▯HFOSF▯BOE▯GPS▯PGGFSJOH▯ constructive peer criticism. In addition, In College Courses, In the Community, and In the Workplace sections, which open each Part One chapter, as well as Playing with (FOSF▯BU▯UIF▯FOE▯PG▯FBDI▯(VJEF▯UP▯3FBEJOH ▯TIPX▯IPX▯UIF▯WBSJPVT ▯HFOSFT▯BSF▯VTFE▯ outside the composition course. (continued) xvi Preface DESIRED STUD&/5▯065$0.ES RELEVANT FEATURES 0' THE ST. MARTIN’S GUIDE Rhetorical Knowledge continued Write in several genres The Guides to Writing in each of the nine chapters in Part One offer specific advice on writing to remember an event; to profile a person, activity, or place; to explain a concept; to analyze opposing positions and find common ground; to argue a position; to propose a solution; to justify an evaluation; to speculate about causes; and to analyze literature. In addition, Chapter 22 covers business and scientific genres, and Chapters 23–26 cover research strategies that many students will use while writing in the genres covered in Part One. Critical Thinking, Reading, and Writing 6TF▯XSJUJOH▯BOE▯SFBEJOH▯GPS▯ &BDI▯8SJUJOH▯"TTJHONFOU▯DIBQUFS▯JO▯1BSU▯0OF▯FNQIBTJ[FT▯UIF▯DPO FDUJPO▯CFUXFFO▯ inquiry, learning, thinking, and SFBEJOH▯BOE▯XSJUJOH▯JO▯B▯QBSUJDVMBS▯HFOSF▯▯&BDI▯DIBQUFS▯CFHJOXTJ▯UI▯B▯HSPVQ▯PG▯SFBEJOHT▯ communicating whose apparatus introduces students to thinking about the features of the genre; then a Guide to Writing leads them through the process of applying these features to an essay of their own. Chapter 11, “A Catalog of Invention Strategies,” and Chapter 12, “A Catalog PG▯3FBEJOH▯4USBUFHJFT u▯QSPNQU▯TUVEFOUT▯UP▯FOHBHF▯BDUJWFMZ▯JO O▯JFOUJPO▯BOE▯SFBEJOH▯▯ Other Part Two chapters include coverage of specific invention, reading, and writing strategies useful in a variety of genres. 6OEFSTUBOE▯B▯XSJUJOH▯BTTJHONFOU▯ The Guides to Writing in each chapter in Part One break writing assignments as a series of tasks, including down into doable focused thinking and writing activities that engage students in finding, evaluating, analyzing, and the recursive process of invention and research to find, analyze, and synthesize synthesizing appropriate primary and JOGPSNBUJPO▯BOE▯JEFBT▯▯3FTFBSDI▯TFDUJPOT▯UFBDI▯TQFDJGJD▯TUSBUFHJFT▯PG▯FWBMVBUJOH▯BOE▯ secondary sources JOUFHSBUJOH▯TPVSDF▯NBUFSJBM▯▯$IBQUFS▯▯▯ ▯i"▯$BUBMPH▯PG▯3FBEJOH▯4USBUFHJFT u▯DPWFST▯ various strategies useful in working with sources, including annotating, summarizing, BOE▯TZOUIFTJ[JOH▯▯$IBQUFS▯▯▯ ▯i6TJOH▯4PVSDFT▯UP▯4VQQPSU▯:PVS▯*EFBT u▯PGGFST▯EFUBJMFE▯ coverage of finding, evaluating, using, and acknowledging primary and secondary TPVSDFT ▯XIJMF▯$IBQUFS▯▯▯ ▯i1MBOOJOH▯B▯3FTFBSDI▯1SPKFDU u▯JOTUSVDUT▯TUVEFOUT▯PO▯ creating an annotated bibliography. Integrate their own ideas with those $IBQUFS▯▯▯ ▯i6TJOH▯4PVSDFT▯UP▯4VQQPSU▯:PVS▯*EFBT u▯PGGFST▯EFUBJMFE▯BEWJDF▯PO▯IPX▯UP▯ of others integrate and introduce quotations, how to cite paraphrases and summaries so as to EJTUJOHVJTI▯UIFN▯GSPN▯UIF▯XSJUFS▯T▯PXO▯JEFBT ▯BOE▯IPX▯UP▯BWPJE▯QMBHJBSJTN▯▯4FOUFODF▯ strategies and research coverage in several Part One chapters offer additional support. 6OEFSTUBOE▯UIF▯SFMBUJPOTIJQT▯BNPOH▯ Make Connections, a recurring section in the apparatus following the professional language, knowledge, and power SFBEJOHT▯JO▯1BSU▯0OF▯DIBQUFST ▯FODPVSBHFT▯TUVEFOUT▯UP▯QVU▯XIBU▯UIFZ▯WF▯SFBE▯JO▯ the context of the world they live in. These preliminary reflections come into play in the Guides to Writing, in which students are asked to draw on their experiences in college, community, and career in order to begin writing. Thinking Critically sections, which conclude Part One chapters, ask students to reconsider what they have learned, often in a social/political context. Preface xvii DESIRED STUD&/5▯065$0.ES RELEVANT FEATURES 0' THE ST. MARTIN’S GUIDE Processes Be aware that it usually takes The need for a critical reading of a draft and for revision is emphasized in Chapter 1 multiple drafts to create and as well as in the Guides to Writing in each chapter of Part One. Case studies of complete a successful text QBSUJDVMBS▯TUVEFOUT▯▯XSJUJOH▯QSPDFTTFT▯BSF▯PGGFSFE▯JO▯8SJUFS▯BU▯8PSL▯TFDUJPOT▯JO▯FBDI▯ Part One chapter. Develop flexible strategies for 5IF▯(VJEFT▯UP▯8SJUJOH▯JO▯FBDI▯1BSU▯0OF▯DIBQUFS▯PGGFS▯HFOSF▯TQFDJGJD▯DPWFSBHF▯PG▯ generating ideas, revising, editing, invention and research, getting a critical reading of a draft, revising, editing, and and proofreading proofreading. Also in each Part One chapter, Ways In invention activities encourage students to start from their strengths, and Starting Points and Troubleshooting charts offer specific, targeted advice for students with different challenges. A dedicated Chapter 11, “A Catalog of Invention Strategies,” offers numerous helpful suggestions for idea generation. 6OEFSTUBOE▯XSJUJOH▯BT▯BO▯PQFO▯ 5IF▯(VJEFT▯UP▯8SJUJOH▯JO▯FBDI▯1BSU▯0OF▯DIBQUFS▯PGGFS▯FYUFOTJWF ▯HFOSF▯TQFDJGJD▯BEWJDF▯ process that permits writers to use on rethinking and revising at multiple stages. Ways In activities, Starting Points later invention and rethinking to charts, and Troubleshooting charts in Part One chapters encourage students to revise their work discover, review, and revise their own process(es) of writing. 6OEFSTUBOE▯UIF▯DPMMBCPSBUJWF▯BOE▯ &BDI▯DIBQUFS▯JO▯1BSU▯0OF▯JODMVEFT▯TFWFSBM▯PQQPSUVOJUJFT▯GPS▯BOE▯HVJEFT▯UP▯ social aspects of writing processes DPMMBCPSBUJPO▯▯1SBDUJDJOH▯BDUJWJUJFT▯BU▯UIF▯CFHJOOJOH▯PG▯UIF▯DIBQUFS ▯.BLF▯$POOFDUJPOT▯ BDUJWJUJFT▯BGUFS▯UIF▯SFBEJOHT ▯BOE ▯JO▯UIF▯(VJEFT▯UP▯8SJUJOH ▯5FTU▯:PVS▯$IPJDF▯BDUJWJUJFT▯ BOE▯UIF▯$SJUJDBM▯3FBEJOH▯(VJEF▯ Learn to critique their own and 5IF▯$SJUJDBM▯3FBEJOH▯(VJEF▯BOE▯3FWJTJOH▯TFDUJPOT▯JO▯UIF▯(VJEFT▯UP▯8SJUJOH▯JO▯FBDI▯ PUIFST▯▯XPSLT Part One chapter offer students specific advice on constructively criticizing—and praising — their own work and the work of their classmates. Peer review is also c


Buy Material

Are you sure you want to buy this material for

75 Karma

Buy Material

BOOM! Enjoy Your Free Notes!

We've added these Notes to your profile, click here to view them now.


You're already Subscribed!

Looks like you've already subscribed to StudySoup, you won't need to purchase another subscription to get this material. To access this material simply click 'View Full Document'

Why people love StudySoup

Jim McGreen Ohio University

"Knowing I can count on the Elite Notetaker in my class allows me to focus on what the professor is saying instead of just scribbling notes the whole time and falling behind."

Kyle Maynard Purdue

"When you're taking detailed notes and trying to help everyone else out in the class, it really helps you learn and understand the I made $280 on my first study guide!"

Jim McGreen Ohio University

"Knowing I can count on the Elite Notetaker in my class allows me to focus on what the professor is saying instead of just scribbling notes the whole time and falling behind."


"Their 'Elite Notetakers' are making over $1,200/month in sales by creating high quality content that helps their classmates in a time of need."

Become an Elite Notetaker and start selling your notes online!

Refund Policy


All subscriptions to StudySoup are paid in full at the time of subscribing. To change your credit card information or to cancel your subscription, go to "Edit Settings". All credit card information will be available there. If you should decide to cancel your subscription, it will continue to be valid until the next payment period, as all payments for the current period were made in advance. For special circumstances, please email


StudySoup has more than 1 million course-specific study resources to help students study smarter. If you’re having trouble finding what you’re looking for, our customer support team can help you find what you need! Feel free to contact them here:

Recurring Subscriptions: If you have canceled your recurring subscription on the day of renewal and have not downloaded any documents, you may request a refund by submitting an email to

Satisfaction Guarantee: If you’re not satisfied with your subscription, you can contact us for further help. Contact must be made within 3 business days of your subscription purchase and your refund request will be subject for review.

Please Note: Refunds can never be provided more than 30 days after the initial purchase date regardless of your activity on the site.