Buku Reading Comprehension Success In20minute

8/10/2019 Buku Reading Comprehension Success In20minute

http://slidepdf.com/reader/full/buku-reading-comprehension-success-in20minute 1/331

READINGCOMPREHENSION

SUCCESSIN 20 MINUTES A DAY





3rd Edition

®

NEW YORK



Copyright © 2005 LearningExpress, LLC.

All rights reserved under International and an!A"eri#an Copyright Conventions.u$lished in the %nited &tates $y LearningExpress, LLC, 'e( )or*.

Li$rary o+ Congress Cataloging!in!u$li#ation ata-eading #o"prehension su##ess in 20 "inutes a day./3rd ed.

p. #".

I&' 1!545!6!6 7paper8

1. eading #o"prehension/ro$le"s, exer#ises, et#. I. 9itle. II. 9itle- eading

#o"prehension su##ess in t(enty "inutes a day.

L1050.5.C5 200524./d#22

2005014

rinted in the %nited &tates o+ A"eri#a

6 4 5 3 2 1

9hird Edition

:or in+or"ation on LearningExpress, other LearningExpress produ#ts, or $ul* sales, please (ritus at-

LearningExpress

55 road(ay

4th :loor

'e( )or*, ') 1000

;r visit us at-(((.learnatest.#o"



Contents

INTRODUCTION<o( to %se 9his oo*

PRETEST

BUILDING A STRONG FOUNDATION

ix

1

LESSON 1

LESSON 2

LESSON 3

LESSON 4

LESSON 5

=etting the Essential In+or"ation

How to be an active reader, picking up clues in what you read:inding the >ain IdeaLooking beyond the facts, considering the author’s motive

e?ning @o#a$ulary in ContextDealing with unfamiliar words without a dictionary

9he ieren#e $et(een :a#t and ;pinionDistinguishing between what an author knows and what an

author

believes to be true

utting It All 9ogetherPractice in combining the skills you’ve learned in Lessons 1–

v

16

2

33

36

5



–CONTENTS–

STRUCTURE

LESSON 6

LESSON 7

LESSON 8

LESSON 9

LESSON 10

&tart +ro" the eginning- Chronologi#al ;rder!orking through passages that start at the beginning and "nish at the

end

of a se#uence of events

;rder o+ I"portan#e$sing the order in the writing to determine what is most important to the

author

&i"ilarities and ieren#es- Co"pare and Contrast$sing comparisons to determine the author’s attitude

Bhy o 9hings <appen A Loo* at Cause and Ee#t%he relationship between action and reaction

eing &tru#turally &ound- utting It All 9ogether

53

1

3

41

&eviews Lessons '–(, including identifying the structure used)

practice with combined structures

LANGUAGE AND STYLE

LESSON 11

LESSON 12

LESSON 13

LESSON 14

LESSON 15

A >atter o+ erspe#tive- oint o+ @ie(Purposes of "rst*, second*, and third*person writing

i#tion- BhatDs in a BordDe"ning tone from the choice of words

&tyle- ItDs 'ot Bhat 9hey &ay $ut <o( 9hey &ay It+entence structure) degree of detail, description, and

formality

<o( 9hey &ay It, art 9(o- 9oneHow tone inuences meaning

Bord o(er- utting It All 9ogether

46

65

101

10

111

&eviews Lessons 11–1

READING BETWEEN THE LINES

LESSON 16

LESSON 17

LESSON 18

:inding the I"plied >ain Idea-aking inferences, determining an unstated purpose

Assu"ing Causes and redi#ting Ee#ts&eading between the lines, implied action and reaction

E"otional @ersus Logi#al Appeals.eing aware of strong and weak arguments



– CONTENTS–

LESSON 19

LESSON 20

POSTTEST

APPENDIX A

APPENDIX B

:inding >eaning in Literature/dentifying themes, working with poetry

ra(ing Con#lusions- utting It All 9ogether&eviews Lessons 1–1(

reparing +or a &tandardied 9est

Additional esour#es

vii

13

13

16

16

15



<o( to %se 9his oo*

his $oo* is designed to help you i"prove your reading #o"prehension s*ills $y studying 20"inutes

a day +or 20 days. )ouDll start (ith the $asi#s and "ove on to "ore #o"plex reading

#o"prehension

and #riti#al thin*ing strategies. lease note that although ea#h #hapter #an $e an ee#tive s

$uilder

on its o(n, it is i"portant that you pro#eed through this $oo* in order, +ro" Lesson 1 through Lesson 2lesson $uilds on s*ills and ideas dis#ussed in the previous #hapters. As you "ove through this $oo* an

read!

ing s*ills develop, the passages you read (ill in#rease $oth in length and in #o"plexity.

9he $oo* $egins (ith a pretest, (hi#h (ill allo( you to see ho( (ell you #an ans(er various *inds

read!

ing #o"prehension Fuestions now, as you $egin. Bhen you ?nish the $oo*, ta*e the posttest to see ho

"u#h

youDve i"proved.

9he text is divided into +our se#tions, ea#h +o#using on a dierent group o+ related reading and th

strate!

gies. 9hese strategies (ill $e outlined at the $eginning o+ ea#h se#tion and then revie(ed in a spe#ial

Gputting it

all togetherH ?nal lesson.

Ea#h lesson provides several exer#ises that allo( you to pra#ti#e the s*ills you learn. 9o ensure yo

the

right tra#*, ea#h lesson also provides ans(ers and explanations +or all o+ the pra#ti#e Fuestions. Additi

you

(ill ?nd pra#ti#al suggestions in ea#h #hapter +or ho( to #ontinue pra#ti#ing these s*ills in yo

daily li+e.

9he "ost i"portant thing you #an do to i"prove your reading s*ills is to $e#o"e an a#tive reader

+ol!

lo(ing guidelines and suggestions outlined (ill +a"iliarie you (ith a#tive reading te#hniFues. %se the



–HOW TO USE THIS BOOK –

Becoming an Active Reader

Criti#al reading and thin*ing s*ills reFuire a#tiveread!

ing. eing an a#tive reader "eans you have toengage

(ith the text, $oth "entally and physi#ally.

1. <ighlight or underline *ey (ords and ideas.2. Cir#le and de?ne any un+a"iliar (ords or

phrases.

3. e#ord your rea#tions and Fuestions in the

"argins.

I

I

I

&*i" ahead and Ju"p $a#*.>ar* up the text.

>a*e spe#i?# o$servations a$out the text.

Highlighting or Underlining Key Ideas

Bhen you highlight or underline *ey (ords and id

you are identi+ying the "ost i"portant parts o+ t

text.

9hereDs an i"portant s*ill at (or* here- )ou #anDt

Skimming Ahead and Jumping Back

&*i""ing ahead ena$les you to see (hatDs #o"ingup

in your reading. age through the text youDre a$out

to

read. 'oti#e ho( the text is $ro*en do(n, (hat

the

"ain topi#s are, and the order in (hi#h they are

#ov!

ered. 'oti#e *ey (ords and ideas that are

$old+a#ed,

$ulleted, $oxed, or other(ise highlighted.

&*i""ing

through the text $e+orehand (ill prepare you +or

(hat

you are a$out to read. ItDs a lot li*e #he#*ing out the

hills

and #urves in the #ourse $e+ore a #ross!#ountry ra#e.

I+

you *no( (hatDs ahead, you *no( ho( to pa#e

your!

sel+, so youDre prepared to handle (hatDs to

#o"e.

Bhen you ?nish your reading, Ju"p $a#*.

evie(

the su""aries, headings, and highlighted

in+or"a!

tion in the text. 'oti#e $oth (hat the author

high!

lighted and (hat you highlighted. y Ju"ping

$a#*,

you help solidi+y in your "ind the ideas and

in+or"a!tion you Just read. )ouDre re"inded o+ ho( ea#h idea

?ts

into the(hole,

ho(

ideas

and

in+or"ati

on are

#on!

ne#ted.

Bhen

you

"a*e

#onne#ti

ons

$et(een

ideas,

youDre

"u#h

"ore

li*ely

to

re"e"$er

the".

MarkingUp theText

>ar*ing

up the

text

#reates

a dire#t

physi#al

lin*

$et(een you and the (ords youDre reading. It +or#eto pay #loser attention to the (ords you read and

you to a higher level o+ #o"prehension. %se these

strategies to "ar* up text-



x

light or underline everything, so you have to

distinguish

$et(een the +a#ts and ideas that are "ost i"por

7"aJor ideas8 and those +a#ts and ideas that are

+ul $ut not so i"portant 7"inor or supporting ide

<ighlight only the "aJor ideas, so you donDt end

(ith a text thatDs #o"pletely highlighted.

An ee#tively highlighted text (ill "a*e +or a

easy and +ruit+ul revie(. Bhen you Ju"p $a#*, yo

Fui#*ly re"inded o+ the ideas that are "ost i"po

to re"e"$er. <ighlighting or underlining "aJor p

as you read also allo(s you to retain "ore in+or"

+ro" the text.

Circling Unfamiliar Words

;ne o+ the "ost i"portant ha$its to develop is th

#ir#ling and loo*ing up un+a"iliar (ords and phra

I+ possi$le, donDt sit do(n to read (ithout a di#tio

$y your side. It is not un#o""on +or the "eaning

entire senten#e to hinge on the "eaning o+ a sin

(ord or phrase, and i+ you donDt *no( (hat that or phrase "eans, you (onDt understand the sent

esides, this ha$it ena$les you to Fui#*ly and ste

expand your vo#a$ulary, so youDll $e a "ore #on

reader and spea*er.

I+ you donDt have a di#tionary readily availa$

to deter"ine the "eaning o+ the (ord as $est yo

+ro" its #ontext/that is, the (ords and ideas aro

it. 79hereDs "ore on this topi# in Lesson 3.8 9hen,

sure you loo* up the (ord as soon as possi$le so

youDresure o+ its "eaning.



–HOW TO USE THIS BOOK –

Making Marginal Notes

e#ording your Fuestions and rea#tions in the

"argins

turns you +ro" a passive re#eiver o+ in+or"ation

intoan a#tive parti#ipant in a dialogue. 7I+ youDre

reading a

li$rary $oo*, (rite your rea#tions in a note$oo*.8

)ou

(ill get "u#h "ore out o+ the ideas and

in+or"ation

you read a$out i+ you #reate a G#onversationH (ith

the

(riter. <ere are so"e exa"ples o+ the *inds o+

rea#!tions you "ight (rite do(n in the "argin or in

your

note$oo*-

Making Observations

=ood readers *no( that (riters use "any di

strategies to express their ideas. Even i+ you *

very

little a$out those strategies, you #an "a*e uso$ser!

vations a$out (hat you read to $etter unders

and

re"e"$er the authorDs ideas. )ou #an noti#e,

exa"!

ple, the authorDs #hoi#e o+ (ordsK the stru#tur

the

senten#es and paragraphsK any repetition o+ (

or

ideasK i"portant details a$out people, pla#es,thingsK and so on.

9his step/"a*ing o$servations/is essen

I

I

I

I

Questions o+ten #o"e up (hen you read.

9hey

"ay $e ans(ered later in the text, $ut $y that

ti"e,

you "ay have +orgotten the Fuestion And i+

your

Fuestion isnDt ans(ered, you "ay (ant to dis#ussit

(ith so"eone- GBhy does the (riter des#ri$e

the

ne( (el+are poli#y as Mun+airDH or GBhy does

the

#hara#ter rea#t in this (ayH

Agreements and disagreements (ith the

author

are $ound to arise i+ youDre a#tively reading.

Britethe" do(n- G9hatDs not ne#essarily trueH or

G9his

poli#y "a*es a lot o+ sense to "e.H

Connections you note #an $e either $et(een

the

text and so"ething that you read earlier

or

$et(een the text and your o(n

experien#e.

:or exa"ple, GI re"e"$er +eeling the sa"e

(ay

(hen I . . .H or G9his is si"ilar to (hat

ha

pp

en

ed

in

C

hina

.H

Ev

al

ua

ti

on

s

ar

e

yo

ur

(a

y

o+

*e

ep

in

g

th

e

au

thor

honest. I+ you thin* the author isnDt providing su+!

?#ient support +or (hat he or she is saying or that

thereDs so"ething (rong (ith that support, say so-

G<e says the dropping o+ the $o"$ (as inevita$le,

$ut he doesnDt explain (hyH or G9his is a very

sel?sh reason.H



$e#ause your o$servations 7(hat you

noti#e8 lead you

to logi#al in+eren#es a$out (hat you

read. /nferences are

#on#lusions $ased on reason, +a#t, or

eviden#e. )ou are

#onstantly "a*ing in+eren#es $ased on

your o$serva!

tions, even (hen youDre not reading. :or

exa"ple, i+

you noti#e that the s*y is +ull o+ dar*,

heavy #louds, you

"ight in+er that it is going to rainK i+ you

noti#e that

your #o(or*er has a sta#* o+ gardening

$oo*s on her

des*, you "ight in+er that she li*es

gardening.

I+ you "isunderstand (hat you

read, it is o+ten

$e#ause you havenDt loo*ed #loselyenough at the text.

As a result, you $ase your in+eren#es on

your o(n ideas

and experien#es, not on (hatDs a#tually

(ritten in the

text. )ou end up +or#ing your o(n ideas

on the author

7rather than listening to (hat the author

has to say8 and

then +or"ing your o(n ideas a$out it.ItDs #riti#al, then,

that you $egin to really pay attention to

(

ha

t

(r

ite

rs

sa

y

an

d

ho

(

th

ey

sa

y

it.

I+

a

n

yo+

th

is

s

o

u

n

d

s

#o

n+

using no(, donDt (orry.

Ea#h o+ these ideas (ill $e thoroughly explain

the

lessons that +ollo(. In the "eanti"e, start

pra#ti#ing

a#tive reading as $est you #an. egin $y ta*in

pretest.



retest

e+ore you start your study o+ reading s*ills, you "ay (ant to get an idea o+ ho( "u#h yoalready

*no( and ho( "u#h you need to learn. I+ thatDs the #ase, ta*e the pretest that +ollo(s. 9h

pretest

#onsists o+ 50 "ultiple!#hoi#e Fuestions #overing all the lessons in this $oo*. 'aturally, 5

tions #anDt #over every single #on#ept or strategy you (ill learn $y (or*ing through this $oo*. &o even

getall the Fuestions on the pretest right, itDs al"ost guaranteed that you (ill ?nd a +e( ideas or reading ta

this

$oo* that you didnDt already *no(. ;n the other hand, i+ you get "any Fuestions (rong on this pretest

despair. 9his $oo* (ill sho( you ho( to read "ore ee#tively, step $y step.

)ou should use this pretest to get a general idea o+ ho( "u#h you already *no(. I+ you get a high

you

"ay $e a$le to spend less ti"e (ith this $oo* than you originally planned. I+ you get a lo( s#ore, you "

?nd

that you (ill need "ore than 20 "inutes a day to get through ea#h #hapter and i"prove your

reading s*ills.

9hereDs an ans(er sheet you #an use +or ?lling in the #orre#t ans(ers on page 3. ;r, i+ you pre+er,

#ir!

#le the ans(er nu"$ers in this $oo*. I+ the $oo* doesnDt $elong to you, (rite the nu"$ers 1N50 on a p

paper

and re#ord your ans(ers there. 9a*e as "u#h ti"e as you need to do this short test. Bhen you ?nish, #

your

ans(ers against the ans(er *ey at the end o+ this lesson. Ea#h ans(er oers the lesson7s8 in this $oo*

tea#hes

you a$out the reading strategy in that Fuestion.



1

B



–LEARNINGEXPRESS ANSWER SHEET–

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.16.

a

a

a

a

a

a

a

a

a

a

a

a

a

a

aa

b

b

b

b

b

b

b

b

b

b

b

b

b

b

bb

c

c

c

c

c

c

c

c

c

c

c

c

c

c

cc

d

d

d

d

d

d

d

d

d

d

d

d

d

d

dd

18.

19.

20.

21.

22.

23.

24.

25.

26.

27.

28.

29.

30.

31.

32.33.

a

a

a

a

a

a

a

a

a

a

a

a

a

a

aa

b

b

b

b

b

b

b

b

b

b

b

b

b

b

bb

c

c

c

c

c

c

c

c

c

c

c

c

c

c

cc

d

d

d

d

d

d

d

d

d

d

d

d

d

d

dd

35.

36.

37.

38.

39.

40.

41.

42.

43.

44.

45.

46.

47.

48.

49.50.

a

a

a

a

a

a

a

a

a

a

a

a

a

a

aa

b

b

b

b

b

b

b

b

b

b

b

b

b

b

bb

c

c

c

c

c

c

c

c

c

c

c

c

c

c

cc

d

d

d

d

d

d

d

d

d

d

d

d

d

d

dd

17. a b c d 34. a b c d

3



–PRETEST–

Pretest

9he pretest #onsists o+ a series o+ reading passages (ith Fuestions that +ollo( to test your#o"prehension.

Cultural Center Adds Classes for Young Adults

9he Allendale Cultural Center has expanded its arts progra" to in#lude #lasses +or young adults. irLeah

>artin announ#ed >onday that $eginning in &epte"$er, three ne( #lasses (ill $e oered to the Alle

#o"!

"unity. 9he #ourse titles (ill $e )oga +or 9eenagersK <ip <op an#e- Learning the Latest >ovesK and

Creative

Oournaling +or 9eens- is#overing the Briter Bithin. 9he latter #ourse (ill not $e held at the

Allendale Cul!

tural Center $ut instead (ill "eet at the Allendale u$li# Li$rary.

&ta "e"$er 9ri#ia Cousins (ill tea#h the yoga and hip hop #lasses. >s. Cousins is an a##o"pl

#ho!

reographer as (ell as an experien#ed dan#e edu#ator. &he has an >A in dan#e edu#ation +ro" 9ea#h

Col!

lege, Colu"$ia %niversity, (here she (rote a thesis on the pedagogi#al ee#tiveness o+ dan#e edu#

9he

Journaling #lass (ill $e taught $y etsy >il+ord. >s. >il+ord is the head li$rarian at the Allendale u$

Li$rary

as (ell as a #olu"nist +or the pro+essional Journal Library 0ocus

9he #ourses are part o+ the Allendale Cultural CenterDs roJe#t 9een, (hi#h (as initiated $y Leah>artin,

ire#tor o+ the Cultural Center. A##ording to >artin, this proJe#t is a dire#t result o+ her eorts

"a*e the

#enter a "ore integral part o+ the Allendale #o""unity. ;ver the last several years, the nu"$er o+ p

(ho

have visited the #ultural #enter +or #lasses or events has steadily de#lined. roJe#t 9een is pri"arily +

$y

a "uni?#ent grant +ro" 9he >#=ee Arts :oundation, an organiation devoted to $ringing arts

progra"s to

young adults. >artin oversees the roJe#t 9een $oard, (hi#h #onsists o+ ?ve $oard "e"$ers. 9(o $o"e"!

$ers are students at AllendaleDs roo*dale <igh &#hoolK the other three are adults (ith $a#*grounds

edu#a!

tion and the arts.

9he #reative Journaling #lass (ill $e #osponsored $y roo*dale <igh &#hool, and students (ho

#o"plete

the #lass (ill $e given the opportunity to pu$lish one o+ their Journal entries in Pulse, roo*daleDs stu

lit!

erary "againe. &tudents (ho #o"plete the hip hop #lass (ill $e eligi$le to parti#ipate in the Allend

evie(,an annual #on#ert sponsored $y the #ultural #enter that +eatures lo#al a#tors, "usi#ians,



dan#ers.

All #lasses are s#heduled to $egin i""ediately +ollo(ing s#hool dis"issal, and transpor

(ill $e

availa$le +ro" roo*dale <igh &#hool to the Allendale Cultural Center and the Allendale u$li# Li$rar

"ore

in+or"ation a$out roJe#t 9een, #onta#t the #ultural #enterDs progra""ing o+?#e at 644!0066 or drop

o+?#e

a+ter Oune 1 to pi#* up a +all #ourse #atalog. 9he o+?#e is lo#ated on the third Poor o+ the Allendale 9o

<all.

1. 9he Creative Oournaling +or 9eens #lass (ill$e

#osponsored $y

a. 9he Allendale u$li# Li$rary.

b. 9he >#=ee Arts :oundation.

c. roo*dale <igh &#hool.

d. etsy >il+ord.

5

2.Bhi#h o+ the +ollo(ing state"ents is #orrea. 9ri#ia Cousins (ill tea#h t(o o+ the ne(

#lasses.

b. 9he ne( #lasses (ill $egin on Oune 1.

c. eople (ho (ant a #o"plete +all #atalog

should stop $y the Allendale u$li# Li$ra

d. 9he #ultural #enterDs annual #on#ert is #

Pulse



–PRETEST–

3.A##ording to Leah >artin, (hat (as thedire#t

#ause o+ roJe#t 9een

a. 9ri#ia Cousins, the talented

#horeographerand dan#e edu#ator, (as availa$le to

tea#h

#ourses in the +all.

b. Co""unity organiations (ere ignoring

lo#al

teenagers.

c. 9he >#=ee Arts :oundation (anted to $e

"ore involved in AllendaleDs arts

progra""ing.

d. &he (anted to "a*e the #ultural #enter a"ore

i"portant part o+ the Allendale

#o""unity.

4.Bhi#h o+ the +ollo(ing +a#tors is i"plied as

another reason +or roJe#t 9een

a. 9he nu"$er o+ people (ho have visited

the

#ultural #enter has de#lined over the last

several years.

b. 9he #ultural #enter (anted a grant +ro"

9he

>#=ee Arts :oundation.

c. 9he young people o+ Allendale have #o"!

plained a$out the #ultural #enterDs

oerings.

d. Leah >artin thin*s #lasses +or teenagers

are

"ore i"portant than #lasses +or

adults.

5.:ro" the #ontext o+ the passage, it #an$e

deter"ined that the (ord G"uni?#entH "ost

nearly "eans

a. #o"pli#ated.

b. generous.

c. #urious.

d. unusual.

6

6. 9he title o+ the #ourse GCreative Oournaling +or 9eens- is#overing the Briter BithinH i"plies th

a. all young people should (rite in a Journal

daily.

b. teenagers do not have enough ho$$ies.c. (riting in a Journal #an help teenagers

$e#o"e $etter and "ore #reative (riters.

d. teenagers are in need o+ guidan#e and

dire#tion.

7.Bhi#h o+ the +ollo(ing #orre#tly states thepri"ary su$Je#t o+ this arti#le

a. Leah >artinDs personal ideas a$out young

adults

b. 9he >#=ee :oundationDs grant to theAllendale Cultural Center

c. three ne( #lasses +or young adults added t

the #ultural #enterDs arts progra"

d. the needs o+ young adults in Allendale

8. 9his arti#le is organied in (hi#h o+ the+ollo(ing (ays

a. in #hronologi#al order, +ro" the past to the

+uture

b. "ost i"portant in+or"ation ?rst, +ollo(ed $a#*ground and details.

c. $a#*ground ?rst, +ollo(ed $y the "ost i"p

tant in+or"ation and details.

d. as sensational ne(s, (ith the "ost #ontrov

sial topi# ?rst



– PRETEST–

(excerpt from te opening of an untitled essa!"

Oohn &tein$e#*Ds 2rapes of !rath, pu$lished in 1636, (as +ollo(ed ten years later $y A.. =uthrieDs !ay !est .

oth $oo*s #hroni#le a "igration, though that o+ =uthrieDs pioneers is #onsidera$ly less $lea* in origBhat

stri*es one at ?rst glan#e, ho(ever, are the #o""onalities. oth &tein$e#*Ds and =uthrieDs #hara#te

pri!

"arily +ar"ers. 9hey loo* to their destinations (ith nearly religious enthusias", i"agining th

Gpro"isedH

land the (ay the i$li#al Israelites envisioned Canaan. oth undergo great hardship to "a*e the tre

the

t(o sagas dier distin#tly in origin. &tein$e#*Ds ;*laho"ans are +or#ed o their land $y the $an*s (

their "ortgages, and they +ollo( a +alse pro"ise/that Jo$s a(ait the" as seasonal la$orers

Cali+ornia.=uthrieDs +ar"ers (illingly re"ove the"selves, selling their land and trading their old drea"s +or the

hope

in ;regon. 9he pioneersD de#ision to leave their +ar"s in >issouri and the East is +rivolous and ill!+ou

#o"parison (ith the ;*laho"ansD un(illing response to displa#e"ent. )et, it is they, the pioneers, (

our

history $oo*s de#lare the heroes.

9.:ro" the #ontext o+ the passage, it #an$e

deter"ined that the (ord G+rivolousH

"ostnearly "eans

a. silly.

b. high!"inded.

c. di+?#ult.

d. #al#ulated.

10.&uppose that the author is #onsidering+ollo(ing

this senten#e (ith supportive detail-

Goth

undergo great hardship to "a*e the tre*.H

Bhi#h

o+ the +ollo(ing senten#es (ould $e in *eeping

(ith the #o"parison and #ontrast stru#ture

o+

the paragraph

a. 9he "igrants in %he !ay !est #ross

the

>issouri, then the Qa(, and "a*e their

(ay

overland to the latte.

b. 9he ;*laho"ansD Jalopies $rea*

do(n

repeatedly, (hile

the pioneersD

(agons need

+reFuent

repairs.

c.

travelers (ould

#onsider it a

hardship

to spend several

days, let alone

several

"onths, getting

any(here.d.

+a"ily, in

2rapes of !rath

loses

$oth grand"other

and grand+ather

$e+ore the

Journey is

#o"plete.



11.Bhi#ho+ the+ollo

(ingex#erpts+ro"thee

ssayis

a

n

opinion, rather than a +a#t

a. Goth &tein$e#*Ds and =uthrieDs #hara#t

are

pri"arily +ar"ers.H

b. G&tein$e#*Ds ;*laho"ans are +or#ed o

their land $y the $an*s (ho o(n their

"ortgagesRH

c. GOohn &tein$e#*Ds 2rapes of !rath, pu$

in 1636, (as +ollo(ed ten years later $y

=uthrieDs %he !ay !est .H

d. G9he pioneersD de#ision to leave their +a

in >issouri and the East is +rivolous and

ill!+ounded in #o"parison (ith the

;*laho"ansDRH

12. 9he language in the paragraph i"plies tha(hi#h o+ the +ollo(ing (ill happen to the

;*laho"ans (hen they arrive in Cali+ornia

a. 9hey (ill ?nd a "eans to pra#ti#e their

religion +reely.

b. 9hey (ill $e de#lared national heroes.c. 9hey (ill not ?nd the Jo$s they (ere

pro"ised.

d. 9hey (ill "a*e their livings as "e#hani

rather than as +ar" la$orers.



– PRETEST–

#ill Clinton$s %naugural Address

7ex#erpt +ro" the opening8

Bhen =eorge Bashington ?rst too* the oath I have Just s(orn to uphold, ne(s traveled slo(ly a#ross th

$y horse$a#* and a#ross the o#ean $y $oat. 'o( the sights and sounds o+ this #ere"ony are $road#ast taneously to $illions around the (orld. Co""uni#ations and #o""er#e are glo$al. Invest"ent is

"o$ile. 9e#h!

nology is al"ost "agi#al, and a"$ition +or a $etter li+e is no( universal.

Be earn our livelihood in A"eri#a today in pea#e+ul #o"petition (ith people all a#ross the Earth. r

and po(er+ul +or#es are sha*ing and re"a*ing our (orld, and the urgent Fuestion o+ our ti"e is (hethe

#an

"a*e #hange our +riend and not our ene"y. 9his ne( (orld has already enri#hed the lives o+

"illions o+

A"eri#ans (ho are a$le to #o"pete and (in in it. ut (hen "ost people are (or*ing harder +or lessK (h

ers #annot (or* at allK (hen the #ost o+ health#are devastates +a"ilies and threatens to $an*rupt ourenterprises,

great and s"allK (hen the +ear o+ #ri"e ro$s la(!a$iding #itiens o+ their +reedo"K and (hen "

o+ poor

#hildren #annot even i"agine the lives (e are #alling the" to lead, (e have not "ade #hang

+riend.

13.Bhat is the #entral topi# o+ the spee#h so +ar

a. ho( A"eri#ans #an *eep up (ith

glo$al

#o"petition

b. (ays in (hi#h te#hnology has under"ined

our e#ono"y

c. (ays in (hi#h te#hnology has

i"proved

our lives

d. ho( #hange has ae#ted A"eri#a and

our

need to adapt

15.Bhen resident Clinton says that G"ost peopare (or*ing harder +or less,H he is

a. rea#hing a reasona$le #on#lusion $ased on

eviden#e he has provided.

b. rea#hing an unreasona$le #on#lusion $ase

eviden#e he has provided.

c. "a*ing a generaliation that (ould reFuire

eviden#e $e+ore it #ould $e #on?r"ed.

d. "a*ing a generaliation that is so o$vious

eviden#e is not needed.

14.y #o"paring our ti"es (ith those o+ =eorge

Bashington, ill Clinton de"onstrates

a. ho( apparently dierent, $ut a#tually

si"ilar,

the t(o eras are.

b. ho( te#hnology has drasti#ally speeded

up

#o""uni#ations.

c. that presidential inaugurations re#eive

huge

"edia attention.

d. that television is a "u#h "ore #onvin#ing#o""uni#ations tool than print.

8



Assu"ing that Clinton (ants to add so"ething

a$out #ri"e $eing a "ore serious threat in our

i"e than in =eorge BashingtonDs, (hi#h o+ the

ollo(ing senten#es (ould $e "ost #onsistent

(ith the tone o+ the presidential spee#h

a. I+ IDd $een alive in =eorgeDs day, I (ould have

enJoyed *no(ing that "y (i+e and #hild #ould

(al* #ity streets (ithout $eing "ugged.

b. In =eorge BashingtonDs ti"e, A"eri#ans "ay

not

ha

ve

enJ

oy

ed

as

"a

ny

luxuries, $ut they

#ould rest in the a(areness that their neigh

$orhoods (ere sa+e.

c. =eorge #ould at least #ount on one thing. <

*ne( that his +a"ily (as sa+e +ro" #ri"e.

d. A statisti#al analysis o+ the overall gro(th

#ri"e rates sin#e 146 (ould reveal that a

ni?#ant in#rease has o##urred.



– PRETEST–

&e Crossing

Capter %' &e #lue all

7ex#erpt +ro" the opening o+ a novel $y Binston Chur#hill8

I (as $orn under the lue idge, and under that side (hi#h is $lue in the evening light, in a (ild landga"e

and +orest and rushing (aters. 9here, on the $orders o+ a #ree* that runs into the )ad*in iver, in a #

that

(as #hin*ed (ith red "ud, I #a"e into the (orld a su$Je#t o+ Qing =eorge the 9hird, in that part o+ h

real"

*no(n as the provin#e o+ 'orth Carolina.

9he #a$in ree*ed o+ #orn!pone and $a#on, and the odor o+ pelts. It had t(o sha*edo(ns

one o+

(hi#h I slept under a $ears*in. A rough stone #hi"ney (as reared outside, and the ?repla#e (as as

"y+ather (as tall. 9here (as a #rane in it, and a $a*e *ettleK and over it great $u#*horns held "y +athe

(hen

it (as not in use. ;n other horns hung Jer*ed $earDs "eat and venison ha"s, and gourds +or drin*in

and

$ags o+ seed, and "y +atherDs $est hunting shirtK also, in a negle#ted #orner, several arti#les o+ (o"

attire +ro"

pegs. 9hese on#e $elonged to "y "other. A"ong the" (as a go(n o+ sil*, o+ a ?ne, +aded pattern, o

(hi#h

I (as (ont to spe#ulate. 9he (o"en at the Cross!oads, t(elve "iles a(ay, (ere dressed in #oarse

$utternut (ool

and huge sun$onnets. ut (hen I Fuestioned "y +ather on these "atters he (ould give "e

ans(ers.

>y +ather (as/ho( shall I say (hat he (as 9o this day I #an only sur"ise "any things o+ hi"

(as

a &#ot#h"an $orn, and I *no( no( that he had a slight &#ot#h a##ent. At the ti"e o+ (hi#h I (rite, "

early

#hildhood, he (as a +rontiers"an and hunter. I #an see hi" no(, (ith his hunting shirt and leggins a

"o#!

#asinsK his po(der horn, engraved (ith (ondrous s#enesK his $ullet pou#h and to"aha(* and huntin

*ni+e.

<e (as a tall, lean "an (ith a strange, sad +a#e. And he tal*ed little save (hen he dran* too "any Gas

they (ere #alled in that #ountry. 9hese lapses o+ "y +atherDs (ere a perpetual sour#e o+ (onder to "

and, I

"ust say, o+ delight. 9hey o##urred only (hen a passing traveler (ho hit his +an#y #han#ed that (ay

(hat

(as al"ost as rare, a neigh$or. >any a (inter night I have lain a(a*e under the s*ins, listening to a

lan!

guage that held "e spell$ound, though I understood s#ar#e a (ord o+ it.

G@irtuous and vi#ious every "an "ust $e,

:e( in the extre"e, $ut all in a degree.H 9he #han#e neigh$or or traveler (as no less stru#* (ith (onder. And "any the ti"e have I heard th



Fuery, at

the Cross!oads and else(here, GBhar Ale# 9ri"$le got his larninDH

17.Bhy did the narrator enJoy it (hen his +ather

dran* too "any Ghorns,H or dra+ts o+ liFuor

a. 9he +ather spo*e $rilliantly at those

ti"es.

b. 9he $oy (as then allo(ed to do as he

pleased.

c. 9hese (ere the only ti"es (hen the +ather

(as

not a$usive.

d. 9he $oy (as allo(ed to sa"ple the drin*

hi"sel+.

9

18. Oudging $y the senten#es surrounding it, t(ord Gsur"iseH in the third paragraph "os

nearly "eans

a. to +or" a negative opinion.

b. to praise.

c. to desire.

d. to guess.



– PRETEST–

(excerpt from a letter to a pet)sitter"

ear Lee,As I told you, IDll $e gone until Bednesday "orning. 9han* you so "u#h +or ta*ing on "y G#hild

(hileID" a(ay. Li*e real #hildren, they #an $e *ind o+ irritating so"eti"es, $ut ID" going to enJoy "

so "u#h

"ore *no(ing theyDre getting so"e *ind hu"an attention. e"e"$er that egina 7the GFueenH in La

and

she a#ts li*e one8 is teething. I+ you donDt (at#h her, sheDll #he( anything, in#luding her sister, the #

9here

are plenty o+ #he( toys around the house. Bhenever she starts gna(ing on anything illegal, Just div

(ith

one o+ those. &he generally settles right do(n to a good hour!long #he(. 9hen youDll see her (ander

around(hi"pering (ith the re"ains o+ the toy in her "outh. &he gets really +rustrated $e#ause (hat she (

to

$ury the thing. &heDll try to dig a hole $et(een the #ushions o+ the #ou#h. :inding that unsatis+a#tory

(an!

der so"e "ore, dis#ontent, until you solve her pro$le" +or her. I usually sho( her the laundry

$as*et, "ov!

ing a +e( #lothes so she #an $ury her toy $eneath the". I do sound li*e a parent, donDt I

have to

understand, "y o(n son is pra#ti#ally gro(n up.

eginaDs +ood is the uppy Cho( in the utility roo", (here the other pet +ood is stored. =ive he$o(l

on#e in the "orning and on#e in the evening. 'o "ore than that, no "atter ho( "u#h she $egs. ea

are

notorious overeaters, a##ording to her $reeder, and I donDt (ant her to lose her girlish ?gure. &he #a

ex

7the QingDs8 (ater, $ut $e sure itDs #hanged daily. &he needs to go out several ti"es a day, espe#ially

thing

at night and ?rst thing in the "orning. Let her stay out +or a$out ten "inutes ea#h ti"e, so she #an

her

$usiness. &he also needs a (al* in the a+ternoon, a+ter (hi#h itDs i"portant to ro"p (ith her +or a(h

the

yard. 9he ga"e she loves "ost is +et#h, $ut $e sure to "a*e her drop the $all. &heDd rather play tug

(ith

it. 9ell her, G&itH 9hen, (hen she does, say, Grop itH e sure to tell her Ggood girl,H and then

thro( the $all

+or her. I hope youDll enJoy these sessions as "u#h as I do.

'o(, +or the other t(o, ex and a(sR 7letter continues8

24. 9he tone o+ this letter is $est des#ri$ed asa. #hatty and hu"orous.

b. logi#al and pre#ise.c. #on?dent and trusting.

d. #ondes#ending and prea#h



A##ording to the author, his or her atta#h"ent tohe pets derives at least partially +ro"

a. their regal pedigrees and royal $earing.

b. having +e( +riends to pass the ti"e (ith

c. these parti#ular ani"alsD ex#eptional ne

d. a desire to #ontinue parenting.

25.I+ the pet!sitter is a $usiness!li*e pro+essional

(ho (at#hes peopleDs pets +or a living, she or

he

(ould li*ely pre+er

a. "ore ?rst!person revelations a$out the

o(ner.

b. +e(er ?rst!person revelations a$out the

o(ner.

c. "ore praise +or agreeing to (at#h the

ani"als.

d. greater detail on the ani"alsD #ute

$ehavior.

11

27. 9he in+or"ation in the note is su+?#ient to

"ine that there are three ani"als. 9hey ar

a. t(o #ats and a dog.

b. three dogs.

c. a dog, a #at, and an unspe#i?ed ani"al

d. a #at, a dog, and a parrot.



– PRETEST–

28.=iven that there are three ani"als to +eed,(hi#h

o+ the +ollo(ing arrange"ents o+ the +eeding

instru#tions (ould $e "ost e+?#ient and

easiestto +ollo(

a. all given in one list, #hronologi#ally

+ro"

"orning to night

b. provided separately as they are +or

egina,

(ithin separate passages on ea#h

ani"al

c. given in the order o+ Fuantities needed, the

"ost to the leastd. pla#ed in the "iddle o+ the letter, (here

they

(ould $e least li*ely to $e overloo*ed

29.:ro" the #ontext o+ the note, it is "ost li*ely the na"e GexHis

a. &panish.

b. English.

c. :ren#h.d. Latin.

30.I+ the sitter is to +ollo( the o(nerDs dire#tions playing +et#h (ith egina, at (hat point (ill h

or she (ill tell egina Ggood girlH

a. every ti"e egina goes a+ter the $all

b. a+ter egina ?nds the $all

c. (hen egina $rings the $all $a#*

d. a+ter egina drops the $all

(excerpt from a pro)voting essa!"

@oting is the privilege +or (hi#h (ars have $een +ought, protests have $een organied, and editorials ha$een

(ritten. G'o taxation (ithout representationH (as a $attle #ry o+ the A"eri#an evolution. Bo"struggled

+or surage as did all "inorities. Eighteen!year!olds #la"ored +or the right to vote, saying that i+

(ere old

enough to go to (ar, they should $e allo(ed to vote. )et A"eri#ans have a deplora$le voting

history.

Intervie(ing people a$out their voting ha$its is revealing. 9here are individuals (ho state t

they have

never voted. ;+ten, they #lai" that their individual vote doesnDt "atter. &o"e people $la"e the

a$sen#e +ro"

the voting $ooth on the +a#t that they do not *no( enough a$out the issues. In a de"o#ra#y, (express

our opinions to our ele#ted leaders, $ut "ore than hal+ o+ us so"eti"es avoid #hoosing the peop

(ho "a*e

the poli#ies that ae#t our lives.

31. 9his argu"ent relies pri"arily on (hi#h o+the

+ollo(ing te#hniFues to "a*e its

points

a. e"otional assertions

b. resear#hed +a#ts in support o+ an

assertion

c.

e"otional

appeals to

voters

d.

e"otionalappeals to

nonvoters

32.Bhi#h o+ the +ollo(ing senten#es $est su"ries the "ain idea o+ the passage

a. A"eri#ans are too lay to vote.

b. Bo"en and "inorities +ought +or their rto vote.



c. A"eri#ans do not ta*e voting seriously

enough.

d. A"eri#ans do not thin* that ele#ted

o+?#ials

ta*e their opinions seriously.

12

33.y #hoosing the (ord G#la"ored,H the authori"plies that

a. eighteen!year!olds are generally enthusias

b. voting (as not a serious #on#ern to eightee

year!olds.

c. eighteen!year!olds +elt strongly that they

should $e allo(ed to vote.

d. eighteen!year!olds do not handle the"selv

in an adult!li*e "anner.



– PRETEST–

%mproving *treamside ildlife +abitats

7ex#erpt +ro" <a$itat Extension ulletin distri$uted $y the

Byo"ing =a"e and :ish epart"ent8

iparian vegetation Sthe green $and o+ vegetation along a (ater#ourseT #an help sta$ilie strea" $a?lter

sedi"ent +ro" sur+a#e runoK and provide (ildli+e ha$itat, livesto#* +orage, and s#eni# value. Bell!

developed

vegetation also allo(s $an* soils to a$sor$ extra (ater during spring runo, releasing it later

during drier

"onths, thus i"proving late!su""er strea" Po(s.

In "any parts o+ the arid Best, trees and shru$s are +ound only in riparian areas. Boody plants

very

i"portant as (inter #over +or "any (ildli+e spe#ies, in#luding upland ga"e $irds su#h as

pheasants andtur*eys. ;+ten this (inter #over is the greatest single +a#tor li"iting ga"e $ird populations. Boody

vegetation

also provides hiding #over and $ro(se +or "any other spe#ies o+ $irds and "a""als, $oth ga"e an

nonga"e.

ead trees 7GsnagsH8 are an integral part o+ strea"side ha$itats and should $e le+t standing (h

pos!

si$le. Boodpe#*ers, nuthat#hes, $ro(n #reepers, and other $irds eat the inse#ts that de#o"pose the

9hese

inse#ts usually pose no threat to near$y living trees. ;##asionally a disease organis" or "isuse o+

pesti#ides (ill

(ea*en or *ill a stand o+ trees. I+ several trees in a s"all area $egin to die, #onta#t your lo#al extens

agent

i""ediately.

34.Bhat is the ee#t o+ the (ord #hoi#eGriparianH

a. It gives the arti#le an authoritative,

s#ienti?#

tone.

b. It #auses #on+usion, sin#e $oth strea"s

andrivers #ould $e vie(ed as riparian.

c. It see"s #ondes#ending, as i+ the author

(as

stooping to tea#h readers.

d. It "isleads readers into thin*ing they are

get!

ting s#ienti?# in+or"ation (hen they are

not.

35.y listing the spe#i?# $irds that live inriparian

areas, the author #onveys a sense o+

a.

$ehal+ o+

endangered

spe#ies.

b.

and varied

li+e in su#h

areas.c.

i"portan#e as a

s#ienti?# expert.

d.

over the variety

+ound in nature.



36.Assu"ethattheauthor

hasdoneso"eother

(

r

i

ti

n

g

on this topi# +or a dierent audien#e. 9he

other pie#e $egins- Ge"e"$er the last ti

you

(al*ed along a strea" 'o dou$t thi#* ve

tion prevented easy progress.H Bhat is the

ee#t on the reader o+ this opening

a. an aroused interest, due to the re+eren#

the

readerDs personal experien#e

b. resent"ent, due to $eing addressed so

personally

c. loss o+ interest, $e#ause the opening lin

"a*es no atte"pt to dra( the reader in

d. #on+usion, $e#ause not every reader ha

(al*ed along a strea"

37. 9he "ain su$Je#t o+ the se#ond paragraphthis

passage is

a. the types o+ $irds that live in riparian ar

b. the ee#t o+ (inter #over on (ater puric. the role o+ trees and shru$s in riparian a

d. ho( (inter #over ae#ts ga"e $ird

populations.



– PRETEST–

38.;verall, the assertions o+ this passage see" to$e

$ased on

a. rash opinion (ith little o$servation $ehind it.

b. deeply held e"otional #onvi#tions.c. +a#t derived +ro" s#ienti?# literature.

d. in#on#lusive eviden#e gathered in ?eld

studies.

39.Bhat does the (ord GaridH a##o"plish in the?rst senten#e o+ the se#ond paragraph

a. It provides a sense o+ the generally high alt

tude o+ the Best.

b. It signi?es a #hange in su$Je#t +ro" theEastern %nited &tates to the Best.

c. It #lari?es the authorDs purpose to dis#uss

nonur$an areas.

d. It #lari?es the reason that trees and shru$s

+ound only in riparian areas.

(excerpt from ,-irst/ a sort stor!"

:irst, you ought to *no( that ID" GonlyH +ourteen. >y "other points this out +reFuently. I #an "de#isions+or "ysel+ (hen ID" old enough to vote, she says. &e#ond, I should tell you that sheDs right/ID

al(ays

responsi$le. I so"eti"es ta*e the prie +or a grade!A dor*. Last (ee*end, +or instan#e, (hen I

staying at

adDs, I de#ided it (as ti"e I learned to drive. It (as &unday "orning, a.". to $e exa#t, an

hadnDt slept

(ell thin*ing a$out this argu"ent IDll $e telling you a$out in a "inute. 'o$ody (as up yet in th

neigh$or!

hood, and I thought there (ould $e no har" in $a#*ing the #ar out o+ the garage and #ruising around th$lo#*.

ut ad has a #lut#h #ar, and the GH on the shi+t handle (as up on the le+t side, a(+ul #lose to ?

gear, and I

guess you #an guess the rest.

adDs al(ays $een understanding. <e didnDt say, li*e >o" (ould, G;*ay, little >iss Qno(!It

you #an

Just spend the rest o+ the year paying this o.H <e (orried a$out (hat "ight have happened to me/to

you

see, and that "ade "e +eel "ore guilty than anything. ;verall, I Just thin* heDd $e a $etter nu

one #are!giver, i+ you get "y dri+t. ;+ #ourse I #anDt say things li*e that to >o".

9o her, I have to say, Gut >o", adDs pla#e is #loser to s#hool. I #ould ride "y $i*e.H

&he replies, GOenni+er Lynn, you donDt o(n a $i*e, $e#ause you le+t it in the yard and it (as stolen, a

havenDt got the perseveran#e it ta*es to do a little (or* and earn the "oney to repla#e it.H

40.Bhi#h des#ription $est explains the stru#tureo+

the story so +ar

a. #hronologi#al, a##ording to (hat

happens

?rst, se#ond, and so onb. reverse #hronologi#al order, (ith the

"ost

re#ent

events

re#orded

?rst

c.intentionall

y #on+used order, in#orporating

Pash$a#*s to previous events

d. a##ording to i"portan#e, (ith the

signi?#ant details related ?rst



14

41.Bhat devi#e does the author use to illustrate narratorDs +eelings a$out her "other and +ath

a. vivid and spe#i?# visual detail

b. rhetori#al Fuestions, (hi#h "a*e a point $

donDt invite a dire#t ans(er

c. "etaphors and other ?gurative language

d. #ontrast $et(een the parentsD typi#al rea#



– PRETEST–

42. 9he narrator attri$utes her ina$ility to sleep

(hen staying at her +atherDs house to

a. thin*ing a$out a disagree"ent (ith

so"eone.

b. the un#o"+orta$le Fuiet o+ an early&unday

"orning.

c. the sore throat she had +ro"

shouting

so "u#h.

d. her a##ident (ith the #ar.

43. 9he ?rst!person point o+ vie( in thisstory

a. o$s#ures ho( the narratorDs "ind (or*s.b. illustrates the thoughts and personality o+

the

narrator.

c. "a*es the narrator see" distant and

rigid.

d. gives us dire#t a##ess to the "inds o+ all

the

#hara#ters.

44.Bhen the narrator says she so"eti"esGta*eSsT

the prie +or a grade!A dor*,H the (ord #hoi#e

is

intended to indi#ate

a. that she doesnDt *no( proper

English.

b. her age and #ulture.

c. that she is una$le to Judge her o(n

a#tions.

d. that she thin*s sheDs $etter than "ost

others(ho "ight $e ter"ed Gdor*sH.

45.:ro" the #ontext in the last senten#e o+ the

passage, it #an $e deter"ined that the

(ord

Gperseveran#eH "ost nearly "eans

a. attra#tiveness.

b. thin*ing a$ility.

c. a$ility to persist.

d. love o+ danger.

46.thisnarratorDstone is $estdes#ri$edasa.

and +a"iliar.

b.

and superior.

c.

argu"entativ

e and

ta#tless.

d.

and

reassuring.

15



n #hoosing to use the $i*e argu"ent (ith her"other, the narrator is trying to appeal to

her "otherDs

a. #o"passion over her lost $i*e.

b. disregard +or "aterial o$Je#ts.

c. lainess.

d. reason.

9he "ain argu"ent the narrator has $een having(ith her "other is over (hether she should

a. $e allo(ed to date.

b. live (ith her "other or +ather.

c. $e allo(ed to drive a #ar.

d. pay +or things she $rea*s.

t appears that the "other has alienated her

d

a

u

g

h

t

e

r

$

y

a

.

$

e

i

n

g

too $usy to give her the attention she

needs.

b. having divor#ed her +ather.

c. insisting too "u#h on reasona$leness.

d. valuing things over people and +eelings

50.Bhat "ost li*ely happened (ith the #ara. 9he narrator "istoo* ?rst gear +or reve

and

ran into the garage (all.

b. 9he narrator stole it +ro" her +ather and

drove

it over to her "otherDs.

c. 9he +ather le+t it in gear, and (hen the n

tor started it, it leapt +or(ard into the (a

d. 9he narrator atte"pted sui#ide through

#ar$on "onoxide poisoning.



uilding a&trong:oundation

ou "ay not have thought o+ it this (ay $e+ore, $ut #riti#al readers are li*e

#ri"e s#ene investigators. In their sear#h +or the truth, they do

opin!

ions s(ay the"K they (ant to *no( (hat a#tually happened. 9he

#olle#t tan!

gi$le eviden#e and +a#ts and use this in+or"ation to dra( an in+or"ed#on#lusion.

&eparating +a#t +ro" opinion is essential during a #ri"e s#ene investigation. It is a

#ru!

#ial s*ill +or ee#tive reading.

Bhen you read, loo* +or #lues to understand the authorDs "eaning. Bhat is th

sage a$out Bhat is this (riter saying Bhat is his or her "essage At ti"e

"ay see"

li*e authors are trying to hide their "eaning +ro" you. ut no "atter ho( #o"plex

pie#e

o+ (riting "ay $e, the author al(ays leaves plenty o+ #lues +or the #are+ul reader t

It

is your Jo$ to ?nd those #lues. e a good dete#tive (hen you read. ;pen your eye

as*

the right Fuestions. In other (ords, read #are+ully and a#tively.

9he ?ve lessons that +ollo( #over the $asi#s o+ reading #o"prehension

the end

o+ this se#tion, you should $e a$le to-

I

I

I

I

:ind the $asi# +a#ts in a passageeter"ine the "ain idea o+ a passage

eter"ine the "eaning o+ un+a"iliar (ords +ro" #ontext

istinguish $et(een +a#t and opinion



17

Y



L E S S O N

1=etting theEssentialIn+or"ation

LESSON SUMMARYThe first step in increasing your reading comprehension is to learn how

to get the basic information. Like a good detective, start with the basic

facts. To get the facts, be an active reader and look for clues as you

read.

"agine, +or a "o"ent, that you are a dete#tive. )ou have Just $een #alled to the s#ene o+ a #ri"ehouse

has $een ro$$ed. BhatDs the ?rst thing you should do (hen you arrive

a. &ee (hatDs on the [email protected]. Che#* (hatDs in the +ridge.

c. =et the $asi# +a#ts o+ the #ase.

9he ans(er, o+ #ourse, is c, get the $asi# +a#ts o+ the #ase- the (ho, (hat, (hen, (here, ho(, andBhat

happened 9o (ho" Bhen Bhere <o( did it happen And (hy

As a reader +a#ed (ith a text, you go through a si"ilar pro#ess. 9he ?rst thing you should do is es

the

+a#ts. Bhat does this pie#e o+ (riting tell you Bhat happens 9o (ho" Bhen, (here, ho(, and (hy

#an

ans(er these $asi# Fuestions, youDre on your (ay to really #o"prehending (hat you read. 7)

(or* on

ans(ering the "ore di+?#ult Fuestion/G!hy did it happenH/in Lesson 2.8



19

I



–GETTING THE ESSENTIAL INFORMATION –

What Are the Facts?

LetDs start (ith a de?nition. A fact is-

tions that as* a$out the +a#ts in a reading passag 9hese +a#ts are not al(ays easy to deter"ine,

espe#ially

i+ the (riting is dense or #o"pli#ated. 9o "a*e it

pler, as* yoursel+ these Fuestions as you read- BI

I

I

&o"ething that (e *no( +or #ertain to

have

happened

&o"ething that (e *no( +or #ertain to $e true

&o"ething that (e *no( +or #ertain to

exist

+a#ts a" I expe#ted to *no( Bhat a" I to learn

a(are o+ Bhat happened Bhat is true Bhat e

Practice Passage 1

Ou"p right into the tas* o+ ?nding +a#ts. 9he +ollo

>u#h o+ (hat you read, espe#ially today in

this

GIn+or"ation Age,H is designed to provide you (ith

+a#ts. )ou "ay read, +or exa"ple, a$out a ne(

o+?#e

pro#edure that you "ust +ollo(K a$out ho( the

ne(

#o"puter syste" (or*sK a$out (hat happened at

the

sta "eeting. I+ youDre ta*ing a standardied test,

youDll

pro$a$ly have to ans(er reading #o"prehension

Fues!

$rie+ passage is si"ilar to so"ething you "ight s

a ne(spaper. ead the passage #are+ully, and th

ans(er the Fuestions that +ollo(. e"e"$er, #ar

reading is a#tive reading 7see the Introdu#tion8, s"ar* up the text as you go. %nderline *ey (ords

ideasK #ir#le and de?ne any un+a"iliar (ords or

phrasesK

and re#ord your rea#tions and Fuestions in the

"argins.

;n :riday, ;#to$er 21, at approxi"ately 4-30 a."., Oudith eynolds, o(ner o+ 9he Cup#a*e :a#tory, arrived at her esta$lish"ent to ?nd that it had $een

ro$$ed and vandalied overnight. 9he +ront (indo( o+ the shop at 124 road

&treet (as $ro*en, and #hairs and ta$les (ere overturned throughout the #a+U

area. Additionally, the #ash register had $een pried open and e"ptied o+ "oney.

9he thieves atte"pted to open the sa+e as (ell, $ut (ere unsu##ess+ul. >s.

eynolds used her #ell phone to report the #ri"e to the poli#e. &he also phoned

the proprietor o+ ri"o ia, lo#ated at 130 road &treet, as she noti#ed that the

door o+ that restaurant sho(ed signs o+ +or#ed entry. 9he poli#e depart"ent isas*ing anyone (ith in+or"ation to #all 555!2323.

1.Bhat happened to 9he Cup#a*e:a#tory

2.Bhen (as the #ri"e dis#overed

3.Bhere did it happen 20



hat (as stolen 5.Bh

o #alled the poli#e

6.Bhat other $usinesses (ere ae#ted




e"e"$er, good reading is a#tive reading. id you "ar* up the passage I+ so, it "ay have looso"ethingli*e this-

(hen (ho

;n :riday, ;#to$er 21, at approxi"ately 4-30 a."., Oudith eynolds, o(ner o+ (hat happened/ 9he Cup#a*e :a#tory, arrived at her esta$lish"ent to ?nd that it had $een

ro$$ed and vandalied overnight. 9he +ront (indo( o+ the shop at 124

roadnd

&treet (as $ro*en, and #hairs and ta$les (ere overturned throughout the#a+U

(here

interestingdetail

area. Additionally, the #ash register had $een pried open and e"ptied o+

"oney.

9he thieves atte"pted to open the sa+e as (ell, $ut (ere unsu##ess+ul.

>s.

eynolds used her #ell phone to report the #ri"e to the poli#e. &he also

phoned

(hat a"ess

"oney (asstolen

another$usiness(as ae#ted

the proprietor o+ ri"o ia, lo#ated at 130 road &treet, as she noti#ed that door o+ that restaurant sho(ed signs o+ +or#ed entry. 9he poli#e depart"ent is

as*ing anyone (ith in+or"ation to #all 555!2323. un#lear i+ anything (a

ta*en +ro" ri"o ia+ro" this report

)ouDll noti#e that the ans(ers to the Fuestions

have all $een underlined, $e#ause these are the

*ey

(ords and ideas in this passage. ut here are

theans(ers in a "ore #onventional +or".

5.Bho #alled the poli#e 3udith &eynolds, ow

%he 4upcake 0actory

6.Bhat other $usinesses (ere ae#ted Pos

Primo Pi55a

1.Bhat happened to 9he Cup#a*e :a#tory /t was

robbed and vandali5ed

2.Bhen (as the #ri"e dis#overed 6t 789: 6-on

0riday, ;ctober <1

3.Bhere did it happen 1<7 .road +treet

'oti#e that these Fuestions (ent $eyond

$asi#

(ho, (hat, (hen, and (here to in#lude so"e

details, li*e (hy the proprietor o+ the restaura

next

door (as #alled. 9his is $e#ause details in rea

#o"!

prehension, as (ell as in dete#tive (or*, #an

very

i"portant #lues that "ay help ans(er the

re"aining

Fuestions- Bho did it, ho(, and (hy

4.Bhat (as stolen -oney from the cash register



21




Practice Passage 2

9his passage in#ludes instru#tions +or rene(ing a driverDs li#ense. ead it #are+ully and ans(er

Fuestions

that +ollo(.

%nstructions for 0icense eneal

A driverDs li#ense "ust $e rene(ed every +our years. A rene(al appli#ation is sentapproxi"ately ?ve to seven (ee*s $e+ore the expiration date listed on the li#ense

Individuals (ho +ail to rene( (ithin three years o+ the li#ense expiration date are

not eligi$le +or a rene(al and "ust repeat the initial li#ensing pro#ess. 9o rene(

a li#ense, you "ust visit a >otor @ehi#les Agen#y. )ou "ust present a #o"pleted

rene(al appli#ationK your #urrent driverDs li#enseK a##epta$le proo+ o+ age, iden!

ti?#ation, and addressK and proo+ o+ so#ial se#urity in the +or" o+ a so#ial se#u!rity #ard, a state or +ederal in#o"e tax return, a #urrent pay stu$, or a B!2 +or".

)ou "ust also pay the reFuired +ee. I+ all the do#u"ents and pay"ent are in orde

your photo (ill $e ta*en and a ne( li#ense (ill $e issued.

7.Bhat do#u"ents does one need to rene(a

10.<o( does one o$tain the rene(al +or"

driverDs li#ense

11. 9rue or :alse- )ou #an rene( your driverDs li#e

8.Bhat do#u"ents represent proo+ o+ so#ial

se#urity

9.<o( o+ten "ust one rene( a driverDsli#ense

22

$y "ail.

e+ore you loo* at the ans(ers, loo* at the npage to see ho( you "ight have "ar*ed up the

passage

to highlight the i"portant in+or"ation.




%nstructions for 0icense eneal

ho( o+ten I need to rene(A driverDs li#ense "ust $e rene(ed every +our years. A rene(al appli#ation issent

approxi"ately ?ve to seven (ee*s $e+ore the expiration date listed on theli#ense.

Individuals (ho +ail to rene( (ithin three years o+ the li#ense expiration date

are

appli#ation (i

$e "ailed

"ust go inperson. ?ndout nearestlo#ation

not eligi$le +or a rene(al and "ust repeat the initial li#ensing pro#ess. 9o

rene(

a li#ense, you "ust visit a >otor @ehi#les Agen#y. )ou "ust present a

#o"pleted

rene(al appli#ationK your #urrent driverDs li#enseK a##epta$le proo+ o+ age,

iden!

ti?#ation, and addressK and proo+ o+ so#ial se#urity in the +or" o+ a so#ialse#u!

rity #ard, a state or +ederal in#o"e tax return, a #urrent pay stu$, or a B!2

+or".

do#u"entsneeded+or rene(al

)ou "ust also pay the reFuired +ee. I+ all the do#u"ents and pay"ent are in o

your photo (ill $e ta*en and a ne( li#ense (ill $e issued.$ring #he#*$oo*

Bith a "ar*ed!up text li*e this, itDs very easyto

?nd the ans(ers.

7.Bhat do#u"ents does one need to rene( a

driverDs li#ense

4ompleted renewal application

4urrent driver’s license

6cceptable proof of age, identi"cation,

and address

Proof of social security

-oney to pay re#uired fee

8.Bhat do#u"ents represent proo+ o+ so#ialse#urity

+ocial security card

+tate or federal income ta= return

4urrent pay stub

!*< form

23



<o( o+ten "ust one rene( a driverDs li#ense>very four years

<o( does one o$tain the rene(al +or" /t is sent

"ve to seven weeks before current license e=pires

9rue or :alse- )ou #an rene( your driverDs li#ense$y "ail. 0alse8 ?ou can only renew by visiting a

-otor @ehicles 6gency



15.<o(longdoes

?rst!#lass "ail ta*e %hree days

or less

16.<o( long does riority >ail ta*e %wo days or

less

17.<o( long does Express >ail ta*e ;vernight




Summar y

A#tive reading is the ?rst essential step to#o"prehen!

sion. Bhy e#ause a#tive reading +or#es you toreally

Li*e a dete#tive (ho arrives at the s#ene o+ ai+ you loo* #are+ully and as* the right Fuestions

(hat, (hen, (here, ho(, and (hy8, youDre on

(ayto really #o"prehending (hat you read.

see (hat youDre reading, to loo* #losely at (hatDs there.

Skill Building until Next Time

Here are some suggestions for practicing the skills covered in this chapter throughout the day and even

the rest of the week. Try them!

I

I

Mark up everything you read throughout the day—the newspaper, a memo, a letter from a friend. Under-line the key terms and ideas; circle and look up any unfamiliar words; write your reactions and ques-

tions in the margins. If possible, share these reactions with the writer and see if you can get answers

to your questions.

Develop a “detective’s eye.” Begin to notice things around you. Look at the details on people’s faces;

notice the architectural details of the buildings you enter. The more observant you are in daily life, the

more enriched your life will be and the easier it will be to comprehend everything you read.

25



L E S S O N

2 :inding the>ain Idea

LESSON SUMMARYA detective finds the facts to determine “whodunit” and what the motive

was. A reader determines the facts not only for their own sake but also

to find out why the author is writing: What’s the main idea? This lesson

shows you how to determine the main idea of what you read.

hen Lesson 1 tal*ed a$out esta$lishing the +a#ts/the (ho, (hat, (hen, (here, an/it

o"itted one very i"portant Fuestion- Bhy 'o( youDre ready to ta#*le that all!i"portan

Fuestion.

Oust as thereDs a "otive $ehind every #ri"e, thereDs also a G"otiveH $ehind every pie#e

(riting.

All (riting is #o""uni#ation- A (riter (rites to #onvey his or her thoughts to an audien#e, the rea

you.

Oust as you have so"ething to say 7a "otive8 (hen you pi#* up the phone to #all so"eone, (riters havso"e!

thing to say 7a "otive8 (hen they pi#* up a pen or pen#il to (rite. Bhere a dete#tive "ight as*, GBhy

$ut!

ler do itH the reader "ight as*, GBhy did the author (rite this Bhat idea is he or she trying to #onvey

Bhat

youDre really as*ing is, GBhat is the (riterDs "ain ideaH

:inding the "ain idea is "u#h li*e ?nding the "otive o+ the #ri"e. ItDs the "otive o+ the #

7the why 8

that usually deter"ines the other +a#tors 7the who, what, when, where, and how8. &i"ilarly, in (riting,

"ainidea also deter"ines the who, what, when, and where the (riter (ill (rite a$out, as (ell as how he or



(rite.

27

W



–FINDING THE MAIN IDEA –

Subject vs. Main Idea

9hereDs a dieren#e $et(een the subAect o+ a pie#eo+

(riting and its main idea. 9o see the dieren#e,loo*

#ast over the other senten#es. 9he "ain idea "ugeneral enough to hold all o+ these ideas togethe

9hus, the "ain idea o+ a passage is-

again at the passage a$out the postal syste".

onDt

s*ip over it )ou read it in Lesson 1, $ut please read

it

I

I

An assertion a$out the su$Je#t

9he general idea that #ontrols or holds togethe

again, and read it #are+ully.

9odayDs postal servi#e is "ore e+?#ient andrelia$lethan ever $e+ore. >ail that used to ta*e "onths

to

"ove $y horse and +oot no( "oves around

the

#ountry in days or hours $y tru#*, train, and

plane.

:irst!#lass "ail usually "oves +ro" 'e( )or*

City

to Los Angeles in three days or less. I+ your letter

or

pa#*age is urgent, the %.&. ostal &ervi#e oers

ri!ority >ail and Express >ail servi#es. riority >ail

is

guaranteed to go any(here in the %nited &tates

in

t(o days or less. Express >ail (ill get your

pa#*age

there overnight.

)ou "ight $e as*ed on a standardied test,

GBhatis the "ain idea o+ this readingH

:or this passage, you "ight $e te"pted to

ans(er-

Gthe post o+?#e.H

ut youDd $e (rong.

9his passage is about the post o+?#e, yes/

$ut

Gthe post o+?#eH is not the "ain idea o+ the

passage.

G9he post o+?#eH is "erely the subAect o+ the

passage

7

what

the

passage

isa$out8.

9he

"ain

idea

"ust

say

so"ethi

ng

about

this

su$Je#t.

9he

"ain

idea

o+ a text

is

usually

an

assertio

n

thesu$Je#t.

An

assertion

is a

state"e

nt that

reFuires

eviden#e

7Gproo+

H8to $e

a##epted as true.

9he "ain idea o+ a passage is an assertion a

its su$Je#t, $ut it is so"ething "ore- It is the ide

also holds together or #ontrols the passage. 9he o

senten#es and ideas in the passage (ill all relate t"ain idea and serve as Geviden#eH that the asse

true. )ou "ight thin* o+ the "ain idea as a net t



28

the paragraph or passage

Loo* at the postal servi#e paragraph on#e " )ou *no( (hat the su$Je#t is- Gthe post o+?#e.H '

see

i+ you #an deter"ine the "ain idea. ead the pas

again and loo* +or the idea that "a*es an asserti

a$out the postal servi#e and holds together or #o

the (hole paragraph. 9hen ans(er the +ollo(ing

Fuestion-

1.Bhi#h o+ the +ollo(ing senten#es $est su""aries the "ain idea o+ the passage

a. Express >ail is a good (ay to send urgent

"ail.

b. >ail servi#e today is "ore ee#tive and

dependa$le.

c. :irst!#lass "ail usually ta*es three days or

e#ause a is spe#i?#/it tells us only a$outExpress

>ail/it #annot $e the "ain idea. It does not

en#o"pass

the rest o+ the senten#es in the paragraph/it do

#over riority >ail or ?rst!#lass "ail. Ans(er c is

very spe#i?#. It tells us only a$out ?rst #lass "ail

too, #annot $e the "ain idea.

ut b/G>ail servi#e today is "ore ee#tive

dependa$leH/is general enough to en#o"pass t

(hole passage. And the rest o+ the senten#es sup

the idea that this senten#e asserts- Ea#h senten#

oers

Gproo+ H that the postal servi#e today is indeed "

e+?#ient and relia$le. 9hus, the (riter ai"s to tel

a$out the e+?#ien#y and relia$ility o+ todayDs pos

servi#e.




Topic Sentences

)ouDll noti#e that in the paragraph a$out the postal

servi#e, the "ain idea is expressed #learly in the

?rst

senten#e- G9odayDs postal servi#e is "ore

eV#ient

and relia$le than ever $e+ore.H A senten#e, su#h as

this

one, that #learly expresses the "ain idea o+ a

para!

graph or passage is o+ten #alled a topic sentence

In "any #ases, as in the postal servi#e

paragraph,

the topi# senten#e is at the $eginning o+ theparagraph.

)ou (ill also +reFuently ?nd it at the end. Less o+ten,

$ut

on o##asion, the topi# senten#e "ay $e in the "iddle

o+

the passage. Bhatever the #ase, the topi# senten#e/

li*e

G9odayDs postal servi#e is "ore e+?#ient and

relia$le

than ever $e+oreH/is an assertion, and it needsGproo+.H

9he proo+ is +ound in the +a#ts and ideas that "a*e

up

the rest o+ the passage. 7'ot all passages provide

su#h

a #lear topi# senten#e that states the "ain idea.

Less

o$vious passages (ill #o"e up in later

lessons.8

Practice 1

2.Bhi#h o+ the +ollo(ing senten#es is genera

enough to $e a topi# senten#e

a. 9he ne( health #lu$ has a great *i#*$ox

#lass.b. >any dierent #lasses are oered $y th

health #lu$.

c. ilates is a popular #lass at the health #

d. 9he yoga #lass is oered on &aturday

"ornings.

9he ans(er is b, G>any dierent #lasses oered $y the health #lu$.H Ans(ers a, c, and

all

spe#i?# exa"ples o+ (hat is said in b, so theynot

general enough to $e topi# senten#es.

Practice 2

'o( loo* at the +ollo(ing paragraph. %nderlin

senten#e that expresses the "ain idea, and n

ho(

the other senten#es (or* to support that "ai

Practice in Identifying Topic

Sentences

e"e"$er that a topi# senten#e is a #lear

state"ent o+

the "ain idea o+ a passageK it "ust $e general

enough

to en#o"pass all the ideas in that passage, and it

usu!

ally "a*es an assertion a$out the su$Je#t o+ that

pas!

sage. Qno(ing all that, you #an ans(er the

+ollo(ing

Fuestion

even

(ithout

reading a

passage.



Eri* al(ays

played #op

s and ro$$

ers (hen he (as a

$oyK no(, heDs a poli#e o+?#er. &uanne al(

played

s#hool as a little girlK today, she is a high!s#

"ath tea#her. Qara al(ays played storeK tod

she

o(ns a #hain o+ retail #lothing shops. Long

they are +a#ed (ith the Fuestion, GBhat do

(ant

to $e (hen you gro( upH so"e lu#*y peop

*no(exa#tly (hat they (ant to do (ith their live

Bhi#h senten#e did you underline )ou shave underlined the last senten#e- GLong $e+o

they are

+a#ed (ith that Fuestion MBhat do you (ant to

(hen

you gro( upD so"e lu#*y people *no( exa#t

(hat

they (ant to do (ith their lives.H 9his senten#good topi# senten#eK it expresses the idea tha

holds

together the (hole paragraph. 9he ?rst three

senten#es/a$out Eri*, &uanne, and Qara/a

speci"c

e=amples o+ these lu#*y people. 'oti#e that t

topi#

senten#e is +ound at the end o+ the paragraph




Practice 3

A"ong the +ollo(ing eight senten#es are two topi#s

senten#es. 9he other senten#es are supporting sen!

ten#es. Cir#le the t(o topi# senten#es. 9hen (rite the

nu"$ers o+ the supporting senten#es that go (ithea#h

9enants o+ the luxury apart"ent $uilding enJoy"any a"enities. :or exa"ple, there is a pool o

top Poor. In addition, the lo$$y has a dry #lean

A9> "a#hine, and a #oee shop. :inally, there

#on#ierge on duty 2 hours a day.

topi# senten#e.

)ou "ight have noti#ed the supporting sente

1.:inally, there is a #on#ierge on duty 2 hours a day.

2.&o"e poli#e oer duties, li*e (ritingreports,

have no ris* at all.

3.:or exa"ple, there is a pool on the topPoor.

4.'ot all poli#e duties are dangerous.

5.;thers, li*e tra+?# duty, put poli#e o+?#ers atvery

little ris*.

in the ?rst paragraph a$out poli#e duties $egin (

the

+ollo(ing (ords- some, others, and still other . 9h

(ords are o+ten used to introdu#e exa"ples. 9he

ond paragraph uses dierent (ords, $ut they hav

sa"e +un#tion- for e=ample, in addition, and "na

a senten#e $egins (ith su#h a (ord or phrase, thgood indi#ation it is not a topi# senten#e/$e#au

providing a spe#i?# exa"ple.

<ere are so"e (ords and phrases o+ten usedintrodu#e spe#i?# exa"ples-

6. 9enants o+ the luxury apart"ent $uildingenJoy

"any a"enities.

7.&till other duties, li*e investigatinga##idents,

leave o+?#ers +ree o+ danger.

:or exa"ple:or instan#e

In addition:urther"ore

In parti#ular&o"e

;thers

8.In addition, the lo$$y has a dry #leaner, anA9>

"a#hine, and a #oee shop.

&enten#es and are the t(o topi#senten#es

$e#ause $oth "a*e an assertion a$out a general

su$Je#t.

9he supporting senten#es +or topi# senten#e , G'ot

all

poli#e duties are dangerous,H are senten#es 2, 5, and

.

9he supporting senten#es +or topi# senten#e ,

G9enants

o+ the luxury apart"ent $uilding enJoy "any

a"eni!

ties,H are the re"aining senten#es 1, 3,and 4.

<ereDs ho(they loo*asparagraphs-

'ot allpoli#eduties aredangerous.&o"eduties, li*e

(riting

reports,

have no

ris* at all.

;thers,

li*e tra+!

?# duty,oer very

little ris*. &till other duties, li*e

investigating a##idents, leave o+?#ers +ree o+ da



30

I+ youDre having trou$le ?nding the "ain ideaa paragraph, you "ight try eli"inating the sente

that you *no( #ontain supporting eviden#e.

Summar y

'o( you #an ans(er the last Fuestion/the why .is the (riterDs "otive BhatDs the "ain idea he o

(ants to #onvey y ?nding the senten#e that "an

assertion a$out the su$Je#t o+ the paragraph and

en#o"passes the other senten#es in the paragra

you

#an un#over the authorDs "otive.





I

I

A paragraph, by definition, is a group of sentences about the same idea. As you read today and the rest

of the week, notice how texts are divided into paragraphs. What idea holds each paragraph together?

Can you identify any topic sentences?Formulate topic sentences about things that you come across in your day. Make assertions about these

people, places, and things. For example, you may eat in the cafeteria every day. Make an assertion about

it: “This cafeteria needs remodeling,” for example. Or, make an assertion about a coworker: “June is a

very hard worker,” you might say. Then, support your assertions. What “evidence” could you supply

for your paragraph? Why do you say the cafeteria needs remodeling? Is there paint peeling off the walls?

Is it still decorated 60s style? Is it not wheelchair accessible? What evidence do you have that June is

a hard worker? Is she always at her computer? Does she ask informed questions in staff meetings?

Does she look like she needs more sleep?

31



L E S S O N

3e?ning@o#a$ularyin Context

LESSON SUMMARYAn active reader looks up unfamiliar words. But what if you don’t have

a dictionary? In a testing situation (or, for that matter, if you’re reading

on the bus), you almost certainly won’t be able to look up words you

don’t know. Instead, you can use the context to help you determine the

meaning.

o"eti"es in your reading, you #o"e a#ross (ords or phrases that are un+a"iliar to you. )"ight

$e lu#*y and have a di#tionary handy to loo* up that (ord or phrase, $ut (hat i+ you donDt

#an you understand (hat youDre reading i+ you donDt *no( (hat all o+ the (ords

"ean 9he

ans(er is that you #an use the rest o+ the passage, the conte=t, to help you understand the

(ords.



–DEFINING VOCABULARY IN CONTEXT–

Finding Meaning from Context

9he +ollo(ing paragraph is a$out one o+ our nationDs +avorite pasti"es, reality 9@. ead it #are+u"ar*ing it

up as you go/$ut do ';9 loo* up any un+a"iliar (ords or phrases in a di#tionary.

>ost reality 9@ sho(s #enter on t(o #o""on "otivators- +a"e and "oney. 9hesho(s trans+or" (aitresses, hairdressers, invest"ent $an*ers, #ounselors, and

tea#hers, to na"e a +e(, +ro" o$s#ure ?gures to household na"es. A lu#*y +e(

su##ess+ully parlay their 15 "inutes o+ +a"e into #ele$rity. Even i+ you are not

interested in +a"e, you #an pro$a$ly understand the desire +or lots o+ "oney.

Bat#hing people eat large inse#ts, reveal their inner"ost thoughts to "illions o+

people, and allo( the"selves to $e ?l"ed 2 hours a day +or a huge ?nan#ial

re(ard "a*es +or interesting vie(ing. Bhatever their attra#tion, these sho(s are

a"ong the "ost popular on television, and every season, they proli+erate li*e(eeds in an untended garden. 9he net(or*s are Fui#*ly repla#ing "ore tradi!

tional dra"as and #o"edies (ith reality 9@ progra"s, (hi#h earn "illions in

advertising revenue. Bhether you love it or hate it, one thing is +or sure/reality

9@ is here to stay

As you read, you "ay have #ir#led so"e(ords

that are un+a"iliar. id you #ir#le obscure and

prolif*

erate I+ so, donDt loo* the" up in a di#tionary yet.

I+ you do a little dete#tive (or*, you #an deter"ine

their

de?nitions $y loo*ing #are+ully at ho( they are

used

in the paragraph.

What Does Obscure Mean?

&tart (ith obscure. <o( is this (ord used

9he sho(s trans+or" (aitresses,hairdressers,

invest"ent $an*ers, #ounselors, and tea#hers,

to

na"e a +e(, +ro" obscure ?gures to

household

na"es.

Even i+ you have no idea (hat obscure "eans,

you #an still learn a$out the (ord $y ho( it is used,

$yexa"ining the (ords and ideas surrounding it. 9his

is

34



ed deter"ining (ord "eaning through conte=t

dete#tives loo*ing +or #lues at a #ri"e s#ene,

t loo* at the passage +or #lues that (ill help us

ne this (ord.

&o, given the senten#e (e have here, (hat #an

(e

a$out obscure Bell, sin#e the sho(s trans+or"

resses, hairdressers, invest"ent $an*ers, #oun!

rs, and tea#hers +ro" one position/obscure

?g

ur

es,

to

an

ot

he

r

po

siti

on/household na"es, that i""edi!

ately tells us that an obscure ?gure and a househ

na"e are t(o dierent things.

:urther"ore, (e *no( +ro" the senten#e tha

the people in Fuestion are involved in typi#al, ev

Jo$s 7(aitresses, hairdressers, $an*ers, et#.8 and

+ro" this position, they are trans+or"ed into hou

hold na"es, (hi#h "eans they a#hieve so"e lev

+a"e and notoriety. 'o( you #an ta*e a pretty go

guess at the "eaning o+ obscure




1.e+ore they $e#o"e household na"es,the

(aitresses, hairdressers, invest"ent

$an*ers,

#ounselors, and tea#hers area. +a"ous and notorious.

b. un*no(n and undistinguished.

c. uniFue and distin#tive.

What Does Proliferate Mean?

Loo* again at the senten#e in the passage in

proliferate is used-

Bhatever their attra#tion, these sho(s area"ongthe "ost popular on television, and every s

they proliferate li*e (eeds in an untended

garden.

9he #orre#t ans(er, o+ #ourse, is b. It #ertainly

#anDt $e a, $e#ause (e *no( that these people are

not

yet +a"ous. 9he reality sho(s (ill "a*e the"

+a"ous,

$ut until that happens, they re"ain obscure Ans(er

c

doesnDt really "a*e sense $e#ause (e *no( +ro"

the

passage that these people are (aitresses,

hairdressers,

invest"ent $an*ers, #ounselors, and tea#hers.

'o(,

these are all very respe#ta$le Jo$s, $ut they are

+airly

#o""on, so they (ouldnDt $e des#ri$ed as uniFue

or

distin#tive. :urther"ore, (e #an tell that b is the

#or!

re#t ans(er $e#ause (e #an su$stitute the (ord

o$s#ure

(ith the (ord unknown or undistinguished in the sen!

ten#e and $oth (ould "a*e sense.

Review: Finding Facts

<ereDs a Fui#* revie( o+ (hat you learned in Lesson1.

eality 9@ has the a$ility to ta*e ordinary people

and

"a*e the" +a"ous. <o(ever, another reason

people

parti#ipate in reality 9@ sho(s is

2.a. +or "oney.b. $e#ause they +eel lu#*y.

c. $e#ause they are $ored.

A Fui#* #he#* o+the +a#ts in theparagraph (illtell you

theans(er is

a

"oney.



A

g

ai

n,

e

v

e

n

i+

y

ou

h

a

v

e

n

o

id

e

a

(h

a

t

p

r

o

li

f

e

r a

t

e

"

ea

ns

,

yo

u

#a

n

sti

ll

tel

l

(

hat *ind o+ (ord it is $y the

(ay it is used. )ou *no(, +or exa"ple, that the

sho(s

proli+erate li*e (eeds in an untended garden.

9here+ore,

you #an ans(er this Fuestion-

3.roli+erate is a (ord asso#iated (itha. gro(th.

b. redu#tion.

c. disappearan#e.

9he ans(er, o+ #ourse, is gro(th. <o( #atell Bell, (e all *no( that (eeds have a tend

to

gro( (herever they #an.

'o( that youDve esta$lished that prolifera

relates

to gro(th, you #an deter"ine a "ore spe#i?#

"eaning

$y loo*ing +or "ore #lues in the senten#e. 9hesenten#e

doesnDt only tell us that these sho(s prolifera

(eeds. It also tells us that they proliferate li*e

(eeds in

an untended garden. Oust i"agine a negle#ted

garden,

one that has $een le+t to its o(n devi#es. Bee

$egin to gro( in every noo* and #ranny o+ tha

garden.

In +a#t, theyDll Fui#*ly ta*e over, to the detri"the

plants. 9he phrase G(eeds in an untended gar

is

Fuite des#riptive, and as su#h, it serves as a

(onder+ul

#lue. ased on the (ords and phrases surroun

it,

an a#tive reader should have no pro$le"

deter"ining

the "eaning o+ the (ord proliferate.

4.Proliferate in this passage "eansa. de#rease, shrin*.

b. underesti"ate, play do(n.

c. in#rease, spread at a rapid rate.

d. +ail, +all short.




9he #orre#t ans(er, o+ #ourse, is c,Gin#rease,

spread at a rapid rate.H It #anDt $e a or d $e#ause

these

are things asso#iated (ith redu#tion, not gro(th.And

everyone *no(s that (eeds in an untended garden

(ill

gro( +ast and aggressively. And b is not an

appropriate

ans(er $e#ause i+ you repla#e proliferate (ith

underes!

ti"ate or play do(n, it doesnDt really "a*e sense.

In

addition, you #an tell that c is the right ans(er

$e#ause

the rest o+ the passage provides other #lues. It tells

you

that reality 9@ sho(s are repla#ing other net(or*

pro!

gra"s, it tells you that they are popular, and it tells

you

that they are earning "illions o+ dollars in

advertising

revenue. All these #lues (ould indi#ate that reality

9@

sho(s are spreading and gro(ing in nu"$er, not

shrin*ing or de#lining. <en#e, the "eaning o+

prolif*

erate "ust $e c, Gin#rease, spread at a rapid

rate.H

How Much Context Do You Need?

In the previous exa"ple, you (ould still $e a$letounderstand the "ain "essage o+ the passage even i+

you

didnDt *no(/or #ouldnDt ?gure out/the "eaning o+

obscure and proliferate. In so"e #ases, ho(ever,

your

understanding o+ a passage depends on your

under!

standing o+ a parti#ular (ord or phrase. Can

youunderstand the +ollo(ing senten#e, +or exa"ple,

(ith!

out

*no(in

g (hat

advers

ely

"eans

eality 9@sho(s (illadversely ae#ttraditionaldra"as

and

#o"edie

s.

Bhat doesadversely "ean in thissenten#e Isitso"ethin

g good

or $ad

As good

a

dete#tive

as you

"ay

$e, there

si"ply

arenDt

enough

#lues in

this

senten#e

to

tell you

(hat this

(ord

"eans.

0ut a

passage

(ith

"ore

in+or"at

ion (illgive you

(hat you need to deter"ine

"eaning +ro" #ontext.



36

eality 9@ sho(s (ill adversely ae#t traditiodra"as and #o"edies. As reality 9@ in#reases in

ularity, net(or* exe#utives (ill $egin #an#eling "

traditional dra"as and #o"edies and repla#ing t

(ith the latest in reality 9@.

5.In the passage, adversely "ost nearly "eansa. "ildly, slightly.

b. *indly, gently.c. negatively, un+avora$ly.

d. i""ediately, s(i+tly.

9he #orre#t ans(er is c, Gnegatively, un+avor 9he passage provides #lues that allo( you to det

"ine the "eaning o+ adversely . It tells you that a

ity 9@ $e#o"es "ore popular, net(or* exe#utive

#an#el "ore traditional dra"as and #o"edies an

repla#e the" (ith reality 9@ progra""ing. &o th

"eaning o+ adversely is neither a, G"ild or slightb, G*indly or gently.H And $ased on the passage,

#anDt really tell i+ these #hanges (ill $e i""ediat

s(i+t 7d8 $e#ause the senten#e doesnDt say anyth

a$out the exa#t ti"e +ra"e in (hi#h these #hang

(ill o##ur. e"e"$er, good dete#tives donDt "a*

assu"ptions they #anDt support (ith +a#tsK and th

are

no +a#ts in this senten#e to support the assu"pti

that #hanges (ill o##ur i""ediately. 9hus, c is th

ans(er. )ou "ay also have noti#ed that adversely is

si"ilar to adversary . And i+ you *no( that an

adversary

is a hostile opponent or ene"y, then you *no( th

adversely #annot $e so"ething positive. ;r, i+ yo

*no(

the (ord adversity /hardship or "is+ortune/the

you *no( that adversely "ust "ean so"ething n

tive or di+?#ult. All these (ords share the sa"e ro

advers. ;nly the endings #hange.




Practice

ead the +ollo(ing passages and deter"ine the

"ean!

ing o+ the (ords +ro" their #ontext. 9he ans(ers

appeari""ediately a+ter the Fuestions.

Although so#ial (or* is not a parti#ularly lucrative

#areer, I (ouldnDt do anything else. Qno(ing ID"

helping others is +ar "ore i"portant to "e than

"oney.

6.Lucrative "eans.

a. highly pro?ta$le.b. highly re(arding.

c. highly ex#iting.

Answers

6.a. 9he (riter says "oney is not i"portant hi". I+ "oney is not an issue, it is o*ay so#ial (or* is not highly pro"table, that

doesnDt earn a lot o+ "oney.7.c. &hi+ting, sha*ing, and stuttering are all

obvious, not hidden signs o+ nervousne 9hey are not b su$tle or suggestiveK anthough they "ay "a*e the intervie(eea

e"$arrassed or a(*(ard, the signs theselves are not e"$arrassing or a(*(ar

8.b. e#ause the (riter hadnDt eaten sin#e $+ast, she is e=tremely hungry, greedy fo

food

&he "ay also $e c exhausted, $ut the#ontexttells us that this (ord has so"ething to(ith eating.

Bhen you are in an intervie(, try not to sho( any

overt signs that you are nervous. onDt shi+t in your

#hair, sha*e, or stutter.

7.;vert "eans.

a. e"$arrassing, a(*(ard.

b. su$tle, suggestive.

c. o$vious, not hidden.

y the ti"e our sta "eeting ended at 4-00, I(as

ravenous. I had s*ipped lun#h and hadnDt eaten

sin#e

Summar y

9he a$ility to deter"ine the "eaning o+ un+a"(ords +ro" their #ontext is an essential s*ill +

read!

ing #o"prehension. &o"eti"es, there (ill $e

"iliar (ords (hose "eaning you #anDt deter"

(ithout a di#tionary. ut "ore o+ten than not,

#are!

+ul loo* at the #ontext (ill give you enough #l

"eaning.

$rea*+ast.

8.&avenous "eansa. li*e a raven, $ird!li*e.

b. extre"ely hungry, greedy +or +ood.c. exhausted, ready +or $ed.


I

I

Circle any unfamiliar words you come across today and the rest of the week. Instead of looking them

up in a dictionary, try to figure out the meanings of these words from their context. Then, look them up

in a dictionary to make sure you are correct.

Begin a vocabulary list of the words you look up as you work your way through this book. Many peo-

ple feel insecure about their reading and writing skills because they have a limited vocabulary. The more

words you know, the easier it will be to understand what others are saying and to express what you have

to say. By writing down these new words, you’ll help seal them in your memory.



37



L E S S O N

9he ieren#e$et(een :a#tand ;pinion

LESSON SUMMARYTo make sense of what you read, you must be able to tell whether

you’re reading fact or opinion. This lesson tells you how to distinguish

what someone knows for certain from what someone believes.

hatDs the dieren#e $et(een +a#t and opinion, and (hat does it "atter, any(ay It "agreat

deal, espe#ially (hen it #o"es to reading #o"prehension.

uring your li+e, youDll $e exposed to a (ide variety o+ literature, ranging +

analyti!

#al arti#les $ased on #old hard +a#ts to ?#tional novels that arise (holly +ro" the authorDs i"agination.

<o(ever,

"u#h o+ (hat you read (ill $e a "ixture o+ +a#ts and the authorDs opinions. art o+ $e#o"ing a #riti#al r

"eansrealiing that opinions are not eviden#eK +or opinions to $e valid, they "ust $e supported $y #o

hard +a#ts.

-acts are-

I

I

I

I

I

I

9hings known +or #ertain to have happened

9hings known +or #ertain to $e true

9hings known +or #ertain to exist

4pinions, on the other hand, are-

9hings believed to have happened 9hings believed to $e true



gs

eved to

t

39

W



–THE DIFFERENCE BETWEEN FACT AND OPINION –

As you #an see, the *ey dieren#e $et(een+a#t

and opinion lies in the dieren#e $et(een

believing

and knowing. ;pinions "ay $e $ased on +a#ts, $utthey

are still (hat (e think , not (hat (e know. ;pinions

are

de$ata$leK +a#ts are not.

(ith +a#ts a$out ho( Oa"es treats his e"ployeesthat paragraph is "u#h "ore ee#tive than so"e

li*e this-

Oa"es is a terri$le $oss. I really donDt li*e hi". Just

#anDt get along (ith people. And he has stupid

a$out politi#s.

Using Facts to Support OpinionsBhy is the ?rst paragraph so "u#h $etter

&easonable opinions are those based on fact) and

indeed,that is (hat "u#h o+ (riting is- the (riterDs opinion

7an

assertion a$out his or her su$Je#t8 supported $y

+a#ts

or other eviden#e.

9hin* a$out the topi# senten#es you +or"ed

a+ter

you ?nished Lesson 2. erhaps you "ade an

assertion

li*e this-

Oa"es is a terri?# $oss.

9his senten#e is a good topi# senten#eK itDs an

assertion a$out the su$Je#t, Oa"es. And it is also

an

opinion. It is, a+ter all, de$ata$leK so"eone #ould

Just

as easily ta*e the opposite position and say-

Oa"es is a terri$le $oss.

9his is another good topi# senten#e, and itDs

another opinion. 'o(, a good (riter (ill sho( his

or

her readers that this opinion is valid $y supporting

it

e#ause itDs not Just opinion. ItDs opinion support

eviden#e. 9he se#ond paragraph is all opinion. Ev

senten#e is de$ata$leK every senten#e tells us (

the

author believes is true, $ut not (hat is known to

true. 9he author o+ the se#ond paragraph doesnDt

vide any eviden#e to support (hy he or she thin*

Oa"es is su#h a lousy $oss. As a result, (eDre not

to ta*e his or her opinion very seriously.

In the ?rst paragraph, on the other hand, the

(riter oers #on#rete eviden#e +or (hy he or she

believes Oa"es is a great $oss. A+ter the initial op

the (riter provides +a#ts/spe#i?# things Oa"es d

7(hi#h #an $e veri?ed $y other o$servers8 that "

hi" a good $oss. )ou "ay still not agree that Oa"

a great $oss, $ut at least you #an see exa#tly (h

(riter thin*s so.

Distinguishing Fact fromOpinion

(ith +a#ts. :or exa"ple-

Bhen you read a#ade"i# "aterials, very o+ten y

Oa"es is a terri?# $oss. <e al(ays as*s us ho(

(eDredoing. <e lets us leave early or #o"e in late (hen

(e

have tota*e #are

o+ our #hildren. <e al(ays gives

holiday $onuses. And he oers tuition rei"$u"ent +or any #ourse, even i+ it has nothing to do



our position.

'oti#e ho( the topi# senten#e states anopinion,

(hereas the rest o+ the senten#es support that

opinion

40

have to distinguish $et(een +a#t and opinion/

$et(een (hat the (riter thin*s and ho( the (rit

supports (hat he or she thin*s, $et(een (hat is

proven

to $e true and (hat needs to $e proved.

A good test +or (hether so"ething is a +a#t o

opinion "ight $e to as* yoursel+, GCan this state"

$e de$ated Is this *no(n +or #ertain to $e true

you

ans(er yes to the ?rst Fuestion, you have an opi

i+

you ans(er yes to the se#ond, you have a +a#t.




Practice 1

9ry these Fuestions on the +ollo(ing state"ents.

ead

the" #are+ully, and then (rite : in the $lan* i+ the

state"ent is a +a#t and ; i+ it is an opinion. 9heans(ers

appear right a+ter the Fuestions.

Answers

1.:a#t

2.;pinion

3.;pinion

4.:a#t

5.;pinion

1. 9he A#ade"y A(ards honor the ?l"

industry.

2. 9he A#ade"y A(ards are al(ays +unto

(at#h.

3.>ore independent ?l"s should (inA#ade"y A(ards.

Practice 2

'o( try the sa"e exer#ise (ith a #o"plete

paragraph.

%nderline the +a#ts and use a highlighter or #o

pen

to highlight the opinions. e #are+ul/you "ay+a#t and opinion together in the sa"e senten#

Bhen

youDve ?nished, you #an #he#* your ans(ers

against the

"ar*ed passage that +ollo(s.

4. 9he A#ade"y A(ards are an annualevent.

5.est dire#tor is the "ost interestingA#ade"y A(ard #ategory.

9here are "any dierent (ays to invest your "oney to provide +or a ?nan#iallse#ure +uture. >any people invest in sto#*s and $onds, $ut I thin* good old!

+ashioned savings a##ounts and Cs 7#erti?#ates o+ deposit8 are the $est (ay

invest your hard!earned "oney. &to#*s and $onds are o+ten ris*y, and it doesn

"a*e sense to ris* losing the "oney youDve (or*ed so hard +or. 9rue, regular s

ings a##ounts and Cs #anDt "a*e you a "illionaire overnight or provide the h

returns so"e sto#* invest"ents do. ut $y the sa"e to*en, savings a##ounts Cs are +ully insured and provide steady, se#ure interest on your "oney. 9hat

"a*es a (hole lot o+ #ents.



41




Answers

<o( did you do Bas it easy to distinguish $et(een the +a#ts and the opinions <ereDs (hat your "ar*ed!

sage should loo* li*e. 9he +a#ts are underlined and the opinions are in $old+a#e type.

9here are "any dierent (ays to invest your "oney to provide +or a ?nan#iallyse#ure +uture. >any people invest in sto#*s and $onds, but % tin5 good old)

fasioned savings accounts and C6s (certi7cates of deposit" are te bes

to invest !our ard)earned mone!. &to#*s and $onds are o+ten ris*y, and it

doesn$t ma5e sense to ris5 losing te mone! !ou$ve or5ed so ard for.

regular savings a##ounts and Cs #anDt "a*e you a "illionaire overnight or

provide the high returns so"e sto#* invest"ents do. ut $y the sa"e to*en,

savings a##ounts and Cs are +ully insured and provide steady, se#ure interest

on your "oney. &at ma5es a ole lot of cents.

Practice 3 9o strengthen your a$ility to distinguish $et(een

+a#t

'o( you try. &uggested ans(ers #o"e a+ter Fuestions.

and opinion, try this. 9a*e a +a#t, su#h as-

6.-AC&- Healthcare costs have risen over the la

-AC&' !ednesday is the fourth day of the

week

'o(, turn it into an opinion. >a*e it so"ethingde$ata$le, li*e this-

48%9%49' !ednesday is the longest day of theweek

<ereDs another exa"ple.

-AC&' ?ou must be 17 years old to vote in the$nited

+tates

48%9%49- %he voting age should be lowered to 1' years

of age

42

several years

48%9%49'

7.-AC&' %he <<nd 6mendment of the $nited +t

4onstitution establishes a two*term limit

for the presidency

48%9%49'

8.-AC&' -ore than B7,::: 6mericans lost their

in the @ietnam !ar

48%9%49'



43



L E S S O N

: utting It All 9ogether

LESSON SUMMARYThis lesson reviews what you learned in Lessons 1–4: getting the

facts, finding the main idea, determining what words mean in context,

and distinguishing between fact and opinion. In this lesson, you’ll get

vital practice in using all four skills at once.

n order to solve a #ri"e, a dete#tive #annot Aust get the +a#ts o+ the #ase, Aust dis#over the "otivde#i!

pher di+?#ult #lues, or Aust distinguish $et(een +a#t and opinion. 9o $e su##ess+ul, a dete#tive "u

all

these things at the sa"e ti"e. &i"ilarly, reading really #anDt $e $ro*en do(n into these separate

ead!

ing #o"prehension #o"es +ro" e"ploying all these strategies si"ultaneously. 9his lesson gives you th

oppor!

tunity to #o"$ine these strategies and ta*e your reading #o"prehension s*ills to the next l



45

I



–PUTTING IT ALL TOGETHER –

Review: What You ’veLearned so Far

$e true. )ou pra#ti#ed distinguishing $et(een tt(o and sa( ho( good paragraphs use +a#ts to

support opinions.

9hese are the strategies you studied in the past +our

lessons-If any of these terms or strategies sound

I

I

I

I

0esson 1' -ind te facts in at !ou

read. )ou

pra#ti#ed loo*ing +or the $asi# in+or"ation that

(as $eing #onveyed in the paragraphs- the (ho,

(hat, (hen, (here, and ho(.

0esson 2' -ind te main idea. )ou learned

a$out

topi# senten#es and ho( they express an

assertiona$out the su$Je#t o+ the paragraph. )ou sa( ho(

the "ain idea "ust $e general enough to

en#o"!

pass all other senten#es in the paragraphK it is

the

thought that #ontrols the paragraph, and the

other

senten#es (or* to support that "ain idea.

0esson 3' 6etermine te meaning of ords

fromcontext. )ou pra#ti#ed loo*ing +or #lues to

deter"ine "eaning in the (ords and senten#es

surrounding the un+a"iliar (ord or phrase.

0esson ' 6istinguis beteen fact and

opinion.

)ou learned that a +a#t is so"ething known to $e

true, (hereas an opinion is so"ething believed

to

unfamiliar to you, STOP. Take a few minutes

to review whatever lesson is unclear.

Practice

In this lesson, you (ill sharpen your reading #o"

hension s*ills $y using all o+ these strategies at o 9his (ill $e#o"e "ore natural to you as your rea

s*ills develop.

Practice Passage 1

egin $y loo*ing at the +ollo(ing paragraph. e"

$er to read a#tivelyK "ar* up the text as you go.

ans(er the Fuestions on the next page. An exa"

ho( to "ar* up the passage, as (ell as the ans(

the Fuestions, +ollo(.

It is #lear that the %nited &tates is a nation that needs to eat healthier and sli"do(n. ;ne o+ the "ost i"portant steps in the right dire#tion (ould $e +or s#hool

#a+eterias to provide healthy, lo(!+at options +or students. In every to(n and #ity,

an a$undan#e o+ +ast!+ood restaurants lure teenage #usto"ers (ith +ast, inex!

pensive, and tasty +ood, $ut these +oods are typi#ally unhealthy. %n+ortunately,

s#hool #a+eterias/in an eort to provide +ood that is appetiing to young

people/"i"i# +ast +ood "enus, o+ten serving ite"s su#h as $urgers and +ries,

pia, hot dogs, and +ried #hi#*en. Bhile these +oods do provide so"e nutritional

value, they are relatively high in +at. >any o+ the lun#h sele#tions s#hool #a+ete!

rias #urrently oer #ould $e "ade healthier (ith a +e( si"ple and inexpensive

su$stitutions. @eggie $urgers, +or exa"ple, oered alongside $ee+ $urgers, (ould



$e a positive addition. A salad $ar (ould also serve the purpose o+ providing a

healthy and satis+ying "eal. And tasty grilled #hi#*en sand(i#hes (ould $e a +ar

$etter option than +ried #hi#*en. Additionally, the $everage #ase should $e

sto#*ed (ith #ontainers o+ lo(!+at "il*.

46




1.Bhat is the su$Je#t o+ this passage

2.A##ording to the passage, (hi#h o+ the +ollo(ing

options (ould "a*e healthy, lo(!+at additions to

a s#hool #a+eteriaDs oerings 7Cir#le all #orre#tans(ers.8

a. to+u

b. veggie $urgers

c. lo(!+at "il*

d. +ries

e. salad $ar

f. grilled #hi#*en sand(i#hes

4.Bhi#h o+ the +ollo(ing $est su""aries th"ain idea o+ the passage

a. 9eenagers love to eat +ast +ood "ore th

any!

thing else.b. &#hool #a+eterias should serve veggie

$urgers.

c. &#hool #a+eterias should $e providing he

lo(!+at options +or students.

5. 9rue or :alse- G;ne o+ the "ost i"portant in the right dire#tion (ould $e +or s#hool #

rias to provide healthy, lo(!+at options +or

dentsH is a topi# senten#e.

g. stir!+ried vegeta$les6. 9rue or :alse- G;ne o+ the "ost i"portant

3. 9he "eaning o+ mimic is

a. reJe#t.

b. #opy.

in the right dire#tion (ould $e +or s#hool

#a+eterias to provide healthy, lo(!+at optio

studentsH is an opinion.

c. ignore.

d. disregard.

Marking Practice Passage 1

e+ore you #he#* the ans(ers, loo* again at the paragraph. id you "ar* it up I+ so, it "ay loo* so"e

li*e this-

It is #lear that the %nited &tates is a nation that needs to eat healthier and sli"do(n. ;ne o+ the "ost i"portant steps in the right dire#tion (ould $e +or

s#hool

#a+eterias to provide healthy, lo(!+at options +or students. In every to(n and

#ity,

an a$undan#e o+ +ast!+ood restaurants lure teenage #usto"ers (ith +ast,

inex!

pensive, and tasty +ood, $ut these +oods are typi#ally unhealthy.%n+ortunately,

"ain idea

to #opy

possi$le healthy

lo(!+at lun#h

options

s#hool #a+eterias/in an eort to provide +ood that is appetiing to

young

people/"i"i# +ast +ood "enus, o+ten serving ite"s su#h as $urgers and

+ries,

pia, hot dogs, and +ried #hi#*en. Bhile these +oods do provide so"e

nutritional

value, they are relatively high in +at. >any o+ the lun#h sele#tions s#hool

#a+ete!

rias #urrently oer #ould $e "ade healthier (ith a +e( si"ple and

inexpensive

su$stitutions. @egg

$urgers, +or exa"p

oered alongside $

$urgers, (ould

$e a positive addi

salad $ar (ould a

serve the purpose

providing a

healthy and satis+y

"eal. And tasty gr



en sand(i#hes (ould $e

er option than +ried

*en. Additionally, the

rage #ase should $e

*ed (ith #ontainers

o+ lo(!+at "il*.

47

high!+atlun#hoerings




Answers

1. 9he su$Je#t o+ the passage is healthier, low*fat

lunch options in school cafeterias. e"e"$er,

the

su$Je#t o+ a passage is (ho or (hat the passageis

a$out.

2.b c e f. 9hese results are all "entioned in

the

passage. 9o+u 7a8 and stir!+ried vegeta$les 7g8

are

$oth healthy, lo(!+at lun#h options, $ut they

are

not "entioned in the passage. :ries 7d8 are

"en!tioned, $ut they are not lo(!+at and are "en!

tioned as one o+ the unhealthy ite"s that

should

$e repla#ed.

e"e"$er, youDre loo*ing +or the +a#ts that

the

author has provided. It is extre"ely i"portant,

espe#ially in test situations, not to put in an

ans(er

that isnDt in the text. Logi# "ay tell you thatto+u

and stir!+ried vegeta$les are healthy, lo(!+at

lun#h

options, $ut the paragraph doesnDt tell you

this.

)ou need to sti#* to the +a#ts. Any assu"ption

that you "a*e a$out a passage "ust $e

grounded

in eviden#e +ound in that passage itsel+.

3.b. -imic "eans to #opy. 9he "ost o$vious

#lue is

4.c. Ans(er a is an assu"ption not $ased on athing (ritten in the passage. Ans(er b is too

spe#i?#/it is only one exa"ple o+ a healthy,

+at lun#h option that a s#hool #a+eteria #an se

;nly c is general and +a#tual enough to en#othe (hole paragraph.

5.&rue. 9his senten#e expresses the "ain idea

6.&rue. 9his senten#e is an opinion. It is de$at

&o"eone else "ight thin* that altering the "

in s#hool #a+eterias isnDt one o+ the "ost i"p

steps to $e ta*en in order to "a*e the %nited

&tates a healthier, sli""er nation. 9hey "igh

thin* that laun#hing a pu$li# servi#e ad #a"p

a$out the dangers o+ +ast +ood or i"ple"enti

"ore rigorous #lassroo" edu#ation a$out eathealthy is "ore i"portant than #hanging the

"enus o+ s#hool #a+eterias.

<o( did you do I+ you got all six ans(ers #o#ongratulations I+ you "issed one or "ore Fuest

#he#* the +ollo(ing ta$le to see (hi#h lessons to

revie(.

the (ay the (ord is used in the senten#e.

F$nfor*

tunately, school cafeteriasGin an eHort to

provide

food that is appeti5ing to young peopleGmimic

fast

food menus, often serving items such as burgers

and

fries, pi55a, hot dogs, and fried chickenI 0urgers

and

+ries, pia, hot dogs, and +ried #hi#*en are

all

+oods

served $y

+ast!+ood

restauran

ts, and i+

s#hool

#a+eteria

s are

alsoserving

those

+oods

, they

are

#learl

y

copyi

ng

+ast!

+ood"en

us, not reAecting

ignoring, or

disregarding t



48

IF YOU MISSED:

Question 1

Question 2

Question 3

Question 4

Question 5

Question 6

THEN STUDY:

Lesson 2

Lesson 1

Lesson 3

Lesson 2

Lesson 2

Lesson 4




Practice Passage 2

9ry one "ore paragraph to #on#lude this ?rst se#tion. ;n#e again, "ar* up the paragraph #are+ully and

ans(er

the Fuestions that +ollo(.

o$ert Oohnson is the $est $lues guitarist o+ all ti"e. 9here is little in+or"ationavaila$le a$out this legendary $lues guitarist, and the in+or"ation is as "u#h

ru"or as +a#t. Bhat is indisputa$le, ho(ever, is OohnsonDs tre"endous i"pa#t

on the (orld o+ ro#* and roll. &o"e #onsider Oohnson the +ather o+ "odern ro#*

<is inPuen#e extends to artists +ro" >uddy Baters to Led Weppelin, +ro" the

olling &tones to the All"an rothers and. Eri# Clapton has #alled Oohnson th

"ost i"portant $lues "usi#ian (ho ever lived. Considering his reputation, it is

hard to $elieve that Oohnson re#orded only 26 songs $e+ore his death in 1634,

portedly at the hands o+ a Jealous hus$and. <e (as only 2 years old, yet he le

an indeli$le "ar* on the "usi# (orld. Again and again, #onte"porary ro#*

artists return to Oohnson, (hose songs #apture the very essen#e o+ the $lues,

trans+or"ing our pain and suering (ith the healing "agi# o+ his guitar. o#*

"usi# (ouldnDt $e (hat it is today (ithout o$ert Oohnson.

7.A##ording to the passage, +ro" (hat"usi#al

tradition did o$ert Oohnson e"erge

a. ro#* and roll

b. Ja

11./ndelible "eansa. per"anent, i"possi$le to re"ove.

b. Peeting, $rie+.

c. trou$ling, distur$ing.

c. $lues

12. 9he "ain idea o+ this paragraph is $est

expressed

8. Oohnson died in

a. 162.

b. 1634.

c. 1626.

9. 9rue or :alse- Oohnson inPuen#ed "any ro#*

artists, in#luding Led Weppelin and theolling

&tones.

10. OohnsonDs #ause o+ death (asa. heart atta#*.

b. old age.

c. "urder.

49



n (hi#h senten#e in the paragraph

ndi#ate (hether the +ollo(ing senten#es are fact

or opinion-

a. Go$ert Oohnson is the $est $lues guitarist o+

all

ti

"

e.H

b

. GEri# Clapton has #alled Oohnson the "os

i"portant $lues "usi#ian (ho ever lived

c. Go#* "usi# (ouldnDt $e (hat it is today

(ithout o$ert Oohnson.H




Answers

7.c. &ee the ?rst and se#ond senten#es. 9he next!

to!

last senten#e also provides this

in+or"ation.8.b. &ee the sixth senten#e.

9.&rue. &ee the +ourth senten#e.

10.c. &ee the sixth senten#e.

11.a. permanent, impossible to remove 9here

are

several #ontext #lues. 9he third, +ourth, and

?+th

senten#es dis#uss OohnsonDs "aJor i"pa#t on

"usi#ians (ho have +ollo(ed hi". 9he next!

to!last senten#e also dis#usses the +a#t that

#onte"!

porary artists return to Oohnson again and

again.

Also, the senten#e that uses the (ord

indelible

states, G<e (as only 2 years old, yet he le+t

an

indeli$le "ar* on the "usi# (orld,H i"plying

that

12.&e tird sentence. 9he point o+ the (holesage, (hi#h is OohnsonDs i"pa#t on ro#* and r

is very #learly stated in the third senten#e, GB

is indisputa$le, ho(ever, is OohnsonDs tre"en

i"pa#t on the (orld o+ ro#* and roll.H13.Choi#e a is opinion. It is de$ata$le (hether

son is the $est $lues guitarist o+ all ti"e.

Choi#e b is fact. 9his is veri?a$le in+or"ation

Choi#e c is opinion $e#ause this is a de$ata

proposition.

<o( did you do this ti"e etter I+ you "issany Fuestions, this ti"e, you ?gure out (hi#h

Fuestions

#orrespond (ith (hi#h lessons. 9his (ill help you(ith (hat #ategories you "ost need help.

he le+t a lasting "ar* in spite o+ his young age.

9hese #lues "a*e it o$vious that 7b" Peeting, $rie+

and 7c" trou$ling, distur$ing are not the #orre#t

ans(ers.


I

I

Review the Skill Building sections from each lesson this week. Try any Skill Builders you haven’t

attempted.Write a paragraph about what you’ve learned in this section. Begin your paragraph with a clear topic

sentence, like: “I’ve learned several reading strategies since Lesson 1” or “I’ve learned that reading com-

prehension isn’t as difficult as I thought.” Then, write several sentences that support or explain your

assertion. Try to use at least one vocabulary word that you’ve learned in this section.



50



&tru#ture

o( that youDve #overed the $asi#s, you #an $egin to +o#us on spe#i?#reading #o"prehension strategy- stru#ture. <o( do (riters org

their

ideas

)ou "ight (ant to thin* o+ a (riter as an ar#hite#t. Every $uilding has

nu"$er o+ roo"s. ut ho( these roo"s are arranged is up to the ar#hite#t. 9he sa"e goes +o

pie#e

o+ (riting/ho( the senten#es and ideas are arranged is entirely up to the (

<o(!

ever, "ost ar#hite#ts/and "ost (riters/generally +ollo( #ertain patterns,

$e#ause

they #anDt thin* on their o(n, $ut $e#ause these patterns (or*. In this se#tion, you

study

+our organiational patterns that (or* +or (riters-

1.

2.

3.

.

Chronologi#al order;rder o+ i"portan#e

Co"pare and #ontrast

Cause and ee#t

)ouDll learn to re#ognie these patterns and so"e o+ the reasons (hy (riters the".



L E S S O N

;&tart +ro" theeginning-Chronologi#al

;rderLESSON SUMMARYThis lesson focuses on one of the simplest structures writers use:

chronological order, or arrangement of events by the order in which they

occured.

here are "any (ays to tell a story. &o"e stories start in the "iddle and Pash $a#*(ard to th$egin!

ningK a +e( start at the end and tell the story in reverse. ut "ost o+ the ti"e, stor

start at the

$eginning. Briters o+ten $egin (ith (hat happened ?rst and then tell (hat happened next,

next,

and so on, until the end. Bhen (riters tell a story in this order, +ro" $eginning to end in the order in (

things

happened, they are telling it in chronological order. 4hronology is the arrange"ent o+ events in the ord

(hi#h

they o##urred.



53

T



–START FROM THE BEGINNING: CHRONOLOGICAL ORDER –

Chronology and Transitions E"ployee. :inally, resident Lu#as ended the #

"ony $y giving everyone a $onus #he#* +or X1

>u#h o+ (hat you read is arranged in #hronologi#al

order. 'e(spaper and "againe arti#les, "inutes

o+ "eetings, explanations o+ pro#edures, and so on

are

usually arranged this (ay. :or exa"ple, loo* at the

+ol!

lo(ing paragraph that "ight $e +ound in a

#o"pany

ne(sletter-

9his yearDs e"ployee a(ard #ere"ony (as a

tre"en!dous su##ess. 9he ?rst a(ard (as given to Carlos

:e

+or er+e#t Attendan#e. 9he se#ond a(ard, +or

>ost

edi#ated E"ployee, (ent to Oenni+er &teele.

9hen,

our president, >artin Lu#as, interrupted the

a(ards

#ere"ony to announ#e that he and his (i+e

(ere

having a $a$y. Bhen he ?nished, everyone stood

up

+or a #ongratulatory toast. A+ter(ard, the

third

a(ard (as given to Qaren <unt +or >ost Inspiring

E"ployee. :inally, resident Lu#as ended the

#ere!

"ony $y giving everyone a $onus #he#* +or

X100.

)ouDll noti#e that this paragraph tells (hathap!

pened at the #ere"ony +ro" start to ?nish. )ouDll

also

noti#e that you #an tell the order in (hi#h things

hap!

pened in t(o (ays. :irst, you #an tell $y the order o+

the

senten#es the"selves/?rst things ?rst, last things

last.

&e#ond, you #an tell $y the use o+ transitional wordsand

phrases

(hi#hsignal a

shi+t

+ro"

one idea

to the

next.

<ere is

the

sa"e

paragraph (ith

the

transitio

nal

(ords

underli

ned-

9his yearDse"ployeea(ard#ere"ony(as atre"en!dous

su##ess.

9he ?rst

a(ard (as

given to

Carlos :e

+or er+e#t

Attendan#e. 9he

se#ond

a(ard, +or

>ost

edi#ated

E"ployee,

(ent to

Oenni+er

&teele.

9hen,our

president, >artin Lu#as, interrupted the a(ard

#ere"ony to announ#e that he and his (i+e having a $a$y. Bhen he ?nished, everyone stoo

+or a #ongratulatory toast. A+ter(ard, the t

a(ard (as given to Qaren <unt +or >ost Inspi



54

9he underlined (ords/"rst, second, then, w

afterward, third, and "nally /are transitional (or

that *eep these events lin*ed together in #hrono

order. Loo* at ho( the paragraph sounds (ithout

(ords-

9his yearDs e"ployee a(ard #ere"ony (as atre"en!dous su##ess. 9he a(ard (as given to Carlos :

er+e#t Attendan#e. 9he a(ard +or >ost edi#a

E"ployee (ent to Oenni+er &teele. ;ur presiden>artin Lu#as, interrupted the a(ards #ere"ony

announ#e that he and his (i+e (ere having a $

<e ?nishedK everyone stood up +or a #ongratul

tory toast. 9he a(ard (as given to Qaren <unt

>ost Inspiring E"ployee. resident Lu#as ende

the #ere"ony $y giving everyone a $onus #he#

+or X100.

It doesnDt sound Fuite as good, does it

Practice with TransitionalWords and Phrases

Practice Passage 1

<ereDs a "ore extre"e exa"ple o+ a paragraph (

the

transitional (ords and phrases o"itted-

I (ent to (or* early to get so"e extra ?ling dogot thereK the phone started ringing. >y $oss (

in. <e as*ed "e to type a letter +or hi". <e as

"e

to "a*e arrange"ents +or a #lient to stay in to

overnight. I loo*ed at "y (at#hK it (as already

11-00.

'o(, ta*e the paragraph and add the +ollo(itransitional (ords and phrases-



$elo( the li"it.

In order to open a "oney "ar*eta##ount, you should +ollo( several

steps.

9hen you should shop around +or the$est ter"s and yields availa$le.

:inally, on#e the a##ount is opened andyou are earning interest, you should

#onsider using that interest to pay o

outstanding #redit #ard de$t.

:irst, you should de#ide (hat +eaturesare i"portant to you.

wers

should have nu"$ered the $lan*s in this order- 5,

, 3, , 2. <ereDs ho( the senten#es loo* together in

a

pa

ra

gr

ap

h.

In orderto open a

"oney "ar*et a##ount, youshould +ollo( several steps. :irst, you shoul

de#ide

(hat +eatures are i"portant to you. 9hen y

should

shop around +or the $est ter"s and yields

availa$le.

A+ter youDve +ound the $est ter"s, $e sure t

out

(hat the "ini"u" a##ount $alan#e is and

(hatthe penalties are i+ your a##ount drops $elo

li"it. I+ the penalty stru#ture is to your li*in

"a*e

sure that the "oney "ar*et a##ount is :IC

insured. :inally, on#e the a##ount is opened

you are earning interest, you should #onsid

using

that interest to pay o outstanding #redit #

de$t.




Practice Passage 3

ead the +ollo(ing paragraph, (hi#h des#ri$es a lo#al #o""unity event.

9he International inner raised X15,000 to renovate the er*shire ar* Co"!"unity Center. 9hree!hundred and ?+ty people attended the dinner, (hi#h (as

held in the $allroo" o+ a lo#al hotel. 9i#*ets (ere sold in advan#e +or X50 ea#h.

9he attendees le+t the event +eeling very good a$out their #o""unity. 9he er*!

shire ar* Co""unity Center (as da"aged in a ?re six "onths ago. An ener!

geti# #o""ittee o+ eight #o""unity "e"$ers #a"e up (ith the idea o+ the

International inner to raise +unds to repair the da"ages. 9he plan (as to #el!

e$rate the diversity o+ the er*shire ar* 'eigh$orhood Asso#iation $y serving

ethni# +ood that represents the various #ultures in the neigh$orhood. 9he #o"!

"ittee also organied a silent au#tion (ith pries donated $y lo#al $usinesses to

ta*e pla#e during the dinner. 9he #o""ittee #hairperson tal*ed to a lo#al ne(s!paper reporter at the dinner and stated that the goal (as to raise X10,000. A

+ollo(!up letter to #o""unity "e"$ers than*ed everyone +or the huge su##ess

o+ the +undraiser and outlined a s#hedule +or the renovation.

'oti#e that this paragraph is not arranged in

#hronologi#al order. 9a*e the ten dierent events

that

"a*e up the story and rearrange the" so that they

are

in #hronologi#al order.<ereDs the order o+ events as they are presented

in

the story.

I

I

I

9he Co""unity Center (as da"aged in a ?re "onths ago.

A #o""ittee o+ eight #o""unity "e"$ers #a"

up (ith the idea o+ the International inner to

raise +unds +or repairs.

9he plan (as to serve +oods that represent theious #ultures in the neigh$orhood.

I

I

I

I

9he International inner raised X15,000 to reno!

vate the er*shire ar* Co""unity Center.

9hree!hundred and ?+ty people attended

the

dinner.

9i#*ets (ere sold +or X50 ea#h.

9he attendees le+t the event +eeling very

good

I

I

I

9he #o""ittee organied a silent au#tion to ta

pla#e during the dinner.

9he #hairperson tal*ed to a lo#al ne(spaper

reporter stating the goal (as to raise X10,000.

A letter to #o""unity "e"$ers than*ed every

and outlined the s#hedule +or renovation.

a$out their #o""unity.



56




1.

'o( put the events in #hronologi#alorder.

Brite your paragraph, putting the events#hronologi#al order (ith transitional phrases,

or

on a separate pie#e o+ paper.

2.

3.

4.

5.

6.

7.

8.

Answers

9.

10.

'o(, ta*e these #hronologi#ally orderedevents

and "a*e the" into a #ohesive paragraph. 9o do

this,

you need to add transitional (ords and phrases.

<ere

is a list o+ transitional (ords and phrases o+ten used

in

#hronologi#ally organied passages-

9here are, o+ #ourse, "any possi$le (ays o+ u

tran!

sitional (ords and phrases to put this story in

#hrono!

logi#al order. ;ne paragraph "ight loo* li*e t

9he er*shire ar* Co""unity Center (as aged in a ?re six "onths ago. &oon a+ter, a

#o""it!

tee o+ eight #o""unity "e"$ers #a"e up

the

idea o+ an International inner to raise +und

repair the da"ages. 9he plan (as to serve

that

?rst

se#ondthird

next

no(

then

(hen

as soon as

i""ediately

suddenly

soon

a+ter$e+ore

during

(hile

"ean(hile

in the "eanti"e

at last

eventually

?nally

57



esent the various #ultures in

neigh$orhood.

ddition, the #o""ittee

anied a silent au#!

to ta*e pla#e during the dinner.

ore the event,

ets (ere sold +or X50 ea#h.

ng the dinner, the

#o""ittee

#hairperson tal*ed

to a lo#al

ne(spaper

reported and

stated that the goal

(as to raise

X10,000. 9hree!

hun

dred

and

?+ty

peop

le

atte

nde

d

the event (hi#h raised X15,000. Bhen the

attendees

le+t the event, they +elt very good a$out the

#o"!

"unity. A+ter the event, a letter (as sent to

"unity "e"$ers than*ing the" +or everyth

(hile outlining a s#hedule +or renovation.




Practice Passage 4

Chronologi#al order is very i"portant, espe#ially

(hen

it #o"es to pro#edures. I+ you per+or" the steps out

o+ #hronologi#al order, you (onDt get the results you

desire. Oust i"agine, +or exa"ple, that you are trying

to

$a*e a #a*e. Bhat happens (hen you do things out

o+

;+ #ourse, the #onseFuen#es o+ not +ollo(ingproper #hronologi#al order at (or* #an $e "u#h

serious, so itDs i"portant that you strengthen thi

ead the +ollo(ing paragraph, "ar*ing it up to h

you *eep tra#* o+ the steps that an e"ployee "ulo( to get tuition rei"$urse"ent.

order )ou go (ithout dessert.

;ur #o"pany (ill $e happy to rei"$urse you +or #ollege #ourses that enhan#e

your Jo$ per+or"an#e. e+ore you register +or the #ourse, you "ust get approval?rst +ro" your i""ediate supervisor and then +ro" <u"an esour#es. I+ you

are ta*ing the #ourse +or #redit, you "ust re#eive a CZ or $etter in the #ourse. I+

you are not ta*ing it +or #redit, you "ust pass the #ourse. A+ter you have #o"!

pleted the #ourse, you "ust (rite a report explaining the #ontent o+ the #ourse

and its relevan#e to your position. 9hen, you "ust ?ll out a rei"$urse"ent

reFuest. Atta#h a tuition pay"ent re#eipt, your report, and a #opy o+ your grades

to this reFuest and pro"ptly su$"it this reFuest to your supervisor. ;n#e your

supervisor has approved the reFuest, you #an then su$"it all these +or"s to

<u"an esour#es, and you should re#eive your #he#* (ithin t(o (ee*s.

9here are eight separate steps an e"ployee"ust

ta*e to $e rei"$ursed +or #ollege #ourse (or*. Bhat

are

they List the" $elo( in the order in (hi#h

the

e"ployee "ust do the".

4.

5.

1.

6.

2.

7.

3.

8.



58




I+ you "ar*ed up your paragraph, you should easily see the dierent steps. <ereDs ho( you "ight"ar*ed

it up. 9he transitional (ords and phrases are highlighted in $old.

;ur #o"pany (ill $e happy to rei"$urse you +or #ollege #ourses thatenhan#e

need approvalg

1

2

3

5

3

2

4

your Jo$ per+or"an#e. #efore you register +or the #ourse, you "ust get

approval

7rst +ro" your i""ediate supervisor and ten +ro" <u"an esour#es.

I+ you

are ta*ing the #ourse +or #redit, you "ust re#eive a CZ or $etter in the

#ourse. I+

you are not ta*ing it +or #redit, you "ust pass the #ourse. After you have

#o"!

pleted the #ourse, you "ust (rite a report explaining the #ontent o+ the

#ourseand its relevan#e to your position. &en, you "ust ?l l ou t a

rei"$urse!

"ent reFuest. Atta#h a tuition pay"ent re#eipt, your report, and a #opy o+

your

grades to this reFuest and promptl! su$"it this reFuest to your supervisor.

;n#e

your supervisor has approved the reFuest, you #an ten su$"it all these

+or"s to

<u"an esour#es, and you should re#eive your #he#* (ithin t(o

(ee*s.

1st Nget supervisor

approval2nd Nget < approv3rd Nta*e #ourseN

get CZ or $ettth N(rite report5th N?ll out rei"$.

reFuestth Natta#h tuition,

report Z gradto reFuest

th Nsu$"it tosupervisor

4th Nsu$"it to <

I+ you "iss a step in this pro#ess, you (onDt

$e

rei"$ursed. 9hus, itDs #riti#al that you $e a$le to

iden!

ti+y ea#h step and the order in (hi#h the steps "ust

$e

ta*en.

Summar y

Chronologi#al stru#ture is, o+ #ourse, a very uorganiational pattern. Events happen in a #e

order, so (riters o+ten present the" in that or

Qeepan eye out +or the transitional (ords and phra

that

signal this type o+ organiation.


I

I

As you think about things today, try to organize them chronologically. If you think back to something

that happened over the weekend, for example, think about it in the order it happened: First ____, then

_______, suddenly, ______, and so on.As you read about events in the newspaper or in other places, put the different pieces of each event



ronological

, as you did with

tory about the

national Dinner.

59



L E S S O N

< ;rder o+ I"portan#e

LESSON SUMMARYContinuing your study of the structure of reading material, this lesson

shows you how writers use order of importance—from least to most

important or from most to least important. Understanding this commonly

used structure improves your reading comprehension by helping you

see what’s most important in a piece of writing.

tDs a s#ienti?#ally proven +a#t- eople re"e"$er "ost (hat they learn "rst and last in a given sesBrit!

ers have instin#tively *no(n this +or a long ti"e. 9hatDs (hy "any pie#es o+ (riting are

organied not in

#hronologi#al order $ut by order of importance.

I"agine again that the (riter is li*e an ar#hite#t. <o( (ould this type o+ (riter arrange the roo"s

hier!

ar#hy. A hierarchy is a group o+ things arranged $y ran* or order o+ i"portan#e. In this type o+ organia

pat!tern, hierarchy , not #hronology, deter"ines order. 9hus, this ar#hite#t (ould lay the roo"s out li*e so-

you

(al* in the +ront door, the ?rst roo" you en#ounter (ould $e the presidentDs o+?#e, then the vi#e presi

then

the assistant vi#e presidentDs, and so on do(n to the lo(est ran*ing (or*er. ;r, vi#e versa, the ar#hite

#hoose

+or you to "eet the least i"portant e"ployee ?rst, the one (ith the least po(er in the #o"pany. 9hen

next,

and the next, until at last, you rea#h the president.

Li*e(ise, in (riting, ideas "ay $e arranged in order o+ i"portan#e. In this pattern, (hi#h idea #o"?rst



'ot the one that happened ?rst, $ut the one that is most , or least , i"portant.

61

I



–ORDER OF IMPORTANCE–

Most Important to LeastImportant

In the +ollo(ing paragraph, the (riter starts (ith

(hatis "ost i"portant, hoping that $y putting this ite"

?rst, the reader (ill $e sure to re"e"$er it. A+ter

you

read the passage, ans(er the Fuestions that +ollo(.

Ea#h

Fuestion is +ollo(ed $y its ans(er to guide you

through

Bhen a (riter starts out $y saying Gthe "osti"portant thing,H you *no( that the (riter (ill $e

starting (ith the "ost i"portant idea and ending

the least i"portant. 9he se#ond $est thing, there

is the se#ond pie#e o+ advi#e oered in the paragGChe#* the do#torDs #redentials.H

3.BhatDs the third "ost i"portant thing

your reading o+ the passage.&in#e the (riter is going +ro" "ost to least

Choosing a do#tor is an i"portant de#ision.<ere

are so"e things you #an do to "a*e the $est

#hoi#e.

9he single "ost i"portant thing is to intervie(

the

do#tors you are #onsidering. As* Fuestions a$out

the

pra#ti#e, o+?#e hours, and ho( Fui#*ly he or

she

responds to phone #alls. ay attention to the

do#torDs

#o""uni#ation s*ills and ho( #o"+orta$le you

are

(ith hi" or her. 9he se#ond thing you should do

is

#he#* the do#torDs #redentials. ;ne (ay to do this

is

to as* your health#are insuran#e #o"pany ho(

they

#he#*ed the do#torDs #redentials $e+ore

a##epting

hi" or her into their net(or*. Another thing you

#an do is to loo* at the environ"ent o+ the

do#torDs

o+?#e. e sure patients arenDt (aiting too long

and

that the oV#e is #lean and pro+essional.

:inally,

spend so"e ti"e tal*ing (ith the re#eptionist.

Qeep

in "ind that this is the person youDll #o"e into#on!

ta#t (ithevery ti"e

you #all or

#o"e into

the o+?#e.

I+ he or she

is pleasant

and

e+?#ient, it

(ill

#ertainly

"a*e

your

overall

experien

#e

$etter.

1.

A##ordingto thepassage,(hatDsthe "osti"por!tant thing

you #an do

to $e sure

you #hoose

the

right

do#tor

9he ans(er,o+ #ourse,

should $e #lear- 9he (riter

tells you #learly that the Gsingle "ost i"portant

is to intervie( the do#tors you are #onsideri

2.Bhat is the se#ond "ost i"portant thing

#an to #hoose the right do#tor



62

i"portant, then a##ording the passage, the third

i"portant thing is to Gloo* at the environ"ent o+

do#torDs o+?#e.H

4.:inally, (hat is the least i"portant tip the (rioers

;+ #ourse, the ans(er is the last pie#e o+ advthe (riter oers- G&pend so"e ti"e tal*ing (ith

re#eptionist.H

Least Important to MostImportant

&o"e (riters pre+er the opposite approa#h, depeon the su$Je#t and the ee#t they (ant their (rit

have. ather than starting (ith the "ost i"porta

idea, they pre+er to end (ith (hat is "ost i"port

'ot only do they leave you (ith a strong #on#lud

i"pression, $ut they also ta*e advantage o+ the $all ee#t.H 9he sno($all ee#t is the G$uildupH

+or#e

that a (riter gets +ro" starting (ith (hatDs least

tant and "oving to(ard (hatDs "ost i"portant.

a sno($all, the (riterDs idea $uilds and $uilds, ge

$igger and $igger, "ore and "ore i"portant. y

ing (ith the least i"portant point, (riters #an als

#reate suspense/the reader is (aiting +or that ?

idea. And ea#h idea or ite" $uilds upon the ones

#o"e $e+ore it 7as in a sno($all8.




<ereDs an exa"ple o+ a passage that $uilds +ro" least i"portant to "ost i"portant. ead the pass"ar*!

ing it up as you go along. Ans(er the Fuestions that +ollo(.

9here are a nu"$er o+ reasons (hy the #urrent voting age o+ 14 should $e lo(ered to 1. :irst, a lo(er voting age in the %nited &tates (ould en#ourage othe

#ountries to +ollo( this exa"ple. >any #ountries are dis#ussing and de$ating t

pros and #ons o+ lo(ering the voting age, and i+ the %nited &tates gives 1!yea

olds the right to vote, it (ill serve as an i"portant exa"ple +or the rest o+ the

(orld.

>ore i"portantly, i+ 1!year!olds are old enough to engage in other adult

a#tivities, then they are old enough to vote. In "any states, 1!year!olds #an (

get a driverDs li#ense, and engage in "any other adult a#tivities that "a*e the

"ature enough to vote. I+, at 1, a young person is old enough to "anage the

responsi$ilities o+ (or* and s#hool, then it is #lear that they are responsi$le

enough to "a*e in+or"ed de#isions a$out politi#s and politi#ians.

ut the "ost i"portant reason (hy the voting age should $e lo(ered to 1

is that it (ill de#rease apathy and #yni#is" (hile sti"ulating a li+elong interes

in politi#al parti#ipation. >any young people +eel as though their opinion

doesnDt "atter. y the ti"e they rea#h voting age, they are o+ten disen#hante

(ith politi#s and #yni#al a$out the entire politi#al pro#ess. I+ the voting age (a

lo(ered to 1, young people (ould *no( that their opinion does #ount. 9hey

(ould $e inspired to exer#ise their right to vote not Just as young adults $ut

throughout their lives. 9he long!ter" results/a "u#h higher per#entage o+

interested voters and $etter voter turnout/(ill $ene?t our entire nation.

In the +ollo(ing spa#es, list the reasons theauthor

provides +or (hy the voting age should $e lo(ered

in

the order in which they are listed in the passage. In

the

next set o+ $lan*s, list those sa"e reasons in their

order

of importance.

Order of Presentation

1.

2.

Order of Importance

1.

2.

3.

)ou see, o+ #ourse, that the orders arereversed-

9he author starts (ith (hat is least i"portant

ends (ith (hat is "ost i"portant. Bhy Bhy

the

other (ay around

3.



63




9his author uses a least!to!"ost!i"portantorga!

Five Reasons to Read More Often

niational strategy $e#ause he is "a*ing an

argu"ent.

<eDs trying to #onvin#e you that the %nited &tatesshould lo(er the voting age to 1. In order to $e

#on!

vin#ing, he "ust have a strong argu"ent. I+ he

starts

(ith (hat he +eels is his "ost i"portant 7and "ost

#on!

vin#ing8 point, he has already sho(n his hand, so

to

spea*. Espe#ially (hen the issue is #ontroversial,

(rit!

I

I

I

I

I

It (ill i"prove your vo#a$ulary.

It (ill i"prove your reading #o"prehension.

It (ill in#rease your reading speed.It (ill $roaden your understanding o+ yoursel+ a

others.

It (ill introdu#e you to ne( in+or"ation and ide

ers o+ten use the least!to!"ost!i"portant

stru#ture.

9hat (ay, i+ their less i"portant points "a*e sense

to

the reader, then their "ore i"portant points (ill

#o"e

o even stronger. Also, i+ they (ere to organie

their

ideas in the reverse order, "ost to least i"portant,

readers "ight +eel let do(n.

9hus, you #an o+ten expe#t to see this type o+

stru#ture/least to "ost i"portant/in an

argu"ent.

As the saying goes, Gsave the $est +or last.H In an

argu!

"ent, thatDs usually (here Gthe $estH has the "ost

i"pa#t.

In the ?rst exa"ple, a$out #hoosing a do#tor,

the

(riter (as not trying to #onvin#e. &he (as si"ply

giv!ing so"e advi#e. 9hereDs no need, then, +or a

$uildup.

Indeed, in that *ind o+ paragraph, readers "ight

stop

reading a+ter the ?rst tip i+ they donDt ?nd it

help+ul.

9hatDs (hy the "ost i"portant ideas #o"e ?rst/

to

"a*e sure theyDll $e read.

In other (ords, the (riterDs purpose/his orher

"otive +or (riting/inPuen#es the #hoi#e o+

ational patterns. In turn, the stru#ture inPuen

ho(



er of Importance to You .

Order of Presentation

1.

2.

3.

4.you ta*e in and understand (hat you read.

5.

Practice

Loo* at the +ollo(ing list o+ reasons to read "ore o+ten.

I+ you (ere to put these reasons together in a

paragraph

to #onvin#e readers that they should read "ore,

ho(

(ould you organie the" an* these reasons ?rst

inorder o+ i"portan#e and then in the order in (hi#h

you

(ould present the".

64

In (hi#h order did you #hoose to present you

ideas >ost i"portant to least i"portant ;r leas

"ost Either stru#ture (ill (or* $eauti+ully (ith t

ideas. )ou "ay (ant to hit your readers (ith (ha

"ost i"portant +ro" the start so that you "a*e

you #at#h their attention. ;r you "ay (ant to sa

your $est idea +or last so that your readers get thall the other ideas ?rst and $uild up to the "ost i

tant. )ou "ight present the ideas dierently, $ut

are t(o versions o+ the resulting paragraph as

exa"ples.




I

I

As you come across lists today, see how they are organized. Are they organized by order of importance?

If so, are the items listed from least to most important or from most to least? If the lists are not organ-

ized hierarchically, try to organize them by their order of importance.

Create your own “order of importance” paragraph like the one on reasons to read more often. Some

topics you might write about are reasons for a four-day work week, reasons why your career is best,

things you need to do this week, and so forth.

65



L E S S O N

=&i"ilarities anieren#es-Co"pare and

ContrastLESSON SUMMARYThis lesson explores another organizational pattern writers often use to

structure their writing: comparison and contrast.

e spend a good deal o+ our lives #o"paring and #ontrasting things. Bhenever (e (anexplain

so"ething, +or exa"ple, (e o+ten use comparison 7sho(ing ho( t(o or "o

things are

similar 8. Be "ight say, +or exa"ple, that "int #ho#olate #hip i#e #rea" tastes

li*e a )or*

epper"int attieK or that the ne( "anager loo*s Just li*e Clint East(ood. Bhen (e (ant to sho( ho(

are dierent or not ali*e, (e contrast the". Be "ight say that )or* epper"int atties are "intier tha

"int

#ho#olate #hip i#e #rea"K or that the ne( "anager "ay loo* li*e East(ood, $ut he doesnDt have East(

di"ple.



67

W



–SIMILARITIES AND DIFFERENCES: COMPARE AND CONTRAST–

How Comparison andContrast Work

Finding the Facts

1.Bhat t(o things are $eing #o"pared and

#ontrasted here

Bhen (riters #o"pare and #ontrast, they provide a (ay

o+ #lassi+ying or Judging the ite"s they aredis#ussing.

9hey sho( ho( t(o 7or "ore8 things are si"ilar or

di+!

+erent (hen pla#ed side $y side. Consider, +or

exa"ple,

the +ollo(ing paragraph. ead it #are+ully, and

then

ans(er the Fuestions that +ollo(.

lanting a garden is a lot li*e having a +a"ily.othreFuire a great deal o+ (or*, espe#ially as they

gro(

and as the seasons #hange. As su""er days

lengthen, your plants $e#o"e dependent on you

+or

sustenan#e, "u#h li*e your #hildren depend on

you

+or +ood and drin*. Li*e a thirsty #hild as*ing +or

a

drin* o+ (ater, your plants do the sa"e. 9heir

$ent,

(ilted G$odyH language, translated, issues a

de"and

"u#h the (ay your #hild reFuests "il* or

Jui#e.

Bhen their #olle#tive thirsts are Fuen#hed, you

see

the (ay they $oth thrive in your #are. 9he

+ussy

#hild $e#o"es satis?ed, and the plant rea#hes

to(ard

the sun in a sho(y display. )ou "ight also ?nd

that

you have to #lean the spa#e around your plants

"u#h

li*e you (ould pi#* up toys and #lothes that

have

$een thro(n helter!s*elter in your toddlerDs

roo".

&i"ilarly, plants shed spent petals, roses need to$e

pruned,and (eeds

need to $e

pulled. 9o

*eep #hil!

dren

healthy,

parents

prote#t

their

#hildrenagainst

disease

(ith

"edi#ine,

and

gardeners

do the

sa"e

(ith inse#t

repellent. 9o nourish

the",

parents

give

#hildren

vita"ins,

and

gardeners

use

+ertilier,as

$oth

pro"ote

healthy

gro(th. As

#hildren

gro( and

$e#o"e

adults, they

need less

and less

#are.

<o(ever,

hereDs (here the si"ilarity ends. Bhile plants di

$e#o"e dor"ant during (inter, #hildren still "

tain a vital role in the +a"ily unit.




Finding the Main Idea

'o( that youDve ans(ered those Fuestions, #onsider

one "ore. ead the previous passage again, and

then

ans(er this Fuestion-

4.Bhat is the "ain idea o+ this passage

id you noti#e that the opening senten#e, Glantinga garden is a lot li*e having a +a"ily,H is the topi# sen!

ten#e that expresses the "ain idea o+ this paragraph

9he paragraph does "ention a diHerence $et(een

these

t(o roles, $ut noti#e that the topi# senten#e does not

#lai" that gardeners and parents are e=actly

ali*e.

language, translated, issues a de"and "u#(ayyour #hild reFuests "il* or Jui#e. Bhen thei

#olle#tive

thirsts are Fuen#hed, you see the (ay they thrive

in your #are. 9he +ussy #hild $e#o"es satis?

and the

plant rea#hes to(ard the sun in a sho(y dis

)ou

"ight also ?nd that you have to #lean the sp

around

your plants "u#h li*e you (ould pi#* up toy

#lothes that have $een thro(n helter!s*elte

your

toddlerDs roo". &i"ilarly, plants shed spent

petals,

roses need to $e pruned, and (eeds need to

pulled.

9o *eep #hildren healthy, parents prote#t the

#hildren

against disease (ith "edi#ine, and gardene

the

sa"e (ith inse#t repellent. 9o nourish the"

parents

give #hildren vita"ins, and gardeners use

+ertilier, as

$oth pro"ote healthy gro(th. As #hildren g

and

$e#o"e adults, they need less and less #ar

<o(ever,

hereDs (here the si"ilarity ends. Bhile plan

and

$e#o"e dor"ant during (inter, #hildren stil

"aintain

a vital role in the +a"ily unit.Instead, it asserts that they are Ga lotH ali*e.

9here are several transitional (ords and

phrases

Transitional Devices

As you read the paragraph a$out gardeners and

parents,

did you noti#e the transitional (ords and phrases

that

sho( you (hen the (riter is #o"paring 7sho(ing

si"!

(riters use to sho( #o"parison and #ontrast.

this

paragraph, you should have underlined the

+ollo(ing

(ords- much like, in the same way, similarly , an

however .

9hese (ords and phrases sho( si"ilarityilarity8 and (hen the (riter is #ontrasting 7sho(ing di+! +eren #e8 <ereDs



passage on#e "ore. As you read it

this ti"e, underline the transitional (ords and phrases

you ?nd.

lanting a garden is a lot li*e having a +a"ily.oth

si"ilarlyli*e(ise

li*e

Just as

in the sa"e (ayin a li*e "anner

and

also

reFuire a great deal o+ (or*, espe#ially as they gro(

and

9hese (ords and phrases sho( dieren#e

as the seasons #hange. As su""er days lengthen,

your

plants $e#o"e dependent on you +orsustenan#e,

"u#h li*e your #hildren depend on you +or +ood and

drin*. Li*e a thirsty #hild as*ing +or a drin* o+

(ater,

your plants do the sa"e. 9heir $ent, (ilted

G$odyH

69

$uton the other hand

ho(ever

#onversely

yeton the #ontrary

nevertheless




Structure

'o( loo* "ore #losely at the sa"ple paragraph

to

exa"ine its stru#ture. Exa#tly ho( is this

paragraphorganied

:irst, youDve noti#ed that the paragraph

$egins

(ith a topi# senten#e that "a*es the initial

#o"parison-

G=ardeners are li*e parents.H 9hen, the paragraph

iden!

ti?es +our (ays in (hi#h gardeners are li*e

parents-

1.lants $e#o"e dependent upon gardenersas

#hildren do on parents.

2.lants reFuire #are +ro" their gardeners as#hil!

dren do +ro" parents.

3.=ardeners #lean up a+ter their plants asparents

do a+ter #hildren.

4.=ardeners prote#t plants +ro" GdangersH aspar!

ents prote#t #hildren.

:inally, a+ter pointing out these si"ilarities,the

paragraph #on#ludes $y pointing out an

i"portant

dieren#e $et(een parents and

gardeners-

1.A gardenerDs responsi$ility +or his or herplants

ends (ith ti"e (hile a parentDs

doesnDt.

erhaps you noti#ed so"ething else in the(ay

this paragraph is organied. id you noti#e that

every

ti"e the paragraph "entions so"ething a$out apar!

entDs

role, it

also

"entio

ns

so"ethi

ng

a$out a

gar!

dener

Ea#h

aspe#t

o+ the

gardene

rDs role

is

+ollo(ed$y

a

#o"par

a$le

aspe#t

o+ the

parentD

s role.

9hus,

+orevery

aspe#t

o+ GAH

7the

gardene

r8, the

paragra

ph pro!

vides a

#o"para$le

aspe#t

o+ GH

7the

parent8

to #o"!

pare or

#ontrast

. 9he

paragra

ph is

there+ore organied

li*e this- AAAAA.

9his is #alled the point*by*point "ethod o+

parison and #ontrast. Ea#h aspe#t o+ A dis#us

i""ediately paired (ith that aspe#t o+ 7$e

dependent, reFuiring #are, #leaning up, and prote#ti



70

;n the other hand, so"e (riters pre+er to de?rst (ith all aspe#ts o+ A and then (ith all aspe#t

9his is #alled the block "ethod o+ #o"parison an

trastK it goes AAAAA. <ere is the sa"e par

graph arranged using the $lo#* "ethod-

lanting a garden is a lot li*e having a +a"ily. Aplant $e#o"es dependent on the gardener and

$egs +or (ater on a hot su""er day. =ardeneralso have to #lean up the spa#e around their p

as they shed spent petals, as they reFuire prun

and as they $e#o"e #ho*ed (ith (eeds. =arde

ers also provide +or the health o+ their plants

through inse#ti#ide and +ertilier appli#ations. A

gardenerDs responsi$ility +or his or her plants

lessens as they die at the end o+ the season or

go into (inter dor"an#y.

Li*e a gardener, a parent ?nds their #hildr

dependent upon the" +or +ood and nourish"eLi*e a gardener, a parent is #onstantly pi#*ing

a+ter their #hildren, as toys and #lothes are s#a

throughout the house. Li*e a gardener, a paren

vides +or the nourish"ent and (ell!$eing o+ the

#hildren (ith vita"in supple"ents, +ood, and "

i#ines. <o(ever, unli*e gardeners, parents (ill

that their responsi$ility lessens as the #hild gro

$ut it does not #o"e to an end.

<ere, the passage treats ea#h o+ the things $#o"pared and #ontrasted separately/?rst, all as

o+ the gardener, then all aspe#ts o+ the parent/r

than one aspe#t o+ the gardener, one o+ the pare

another o+ the gardener, another o+ the parent. &

organiation is Fuite dierent.

ut you should noti#e one thing that is si"ila

$oth passages- 9hey #o"pare and #ontrast aspe

A

and that are #o"para$le or parallel. Bhen an a

o+

A is dis#ussed, that sa"e aspe#t o+ 7(hether si

to or dierent +ro" A8 "ust $e dis#ussed. 9his #o

sponden#e o+ parts is essential +or the #o"pare a

#ontrast te#hniFue. Loo* (hat happens, +or exa"

(hen the (riter does not dis#uss #orresponding p




eing a parent is a lot li*e $eing a gardener. arents

"ust $athe, #lothe, and +eed their #hildren.

arents

A dete#tive-

"ust also #reate and "aintain guidelines +or

a##ept!a$le $ehavior +or #hildren. Also, parents "ust see

to

it that their #hildren get a proper edu#ation.

=ardeners nurture the plants in their

gardens.

9hey pull (eeds and prune the" to en#ourage

the"

to gro(. 9hey +eed the" and apply

inse#ti#ides.

1.

2.

3.

.

:.

<as a dangerous Jo$.

=ets $etter at solving #ri"es (ith ea#h #aeFuires lots o+ training.

oesnDt get to #hoose (hi#h #ases to (or*

Loo*s +or #lues to solve the #ri"e.

9hey (at#h the" Po(er and then (itness theirde"ise.

)ouDll noti#e that this passage see"s to +o#uson

dieren#es $et(een gardeners and parents rather

than

the si"ilarities. ut is this really a +air #ontrast

Loo* at

the aspe#ts o+ A 7the gardener8 that are des#ri$ed

here.

o they have any relationship to the aspe#ts o+

7the

parent8 that are des#ri$ed 'o. And a #o"pare and

#on!

trast passage #anDt $e su##ess+ul unless the aspe#ts

o+ A

and are dis#ussed #o"para$ly. 9hese t(o

paragraphs

donDt really see" to have a point/thereDs no $asis

+or

#o"parison $et(een gardeners and parents.

Practice

&uppose you (ere going to (rite a paragraph that

#o"!

pares and #ontrasts readers and dete#tives. 9he

+ol!

lo(ing are ?ve aspe#ts o+ $eing a reader and ?ve

aspe#ts

o+ $eing a dete#tive listed. ;nly three ite"s in ea#h

listare #o"para$le. :ind those three ite"s in ea#h list

andpair the" (ith their "at#hing ite".

e"e"$er, these

ite"s "ay $e either si"ilarities or

dieren#es. BhatDs

i"portant is that they are #o"pa

aspe#ts.

A reader-



id you ?nd the aspe#ts that are #o"para$le

you "at#h reader 1 (ith dete#tive 5 7si"ilarity8

der 3 (ith dete#tive 7dieren#e8 And reader 5

dete#tive 2 7si"ilarity8 I+ so, you did terri?# (or*.

<ereDs ho( this in+or"ation "ight (or* together

paragraph-

"any (ays, readers are a lot li*e dete#tives. Li*eete#tives loo*ing +or #lues at the s#ene o+ the #ri"e,

aders loo* +or #lues to "eaning in the $oo*s that

ey read. And, li*e dete#tives (ho get $etter and

etter at solving #ri"es (ith ea#h #ase, readers get

etter and $etter at understanding (hat they read

th ea#h $oo*. %n+ortunately +or dete#tives, ho(!

ver, they #annot #hoose (hi#h #ases they get to

or* on, (hereas readers have the pleasure o+ #hoos!

ing (hi#h $oo*s theyDd li*e to read.

Why Compare and Contrast?

In addition to +ollo(ing the AAA or AAAstru#ture, #o"pare and #ontrast passages "u

li*e all

other passages, have a point. 9hereDs a reason

these

t(o ite"s are $eing #o"pared and #ontrasted

thereDs

so"ething the (riter is trying to point out $y

putting

1.

2.

3.

.

:.

Loo*s +or #lues to "eaning.

<as "any dierent types o+ $oo*s to read.

Can #hoose (hat $oo* to read.

uilds vo#a$ulary $y reading.

e#o"es a $etter reader (ith ea#h$oo*.

71

these t(o things side $y side +or analysis. 9hi

reason or

point is the "ain idea, (hi#h is o+ten stated in

topi#

senten#e.




9he "ain idea o+ the ?rst paragraph youloo*ed

at in this lesson (as, Glanting a garden is a lot li*e

hav!

ing a +a"ily.H In this paragraph, you learned thatthe

(riter sees a signi?#ant si"ilarity $et(een these

t(o

roles. Li*e(ise, in the previous paragraph, you see a

sig!

ni?#ant si"ilarity $et(een readers and dete#tives.

In $oth #ases, you "ay never have thought o+

"a*ing su#h #o"parisons. 9hatDs part o+ the $eauty

o+

you to see things in a ne( and interesting (ay. Intion, it serves the "ore pra#ti#al +un#tion o+ sho(

you ho( t(o things "easure up against ea#h oth

that you #an "a*e in+or"ed de#isions, li*e a$out

(hi#h#ar to $uy 7a #o"pare and #ontrast essay "ight

you

(hi#h #ar is $etter8 or (hi#h savings $ond to inv

7a #o"pare and #ontrast essay (ill sho( you (h

$ond is $est +or you8.

the #o"pare and #ontrast organiation- It o+ten allo(s


I

I

As you go through your day, compare and contrast things around you. Compare and contrast, for exam-

ple, your current job to your previous one. How are they alike? How are they different? Make sure the

two things you analyze have comparable aspects. For example, you might want to compare and con-

trast the salaries, responsibilities, and benefits at both jobs.

As you make these comparisons, or if you notice compare and contrast passages in what you read,

practice arranging them in both point-by-point order (ABABAB) and in block order (AAABBB).



72

L E S S O N

>Bhy o 9hing<appenA Loo* atCauseand Ee#tLESSON SUMMARY“One thing leads to another”—that’s the principle behind cause and

effect. Understanding cause and effect, and the relationship betweenthem, will make you a better reader.

or every a#tion,H +a"ous s#ientist &ir Isaa# 'e(ton said, Gthere is an eFual and opposite reaEvery

a#tion results in another a#tion 7a rea#tion8K or, +or every a#tion, there is an eect #aused $

a#tion.Li*e(ise, ea#h a#tion is caused $y a previous a#tion. In other (ords, ea#h a#tion

cause/

so"ething that "ade it happen/and ea#h a#tion has an eect /so"ething it "a*es happe

I

I

Cause' a person or thing that "a*es so"ething happen or produ#es an ee#t

E?ect' a #hange produ#ed $y an a#tion or #ause

>u#h o+ (hat you read is an atte"pt to explain either the #ause o+ so"e a#tion or its ee:or exa"!

ple, an author "ight try to explain the #auses o+ Borld Bar I or the ee#t o+ under(ater nu#lea

testingK the

reason $ehind a #hange in poli#y at (or*K or the ee#t a ne( #o"puter syste" (ill have on o+?



pro#edure.

LetDs ta*e a loo* at ho( (riters explaining #ause or ee#t "ight organie their ideas.

73

F



–WHY DO THINGS HAPPEN? A LOOK AT CAUSE AND EFFECT–

Distinguishing Cause fromEffect

4. 9he #o"panyDs $udget #risis (as #reated $yoverspending.

Cause'

A passage that exa"ines #ause generally ans(ers the

Fuestion why so"ething too* pla#e- Bhy (as the#o"!

pany restru#tured Bho or (hat "ade this ta*e

pla#e

A passage that exa"ines ee#t generally ans(ers

the

Fuestion what happened a+ter so"ething too*

pla#e-

Bhat happened as a result o+ the restru#turing

<o(

E?ect'

5.As a result o+ our ne( "ar*eting progra", sahave dou$led.

Cause'

did it ae#t the #o"panyE?ect'

Practice

9o help you distinguish $et(een #ause and ee#t,

#are!

+ully read +ollo(ing the senten#es. )ouDll see that

#ause

and ee#t (or* togetherK you #anDt have one

(ithout

the other. 9hatDs (hy itDs very i"portant to $e a$le

todistinguish $et(een the t(o. &ee i+ you #an

deter"ine

$oth the #ause and the ee#t in ea#h o+ the

+ollo(ing

senten#es-

Example' o$in got de"oted (hen shetal*ed$a#* to the $oss.

Cause' o$in tal*ed $a#* to the $oss.

E?ect' o$in got de"oted.

1.InPation has #aused us to raise ourpri#es.

Cause'

E?ect'

Answers

1.Cause' /nation

E?ect' !e had to raise our prices

2.Cause' !e hired 3oan

E?ect' ;ur of"ce has been running smoothly

3.Cause' %he car ran out of gas

E?ect' %he car stopped

4.Cause' ;verspending

E?ect' .udget crisis

5.Cause' %he new marketing program

E?ect' +ales have doubled

)ou (ere pro$a$ly guided in your ans(ers toexer#ise $y the (ords and phrases that indi#ate (

a

#ause or ee#t is $eing exa"ined. <ere is a parti

o+ su#h (ords.

Words Indicating Cause2.&in#e (e hired Ooan, the o+?#e has $een running

s"oothly.

Cause'

$e#ause 7o+8

sin#e

#reated 7$y8

#aused 7$y8E?ect'



Words Indicating Effect

3.<e realied that his #ar had stopped not$e#ause

it needed repair $ut $e#ause it ran out o+

gas.

Cause'

E?ect'

74

sin#ehen#e

so

there+ore#onseFuently

as a result



75

In +a#t, six dierent sets o+ #ause and eelisted in this paragraph. Bhat are they 9he ?

#ause

is provided to get you started.

Cause 1' EdDs +ather (as al(ays in the garag

E?ect 1'

Cause 2'

E?ect 2'

Cause 3'

E?ect 3'

Cause '

E?ect '

Cause :'

E?ect :'

Cause ;'

E?ect ;'



as one a#tion #an have "any results, one

on #an

e "any #auses as (ell. 9he +ollo(ing announ#e!

nt is an exa"ple.

;- All Co""uters;>- 9he &tation >anage"ent

n+ortunately, (e (ill no longer provide an a+ter!oon sna#* #on#ession at the train station.

though

oor sales are one o+ the reasons that this

s

e

r

v

i

#

e

(

i

l

l

no longer $e provided, there are a#tually sever

sons (hy the #on#ession is no longer a via$le o

In addition to poor sales, the south (all o+ the

station 7(here the #on#ession is lo#ated8 (ill $

undergoing a six!"onth renovation that (ill +o

the #losure o+ the sna#* #on#ession. In +a#t, th

ti#*et

(indo(s on that (all (ill $e #losed as (ell. :ur

ther"ore, +ro" this point +or(ard, the station (

#lose its doors at p.". due to ne( to(n regu

tions, (hi#h (ill #ut the rush!hour #o""uter tr

?# #o"ing through the station in hal+. :inally, >




Al$erti, the proprietor o+ the #on#ession hasde#ided

to say +are(ell to his #on#ession $usiness, and

a+ter

35 years on the Jo$, >i*e (ill $e retiring next"onth.

Bhile none o+ these +a#tors on their o(n (ould

have #aused the long!ter" #losure o+ the

#on#es!

sion, #o"$ined, ea#h "a*es it i"possi$le to

#on!

tinue running an a+ternoon sna#* #on#ession

+or

the +oreseea$le +uture.

Bhy is the a+ternoon sna#* #on#ession atthe

train station $eing dis#ontinued

1.

2.

3.

4.

Answers

)ou should have noti#ed +our #auses in

the

announ#e"ent-

1.oor sales.2.A renovation on the side o+ the train station

(here

the #on#ession is lo#ated.3. 9o(n regulations (ill no( #lose the station

at

p."., (hi#h (ill de#rease #o""uter

traV#

signi?#antly.

4. 9he proprietor o+ the #on#ession has de#ided

to

retire.

Contributing vs. Sufficient Cause )ouDll noti#e that the previous announ#e"ent

in+or"s

#o""uters

that Gnone

o+ these

+a#tors on

their o(n

(ould have

#aused the

long!ter"

#losure o+

the #on!

#ession.H

9his "eans

that ea#h o+

these #auses

is a

tributing

#ause. A

#ontri$utin

g #ause

helps

so"ething

happen $ut

#anDt "a*e

that thing

happen $y

itsel+. It isonly one

+a#tor that

contributes

to the #ause.

77



;n the opposite end o+ the #ause spe#tru" is the7cient #ause. A su+?#ient #ause is strong enough

*e so"ething happen $y itsel+. &u+?#ient #ause is

"onstrated in the +ollo(ing paragraph.

ear >r. >iller-It has #o"e to our attention that you have

rea#hed your lease. Bhen you signed your lease,ou agreed that you (ould leave Apart"ent 3A at

23 El" &treet in the sa"e state that you +ound it

hen you "oved in. )ou also agreed that i+ the

part"ent sho(ed signs o+ da"age upon your

eparture, then (e 7Livingston roperties8 (ould

ot return the se#urity deposit that you gave us at

e

"e you "oved into the $uilding. %pon inspe#!

on, (e have +ound a great deal o+ da"age to the

pplian#es in the apart"ent as (ell as the (oodoors. ConseFuently, (e (ill not $e returning your

e#urity deposit.

<ere, you #an see that there is one #lear reason

(

hy

Li

vi

ng

st

on

r

op

er

tie

s

(il

l

no

t

ret

ur

n

>r

.>i

lle

rDs

se#urity deposit. <e $rea#hed his lease $y

da"aging the

apart"ent he rented +ro" the". 7I+ you donDt

(hat breach "eans, you should $e a$le to dete

the

"eaning +ro" the #ontext.8

Evaluating Opinions aboutCause and Effect

&o"eti"es, in a #ause and ee#t passage, an (illoer his or her opinion a$out the #ause or ee

so"ething rather than facts a$out the #ause o

ee#t. In

that #ase, readers "ust Judge the validity o+ th

authorDs

analysis. Are the authorDs ideas logi#al oes

she

support the #on#lusions he or she #o"es toConsider,

+or exa"ple, t(o authorsD opinions a$out inst

"andatory s#hool uni+or"s.




8aragrap A

>andatory s#hool uni+or"s are a $ad de#i!

sion +or our distri#t. I+ students are reFuired to

(ear

a uni+or", it (ill greatly inhi$it their a$ilityto

express the"selves. 9his is a pro$le" $e#ause

dress

is one o+ the "aJor (ays that young people

express

the"selves. A s#hool uni+or" poli#y also dire#tly

violates the +reedo" o+ expression that all

A"eri#ans

are supposed to enJoy. ConseFuently, young

people(ill dou$t that their $asi# rights are prote#ted,

and

this (ill ae#t their larger outloo* on #ivil

li$erties.

:urther"ore, s#hool uni+or"s (ill inter+ere (ith

the (earing o+ #ertain arti#les o+ religious

#lothing,

(hi#h (ill #reate tensions a"ong #ertain

religious

groups that #an lead to +eelings o+ dis#ri"ination.In

addition, s#hool uni+or"s (ill pla#e an undue

?nan!

#ial $urden on "any lo(!in#o"e +a"ilies (ho

"ay

not have the "oney to spend on ne( uni+or"s

every

year, espe#ially i+ they have several #hildren.

:inally,

s#hool uni+or"s (ill negate one o+ the

"ost

i"portant #on#epts (e #an tea#h our #hildren/

individuality. Bhen push #o"es to shove, (eDd all

$e

$etter o #hoosing individuality over uni+or"ity.

>andatory s#hool uni+or"s are a step in the

(rong

"ore har"onious s#hool environ"ent. :inally, students (ere (earing s#hool uni+or"s, ad"in

trators and tea#hers (ould no longer have to $

#lothing poli#e, +reeing the" to +o#us on "ore

i"portant issues than (hether so"eone is (eaa dress that is too short or a 9!shirt (ith an ina

propriate "essage. )ou #an "a*e our s#hools

ter pla#e $y supporting "andatory s#hool uni+o

Bhat ee#ts does the author o+ paragraph A"andatory uni+or"s (ould have

1.

2.

3.

4.

5.

Bhat ee#ts does the author o+ paragraph "andatory uni+or"s (ould have

dire#tion.

1.

8aragrap #

>andatory s#hool uni+or"s (ill have atre"endously positive i"pa#t on our distri#t. I+

stu!dents are

reFuired to (ear a uni+or", it (ill greatlyinhi$it gang $ehavior sin#e they (ill no longe



a$le to (ear gang #olors. As a result, s#hools

(ill

experien#e an overall de#rease in s#hool

violen#e

and the+t. &in#e violen#e is one o+ the "aJor

#on#erns

that parents, tea#hers, and students raise a$out

our

distri#t, this #hange (ill $e (el#o"ed (ith

open

ar"s. In addition, s#hool uni+or"s (ill instill

a

"u#h!needed sense o+ dis#ipline in our

student

$ody, and dis#ipline is so"ething that is,

un+ortu!

nately, in short supply in our s#hool distri#t.

Also,

students dressed in uni+or"s (ill +eel a strong

sense

o+ #o""unity (ith their peers, (hi#h (ill lead toa

78

2.

3.

4.

5.

)ouDll noti#e that $oth authors ta*e one #aus"andatory s#hool uni+or"s/and oer several po

$le ee#ts. ;+ten, authors (ill use the #ause and

stru#ture to "a*e argu"ents li*e the ones (eDve

seen- one +or and one against "andatory s#hool

+or"s. It is up to the reader to deter"ine (hose

"ent see"s "ost valid.




Summar y

%nderstanding #ause and ee#t is an i"portants*ill

not only +or reading #o"prehension, $ut also +oryour

daily li+e. 9o analye the events happening around

you,

happened/(hat #aused the". &i"ilarly, to "de#i!sions or evaluate the de#isions o+ others, you

$e

a$le to #onsider the ee#ts o+ a possi$le de#isGeading,H not only texts $ut also events and

tions, reFuires you to understand #ause and e

you "ust $e a$le to understand why those events


I

I

As you work today, consider the effects of any recent changes in your office, such as new equipment

that’s been installed, a new system or procedure that’s been put in place, a new manager or otheremployee. How will these changes affect the work place? Your job in particular? Or forecast the effect

of changes that are coming. For example, how will the upcoming layoffs affect the company?

Consider recent events at home or at work. What might have caused them? For example, if a coworker

just got a promotion, consider what he or she might have done to get that promotion. Or if a child is

having trouble at school, what might be causing that trouble?



L E S S O N

1@

eing&tru#turally&ound- utting

It All 9ogether

LESSON SUMMARYToday’s lesson pulls together what you’ve learned in Lessons 6–9 and

gives you more practice in discerning the structure of a reading

passage.

i*e an ar#hite#t designing a $uilding, a (riter "ust have a $lueprint/a plan +or ho( he or sh

organie the passage. &o +ar in this se#tion, (eDve loo*ed at several (ays that authors "ay

organie

their in+or"ation and ideas-

I

I

I

I



son ;'onologicader. Ideasarrangede order in

#h theyurred 7or inorder in#h they

uld o##ur8.

son <'

er ofortance.

s are

nged in

order o+ increasing i"portan#e 7least i"portant idea

to "ost i"portant idea8 or in order o+ decreasing i"portan#e 7"ost i"portant idea to least

i"portant idea8.

0esson =' Compare and contrast. Ideas are arranged so that parallel aspe#ts o+ ite" A a

ite" are #o"!

pared and #ontrasted either in $lo#* style 7AAAA8 or point!$y!point style 7AAAA

0esson >' Cause and e?ect. Ideas are arranged so that readers #an see (hat event or series o+ ev

caused

so"ething to ta*e pla#e or (hat eect an event or series o+ events had.

81

L



–BEING STRUCTURALLY SOUND: PUTTING IT ALL TOGETHER –

If any of the terms or strategies on the

previous page seem unfamiliar to you,

STOP. Please take a few moments to

review whatever lesson is unclear.

to 7#aused8 the +ailure o+ the #o"puter syste". 9today (e (ill loo* at ho( (riters "ay #o"$ine th

strategies. In addition, (eDll #ontinue to strength

your reading #o"prehension s*ills $y in#luding s

gies +ro" the ?rst (ee*-

I :inding the +a#ts

Practice

Although (riters o+ten rely on one parti#ularstru#ture

I

I

I

eter"ining the "ain idea

e?ning vo#a$ulary (ords in #ontext

istinguishing $et(een +a#t and opinion

to organie their ideas, in "any #ases, (riters use

a

#o"$ination o+ these stru#tures. :or exa"ple, a

(riter

"ay (ant to #o"pare and #ontrast the #auses o+

Borld

Bar I and those o+ Borld Bar IIK or a (riter "ay

(ant

Practice Passage 1

egin (ith the +ollo(ing paragraph. ead it #are+

"ar*ing it up as you go. 9hen ans(er the Fuestiothat +ollo(.

to des#ri$e, in #hronologi#al order, the events that led

9here (ere several reasons $ehind our de#ision to "ove to :le"ington. 9he ?rsto##urred a$out 14 "onths ago (hen >ar* and I de#ided to start a +a"ily. Be

(ere living in a one!$edroo" apart"ent and (e *ne( that (e (anted to "ove

into larger Fuarters $e+ore (e had a $a$y. Be $egan to loo* at houses. 9hen,

"u#h sooner than expe#ted, I got pregnant. &oon a+ter that, >ar*Ds #o"pany

announ#ed that they (ere relo#ating to :le"ington, (hi#h (as in a less expen!

sive part o+ the state, a$out 60 "iles south o+ us. >ar*Ds #o"pany had $een good

to hi", and they (ere one o+ the +e( around (ith ex#ellent $ene?ts, +a"ily!

+riendly poli#ies, and a #hild!#are #enter on site. Bith a $a$y on the (ay, these

things (ere i"perative +or us. &in#e I ran "y graphi# arts $usiness +ro" ho"e,

I (asnDt $ound to any parti#ular pla#e, so (e $egan loo*ing at real estate in :le"

ington and also did so"e resear#h on their s#hool syste" as (ell as the overall

#o""unity. Be (ere very ex#ited a$out (hat (e +ound/reasona$le housing#osts, great s#hools, and a lively to(n. >ar* then a##epted the relo#ation oer

and (e +ound a $eauti+ul old 9udor house. BeDll $e "oving a$out a "onth $e+ore

the $a$y is due. LetDs hope she doesnDt de#ide to #o"e early.

1.Bhi#h t(o organiational strategies doesthis

(riter use

a. #hronologi#al order

b. order o+ i"portan#e

c. #o"pare and #ontrastd. #ause and ee#t

82



mperative "eans

a

.

t

rivial, uni"portant.

b. luxurious, lavish.

c. pressing, #ru#ial.




3.Bhat pro"pted the initial de#ision to"ove

4.Bhat happened a+ter the initial #ause set

thingsin "otion

a.

b.

c.

d.

e.

f.

Answers

1.a d. 9he (riter tells you the #auses, in the

order o+

(hi#h they o##urred, that resulted in her "ove

to

:le"ington.

2.c. 9he senten#e $e+ore the one that uses the

(ord

4.A+ter the (riter and her hus$and de#ided start

a +a"ily, the +ollo(ing events o##urred in

order-

a. 9hey $egan to loo* at houses.b. 9he (riter got pregnant.

c. >ar*Ds #o"pany announ#ed plan to relo

d. 9he #ouple $egan resear#hing real esta

s#hools, and #o""unity li+e in :le"ing

e. >ar* a##epted the relo#ation oer.

f. 9hey +ound a house.

<o( did you do Bere you a$le to see hoea#h

#ause led to an ee#t, and ho( that ee#t #au

so"e!thing else to happen 7another ee#t8 I+ you "

any

o+ the Fuestions, hereDs (hat you should do-

imperative is des#ri$ing the attra#tive

+a"ily!

+riendly $ene?ts that >ar*Ds #o"pany oers. And

sin#e (e *no( that the (riter is pregnant, it (ould

"a*e sense that these $ene?ts (ould $e pressingor #ru#ial +or her, as opposed to the other

t(o

options.

3. 9he de#ision to $egin a +a"ily spar*ed the

initial

IF YOU MISSED:

Question 1

Question 2

Question 3

Question 4

THEN STUDY:

Lessons 6 and 9

Lesson 3

Lesson 9

Lesson 9

desire to "ove.Practice Passage 2

'o( try the passage on the next page. Again,

it

#are+ully, "ar*ing it up as you go, and then athe

Fuestions that +ollo(.



83




9here are several #hanges in the pro#edure +or e"ployees (ho (ish to apply +orva#ant positions (ithin the #o"pany. 9hese #hanges "a*e it "u#h easier +or in!

house e"ployees to ?ll va#an#ies that o##ur.

:irst, the "ost i"portant dieren#e is that e"ployees (ill no( $e noti?ed

o+ all availa$le positions before the positions are advertised +or the general pu$!li#. A##ordingly, all in!house #andidates (ill $e intervie(ed $e+ore (e see any out

side #andidates, and (e (ill oer the Jo$ to outside #andidates only i+ no #urrent

e"ployees are a$le to ?ll the position.

&e#ond, under the ne( pro#edure, in!house e"ployees #an $e hired even

i+ they donDt "eet all Jo$ reFuire"ents. %nder our old poli#y, in!house e"ploy!

ees had to "eet all Jo$ Fuali?#ations in order to o$tain the va#ant position. 'o(,

ho(ever, e"ployees (ho have proven the"selves dedi#ated to the #o"pany

(ill $e hired +or a va#ant position even i+ they are la#*ing so"e "inor Fuali?!

#ationsK training (ill $e provided.

A third #hange involves re#o""endations. :ro" no( on, e"ployees do notneed to $e re#o""ended +or an in!house position $e+ore they apply. Instead,

e"ployees "ay apply as soon as they are a(are o+ the va#an#y. 9he re"aining p

#edures and poli#ies 7those regarding in#rease in pay, intervie( pro#edure, and

hiring approval8 re"ain the sa"e.

5.Bhi#h t(o organiational strategies doesthis

(riter use

a. #hronologi#al order

b. order o+ i"portan#e

c. #o"pare and #ontrast

d. #ause and ee#t

6. 9he author organies his ideas in ordero+

a. de#reasing i"portan#e 7"ost i"portant

to

least i"portant8.

b. in#reasing i"portan#e 7least i"portant

to

"ost i"portant8.

7.%nderline the senten#e in this passage that

expresses the "ain idea.

8. 9he senten#e you underlined is a7n8a. +a#t.

b. opinion.

84

Answers

5.b c. 9he author uses order o+ i"portan#e in

paring the old pro#edure to the ne( one.

6.a. 9he author organies his ideas in order o+

de#reasing i"portan#e. <e starts (ith the "oi"portant #hange 7G:irst, the "ost i"portant

+eren#e is . . .H8 and "oves do(n(ard to the

se#ond

and third "ost i"portant #hanges.

7. 9he senten#e that expresses the "ain idea o

+our paragraphs is the se#ond senten#e in the

paragraph- G9hese #hanges "a*e it "u#h ea

+or in!house e"ployees to ?ll va#an#ies.H Alth

the ?rst senten#e tells us (hat all the paragr

(ill $e a$out 7the #hanges in the pro#edure8,

the se#ond senten#e that expresses an opinio

ho( the author +eels a$out this su$Je#t/and

there+ore, it is the "ain idea.




8.b. 9his senten#e expresses an opinion, not a+a#t.

9here have indeed $een #hanges/that is a +a#t

/

$ut (hether those #hanges "a*e things easier+or

"ost e"ployees is de$ata$le. 9here "ay $e

so"e

things a$out the old pro#edure that (e donDt *no(.

erhaps, +or exa"ple, they opened the Jo$ to

$oth

in!house e"ployees and the general pu$li# at

the

sa"e ti"e, $ut they intervie(ed all in!

housee"ployees ?rst any(ay. e#ause o+ our

li"ited

in+or"ation a$out the old pro#edure, (e #annot

a##ept the idea that the #hange is $etter as

+a#t.

I+ you "issed so"e o+ these Fuestions, no( itDsup

to you to ?gure out (hi#h lessons to

revie(.

Practice Passage 3

'o( itDs your turn. In this exer#ise, youDll ta*e a

para!

graph that is organied one (ay/$y #ause and ee#t

/

and add another stru#ture- order o+

i"portan#e.

<ereDs (hat you should do- eread the t(o

para!

graphs a$out "andatory s#hool uni+or"s.

e#ide(hi#h author you agree (ith "ost. 9hen, loo*

#are+ully

at the ee#ts the author predi#ts. Bhi#h ee#t do

you

thin* is "ost i"portant Bhi#h is least

i"portant

an* these ee#ts in order o+ i"portan#e. 9hen,

de#ide

(hether you (ant to start (ith the "ost

i"portantidea and end (ith the least i"portant, or vi#e

versa,

start (ith

the least

i"portan

t idea

and end

(ith the

"ost

i"portan

t. :inally,

put it all

together

in a para!

graph

in the

spa#e

provided.

8aragrap A

>andatory

s#hool uni+or"s

are a $ad de#i!

sion +or our

distri#t. I+

students arereFuired to

(ear

a uni+or",

it (ill

greatly

inhi$it their

a$ility to

express

the"selves.

9his is a

pro$le"

$e#ause

dress

is one o+ the

"aJor (ays

that young

people

express

the"selves

. A s#hool

uni+or"poli#y also

dire#tly

violates the +reedo" o+ expression t

A"eri#ans

are supposed to enJoy. ConseFuently

people

(ill dou$t that their $asi# rights are

prote#ted, (hi#h



(illae#ttheirlargeroutloo*on#ivilli$er

ties.:ur!ther

"ore

,

s#ho

ol

uni+o

r"s

(ill

inter

+ere(ith

the

(ear

ing

o+

#erta

in

arti#l

es o+

religious

#loth

ing,

and

this

(ill

#reat

e

tensi

onsa"o

ng

#erta

in

religi

ous

grou

ps

that

#an lead to +eelings o+ dis#ri"ination. In

addition, s#hool uni+or"s (ill pla#e an undu

?nan!

#ial $urden on "any lo(!in#o"e +a"ilies (

"ay

not have the "oney to spend on ne( uni+or

every

year, espe#ially i+ they have several #hildre

:inally,

s#hool uni+or"s (ill negate one o+ the "ost

i"portant #on#epts (e #an tea#h our #hildr

individuality. Bhen push #o"es to shove, (

$e

$etter o #hoosing individuality over uni+or

>andatory s#hool uni+or"s are a step in the

(rong

dire#tion.

8aragrap #

>andatory s#hool uni+or"s (ill have a

tre"endously positive i"pa#t on our distri#stu!

dents are reFuired to (ear a uni+or", it (ill

greatly

inhi$it gang $ehavior sin#e they (ill no long

a$le to (ear gang #olors. As a result, s#hoo

experien#e an overall de#rease in s#hool vi

and the+t. &in#e violen#e is one o+ the "aJo

#on#erns

that parents, tea#hers, and students raise a

ourdistri#t, this #hange (ill $e (el#o"ed (ith

ar"s. In addition, s#hool uni+or"s (ill instil

"u#h!needed sense o+ dis#ipline in our stud

$ody, and dis#ipline is so"ething that is, un

nately, in short supply in our s#hool distri#t

students dressed in uni+or"s (ill +eel a stro

sense

o+ #o""unity (ith their peers, (hi#h (ill le

a

"ore har"onious s#hool environ"ent. :inastudents (ere (earing s#hool uni+or"s, ad"

trators and tea#hers (ould no longer have t

#lothing poli#e, +reeing the" to +o#us on "o

i"portant issues than (hether so"eone is

(earing

a dress that is too short or a 9!shirt (ith an

propriate "essage. )ou #an "a*e our s#hoo

$et!

ter pla#e $y supporting "andatory s#hool

uni+or"s.




1.an* the ideas o+ the paragraph you have#hosen

in order o+ their i"portan#e to you.

2.'o( (rite a paragraph, #hoosing (hether to pthe ideas in the order o+ in#reasing i"portan#

or de#reasing i"portan#e.


I

I

Look again at the passages you read in Lessons 1–5. What structures do you notice at work in those

paragraphs?

As you read (and write) during the next few days, be aware of the structure of each paragraph you come

across. Try to identify the author’s strategy; try to use different strategies in your own writing.

86



Languageand &tyle

n "ost o+ the passages you have read so +ar, the authorDs ideas and intentio

$een very #lear. ut (hat happens (hen theyDre not Bhat i+ the (riter does

vide a topi# senten#e that #learly expresses the "ain idea ;r (hat i+ the (r

gives

you a poe" instead o+ a #lear!#ut "e"orandu" <o( do you ?gure out (ha

author

is trying to say 9he good ne(s is that no "atter ho( #rypti# a pie#e o+ (riting "ay see", the

author

al(ays leaves #lues to help you ?gure out (hat he or she "eans. 9hese #lues #an

+ound

in the (riterDs language and style/the (ords used and the type o+ senten#es in (

or she uses the". 9he next +our lessons, there+ore, +o#us on +our dierent as

o+ lan!

guage and style-

I

I

I

I

oint o+ vie(i#tion

&tyle

9one

)ouDll learn ho( authors use these ele"ents to #reate "eaning +or their reade 9hen

youDll put it all together in Lesson 15 to see ho( language, style, stru#ture, a

"eaning

(or* together.



87

I



L E S S O N

11

A >atter o+ erspe#tive-oint o+ @ie(

LESSON SUMMARYThis lesson introduces you to the concept of point of view, one strategy w

ers use to convey their meaning to readers. Aspects such as whether wr

ers use the more subjective I or the more objective one, whether they

address readers as you or merely refer to an anonymous they, influence

readers understand what the writer has written.

i#ture this- )ou are (al*ing along a tree!lined street late in the a+ternoon. Oust aheyou a(o"an is sitting on a $en#hK a dog lies in the shade at her +eet. )ou (at#h the" and nod

you (al* $y.

'o(, pi#ture this- )ou are that dog. )ouDre sitting in the shade under a $en#h next to your

o(nerDs +eet.

&uddenly, so"eone (al*s do(n the street in +ront o+ you. I+ you loo* up, you #an see that person nod a

she (al*s $y.

Although youDve Just pi#tured the sa"e thing/a person (al*ing $y a (o"an (ith a dog/



really

pi#tured t(o very dierent s#enes, havenDt you 9he s#enario loo*s Fuite dierent +ro" the dogDs poin

vie(

than +ro" the (al*erDs.

9his shi+t in perspe#tive happens in (riting $y #hanging the point o+ vie(. Point of view is one o+ t

#hoi#es (riters "a*e (hen they $egin to (rite, $e#ause it is the point o+ vie( that deter"ines (ho is

spea*ing to

the reader.

oint o+ vie( is the person or perspe#tive through (hi#h the (riter #hannels his or her in+or"ation

ideas.

Oust as (e "ay loo* at a physi#al o$Je#t +ro" a nu"$er o+ dierent perspe#tives 7+ro" a$ove it, $elo(

$ehind

it, $eside it, and so on8, (e #an loo* at in+or"ation and ideas +ro" dierent perspe#tives as (e

7"ine, yours,

his or hers, the pro+essorDs, the #ountryDs, and so on8.

89

P



–A MATTER OF PERSPECTIVE: POINT OF VIEW –

Three Kinds of Point of View

Bhen it #o"es to expressing point o+ vie(, (riters#an

use three distin#t approa#hes-

>ost o+ us (ould pro$a$ly pre+er to re#eive "sage over "essage A. Bhy Bhat is the diere

$et(een these t(o "essages oth "essages us

se#ond!person point o+ vie(, right 9hey $oth ad

the reader as Gyou.H ut you pro$a$ly noti#ed thI

I

I

-irst)person point of vie is a highly

individual!

ied, personal point o+ vie( in (hi#h the (riter

or

narrator spea*s a$out his or her o(n +eelings

and

experien#es dire#tly to the reader using these

pro!

nouns- /, me, mine) we, our, us.

*econd)person point of vie is anotherpersonal

point o+ vie( in (hi#h the (riter spea*s dire#tly

to

the reader, addressing the reader as you.

&ird)person point of vie is an

i"personal,

o$Je#tive point o+ vie( in (hi#h the perspe#tive

is

that o+ an outsider 7a Gthird personH8 (ho is not

dire#tly involved in the a#tion. 9here is no dire#tre+eren#e to either the reader 7se#ond person8

or

the (riter 7?rst person8. 9he (riter #hooses +ro"

these pronouns- he, him, his) she, her, hers) it,

its)

and they, them, theirs.

All these points o+ vie( are availa$le to(riters,

(riters #hose dierent points o+ vie( to re+er to t

selves. >essage A uses the third!person point o+

7Gthe #o"panyH8 (hereas "essage uses the ?r

person

pronoun G(e.H As a result, "essage see"s "o

sin#ere

$e#ause it #o"es from a person to a person rath

than

+ro" Gthe #o"panyH 7a thing8 to a person 7 you8.

ut those "essages do "ore than Just expre#ongratulations to the reader. 9hey also see" to

#ate so"ething a$out ho( the people in the hea

o+?#e

(ant to $e per#eived. In +a#t, their #hoi#e o+ poin

vie( sho(s (hether they (ant to $e seen as peo

7G(eH8 or as an entity 7Gthe #o"panyH8. ead the

sages again and then de#ide ho( you thin* ea#h

(ants to $e per#eived.

Bhi#h "essage see"s to tell the reader, GBspea* dire#tly to you $e#ause (e are real people

$ehind

this #o"panyH

$ut not all o+ the" "ay $e appropriate +or (hat theyDre

(riting, and only one (ill #reate the exa#t ee#t a

(riter

desires. 9hatDs $e#ause ea#h approa#h esta$lishes a

par!

ti#ular relationship $et(een the reader and the

(riter.

When Writers Use First Person

I"agine you get one o+ the +ollo(ing "essages+ro"

your

#o"pa

nyDs

head

o+?#e-

A.#o"pany#ongratulates you onthe $irth o+

your #hild.#.

#ongratulate you on the $irth o+ your #hild.

Bhi#h "essage (ould you rather re#eiv



90

>essage YYYYYY

Bhi#h "essage see"s to tell the reader, GBa very +or"al relationshipK letDs not get too perso

>essage YYYYYY

9he #o"pany that sends "essage A suggestthe reader that GBe have a very +or"al relations

letDs

not get too #lose or too personal.H >essage , onother hand, tells the reader so"ething "ore li*e

G!e #an spea* dire#tly to you $e#ause (e are re

peo!

ple $ehind this #o"pany.H 9hus, the point o+ vie(

rePe#ts the (ay the senders o+ the "essage (ish

per#eived/as a distant entity 7"essage A8 or as

+riendly #olleagues 7"essage 8.




Distance vs. Intimacy

Bhether (riters intend it or not 7though they

al"ost

al(ays do8, the third!person point o+ vie(

esta$lishesa #ertain distan#e $et(een the (riter and the

reader.

9hereDs no dire#t person!to!person #onta#t that

(ay

7me to you8. ather, (ith the third!person point o+

vie(, so"eone 7or so"ething8 else is spea*ing to

the

I

I

*ubective' $ased on the thoughts, +eelingexperien#es o+ the spea*er or (riter 7?rst!p

point o+ vie(8

4bective' unae#ted $y the thoughts, +ee

and experien#es o+ the spea*er or (riter 7thperson point o+ vie(8

reader.

9he ?rst!person point o+ vie(, on the other

hand,esta$lishes a #ertain inti"a#y $et(een the (riter

and

the reader. 9he (riter uses /, my, mine, we, our, or us

as

i+ expressing his or her o(n personal +eelings and

ideas

dire#tly to the reader. G!e #ongratulate youH

"a*es

"essage "u#h "ore personal than "essage A,

(herethe company #ongratulates you.

9hus, i+ you (anted to #o"plain a$out a

o+?#e poli#y, (hi#h o+ the +ollo(ing points o+ v

doyou thin* (ould $e "ore ee#tive

A. I thin* our ne( o+?#e poli#y is a +ailure.#. 9he ne( o+?#e poli#y appears to $e a +ai

>ost people (ould agree that senten#e "ore

ee#tive. 9he Fuestion is, why

I :irst!person point o+ vie( esta$lishes inti"a#y.

9he (riter (ants to $e #lose to the reader. 1. 9he point o+ vie( o+ senten#e is "ore eI 9hird!person point o+ vie( esta$lishes

distan#e.

9he (riter (ants to distan#e hi"! or hersel+

+ro"

the reader.

than that o+ senten#e A $e#ause

a. senten#e A is too su$Je#tive.

b. senten#e is too su$Je#tive.

c. senten#e A is too o$Je#tive.

d. all o+ the a$ove.

When Writers Use Third Person 9he ans(er is a. &enten#e A uses the ?rs

personIn a $usiness environ"ent, itDs not al(ays pra#ti#alto

$e personal. 9hough the ?rst!person point o+

vie(

"ay "a*e the reader +eel #lose to the (riter, the

?rst!

person point o+ vie( also i"plies a #ertain

subAectivity . 9hat is, the (riter is expressing a very personal

vie(

+ro" a

very

personal

perspe#tiv

e.

Subjectivityvs.Objectivity

9hereDs nothing (rong (ith expressing pe

vie(s,

$ut in the $usiness (orld, (riters "ay no

$e at

an advantage using the ?rst!person p

vie(.

9heyDre "ore li*ely to $e ta*en seriously

theyDre

obAective, presenting things +ro" an outs



point o+

vie(, than (hen theyDre subAective, presenting

things

+ro" their o(n possi$ly sel?sh or $iased point o+

vie(.

91

point o+ vie(, and $e#ause / is so su$Je#tive a

per!

sonal, it doesnDt #arry as "u#h (eight as the

o$Je#tive

senten#e . In senten#e , there is no person

spe#tiveK so"eone +ro" the outside 7a third p

not

the reader or the (riter8 is loo*ing at the poli#

evaluating it. 9he third!person point o+ vie( is

al"ost

al(ays #onsidered to $e "ore o$Je#tive $e#a

the

third person is not dire#tly involved in the a#t

ho(ever, is dire#tly involved in the a#tion 7the

poli#y8

and there+ore #annot have an o$Je#tive opinio

a$out

the poli#yDs su##ess or +ailure. /Ds opinion "ay

preJ!

udi#ed $y the (riterDs personal experien#e.

;+ #ourse, even (hen a (riter uses thirdperson,

he or she #an still express his or her o(n opin

Bhen that opinion is expressed in the third pe

ho(ever, it appears "u#h "ore o$Je#tive.




When Writers UseSecond Person

Bhen is you an appropriate pronoun Bhat ee#t

doesit #reate +or you, the reader ?ou generally is used

to

address the reader dire#tly, parti#ularly (hen the

(riter

is giving dire#tions. I"agine, +or exa"ple, that you

have registered +or a ?nan#ial planning #lass at the

lo#al

#o""unity #ollege. rior to the ?rst #lass, you

re#eive

>ost li*ely youDd rather re#eive note A. 'o(,hereDs the tougher Fuestion-

2. 9he point o+ vie( o+ note A is "ore ee#tive

than the point o+ vie( o+ note $e#ausea. note A +eels less +or"al.

b. note A spea*s personally to the reader.

c. note A addresses the reader as an individua


the +ollo(ing note- >ost people (ould pre+er note A +or all o+ the

9ote A

As a student in our ?nan#ial planning #lass, you

(ill

need several ite"s. :irst, you "ust pur#hase

the

$oo* 0inancial Planning8 %he .asics $y o$in

Bexel.

&e#ond, you "ust outline your #urrent ?nan#ial

sit!

uation $y "a*ing a list o+ your in#o"e sour#es

as

(ell as your $an* a##ounts, invest"ents, and

retire!

"ent plans. :inally, you should prepare a

?nan#ial

(ish list that do#u"ents (here you (ould li*e to

see

yoursel+ ?nan#ially ten years +ro" no(. )ou

should

$e as spe#i?# as possi$le (hen putting this list

together.

'o(, i"agine you re#eive this noteinstead-

reasons, so the ans(er is d. :irst o+ all, in note A,

(riter spea*s dire#tly to the reader 7 you8. In note

the (riter spea*s in the third person 7GstudentsH8

note never a#*no(ledges that you are a student

result, note sounds "ore +or"al or o+?#ial. 9he

ond!person point o+ vie(, ho(ever, addresses yo

personally. It singles you out as an individual, not

#ategory 7student8. It is al"ost li*e note A (as (

Just +or you.

Second Person and Audience

In +a#t, $e#ause note A uses the se#ond!person p

vie(, you #an "a*e #ertain assu"ptions a$out th

audien#e +or this note. eread note A and then a

this Fuestion-

9ote #

&tudents in our ?nan#ial planning #lass (ill

need

several ite"s. :irst, they "ust pur#hase the

$oo*0inancial Planning8 %he .asics $y o$in Bexel.

&e#!

ond, they

"ust

outlinetheir

#urrent ?nan#ial situ!

ation $y "a*ing a list o+ in#o"e sour#es as (

$an* a##ounts, invest"ents, and retire"ent

:inally, they should prepare a ?nan#ial (ish listdo#u"ents (here they (ould li*e to see the"s



?nan#ially ten years +ro" no(. 9hey should $e

as

spe#i?# as possi$le (hen putting this list

together.

Bhi#h note (ould you rather re#eive YYYYY

92

3.'ote A (as "ost li*ely (ritten +or

a. students #onsidering the ?nan#ial planning

#lass +or next year.

b. instru#tors at the s#hool.

c. students enrolled in the ?nan#ial planning

#lass only.

d. all students at the #o""unity #ollege.

e#ause note A uses the se#ond!person pron you, you #an assu"e that it is (ritten +or c, only

dents enrolled in the ?nan#ial planning #lass. It "

$e, $e#ause it #anDt (or* +or any other audien#e

$e#ause

o+ its pronoun.




'ote , on the other hand, #ould $e used +ora

"u#h larger audien#e. In +a#t, the note #ould $e

a

des#ription in a #ourse #atalogue designed +or allstu!

dents at the #ollege as (ell as the general pu$li#. &o,

the

third!person point o+ vie( "ay have $een used in

note

not to #reate a distan#e $et(een the reader and

the

(riter, $ut to allo( +or a (ider audien#e.

Briters "ay also use you to "a*e readers +eel

asi+ they are ta*ing part in the a#tion or ideas

$eing

expressed in the text. :or exa"ple, letDs i"agine

that a

(riter (ants to #onvin#e readers in a parti#ular

to(n

that a #o""unity garden is a good idea. 9he

(riter

#ould use the third!person point o+ vie( as in the

+ol!

lo(ing paragraph-

8aragrap A

I"agine ho( (onder+ul it (ould $e i+ lo#al

residents had a##ess to a #o""unity garden.

ather

than gardening in isolation, residents (ould

#o"e

together in an appealing designated spot to plant

a

$ounti+ul garden. 9hey (ould $e given a plot o+ land (ithin the large garden to plant as they see

?t.

9hey #ould plant Po(ers, vegeta$les, her$s, or

any

other greenery they desire. 9he reFuire"ent

(ould

$e that they spend at least one hour in the

garden

every (ee* and that they $ring a +e(

gardeningi"ple"ents to share, su#h as (atering #ans,

gar!

dening gloves,

+ertilier, and

shovels. 9he

$ene?ts o+

a #o""unity

garden (ould

$e nu"erous.

esidents

(ould have

a##ess to land

to garden they

"ight not

other(ise

have. 9hey

(ould $e part

o+ a (orth(hileand re(arding

#o""unity

a#tivity that

(ould allo(

the" to "eet

other

residents (ho

love gardening

and (ho "ight

have ex#ellentgardening

s*ills and

hints to share.

Additionally, a

#o""unity

garden

(ould $e a

(onder+ul oasis

in the "iddle o+

our $usyto(n (here

residents #an

#o"e to (al*,

sit, or Just

enJoy the

#o"pany o+

neigh$ors in

a lush and

+riendly

setting.93



;r, the (riter #ould use the se#ond!person pointe( to express the sa"e ideas-

aragrap #

I"agine ho( (onder+ul it (ould $e i+ you had

##ess to a #o""unity garden. ather than garden!

g in isolation, you (ould #o"e together in an

ppealing designated spot to plant a $ounti+ul gar!

en. )ou (ould $e given a plot o+ land (ithin therge garden to plant as you see ?t. )ou #ould plant

o(ers, vegeta$les, her$s, or any other greenery

ou

esire. 9he reFuire"ent (ould $e that you spend at

ast one hour in the garden every (ee* and that

ou

ring a +e( gardening i"ple"ents to share, su#h as

atering #ans, gardening gloves, +ertilier, and shov!

s. 9he $ene?ts o+ a #o""unity garden (ould $e

u"erous. )ou (ould have a##ess to land to gardenou "ight not other(ise have. )ou (ould $e part o+

(orth(hile and re(arding #o""unity a#tivity

at (ould allo( you to "eet other residents (ho

l

o

v

e

g

a

r

d

e

n

i

n

g

a

n

d

(

ho

"ight have ex#ellent gar!

dening s*ills and hints to share. Additionally

#o"!

"unity garden (ould $e a (onder+ul oasis

"iddle o+ our $usy to(n (here you #an #o"

(al*, sit, or Just enJoy the #o"pany o+ neigh

in

a lush and +riendly setting.

id you noti#e the dieren#es $et(een thpara!

graphs Bhat pronouns does ea#h paragraph

4.aragraph A usesa. ?rst!person pronouns 7/, we8.

b. se#ond!person pronouns 7 you8.

c. third!person pronouns 7he, she, they 8.

5.aragraph usesa. ?rst!person pronouns 7/, we8.

b. se#ond!person pronouns 7 you8.c. third!person pronouns 7he, she, they 8.




aragraph A uses the third person 7c8, (hilepara!

graph uses the se#ond person 7b8. 'o(, (hi#h

para!

graph do you ?nd "ore #onvin#ing >ost people(ould $e "ore #onvin#ed $y paragraph .

Bhy

ing the $ene?ts o+ a #o""unity garden $e#ause (riter puts you in ea#h s#enario. 9he (riter o+ th

paragraph *no(s that i+ you i"agine yoursel+ in

situations, you are "u#h "ore li*ely to see the

$ene?ts

o+ a #o""unity garden.

6.aragraph see"s "ore #onvin#ing $e#ause

a. you puts the readers into the a#tion o+ the

paragraph.

b. you "a*es readers pay "ore

attention.

c. you "a*es readers i"agine the"selves in

thatsituation.


9he se#ond!person point o+ vie( does all o+these

things 7d8, and thatDs (hy it is o+ten "ore

#onvin#ing

than the other points o+ vie(. 9he se#ond!person

point

o+ vie( puts you, the reader, dire#tly into the

situation.As soon as you read that (ord you, you start to

pay

extra attention $e#ause the (riter is addressing

you

dire#tly. And you #anDt help $ut i"agine yoursel+

enJoy!

Summar y

)ou #an see $y no( ho( i"portant point o+ vie( (riting, +or ea#h point o+ vie( #reates a #ertain e

&o"eti"es, it $rings the reader and the (riter #ltogetherK so"eti"es, it pushes the" apart. &o"

ti"es, it "a*es an argu"ent "ore #onvin#ing

through third!person o$Je#tivityK so"eti"es, an a

"ent is "ore #onvin#ing through se#ond!person

involve"entK and so"eti"es, itDs "ore #onvin#in

through ?rst!person inti"a#y. Briters #hoose the

point o+ vie( #are+ully in order to #reate a #ertain

relationship $oth (ith their ideas and (ith the re


I

I

Imagine you have an argument with someone. Tell the story of the argument, first from your point of view

using the first-person pronoun. Then, tell the story from the other person’s point of view, again using

the first-person pronoun. Finally, tell the story from an outsider’s point of view using the third-person

pronoun. Notice how the story changes when the point of view changes, and notice how both first-

person accounts will be subjective, while the third-person account is objective.

Take a memo or letter you received at work. If the information addresses you in the second person you,

change it to a third-person point of view (employees, managers, clients). Or, if the writer uses the first-

person point of view (I or we), change that to the third-person point of view to eliminate the subjectivity.



94



L E S S O N

12

i#tion-BhatDs in aBord

LESSON SUMMARYToday’s lesson focuses on diction, the words writers choose to con-

vey their meaning. The smallest change in choice of words can signif-

icantly change the tone and meaning of a passage. Today’s lesson

shows you how to pick up on the clues to meaning writers give through

their choice of words.

hat "ade &herlo#* <ol"es su#h a good dete#tive Bas he Just "u#h s"arter than eveelse

id he have so"e sort o+ "agi#al po(ers Could he so"eho( see into the +utur

into the

past 'o, &herlo#* <ol"es (as no "ediu" or "agi#ian. &o (hat (as his se#

<is po(ers o+ o$servation.

)ou "ay re#all that the introdu#tion to this $oo* tal*ed a$out active reading As an a#tive reader,

should

have $een "ar*ing up the passages youDve read in this $oo*- identi+ying un+a"iliar vo#a$ulary, under



*ey

(ords and ideas, and re#ording your rea#tions and Fuestions in the "argin. ut thereDs another part o+

read!

ing (e havenDt tal*ed a$out- ma5ing observations.

95

W



–DICTION: WHAT ’S IN A WORD?–

Making Obser vations

>a*ing o$servations "eans loo*ing #are+ully atthe

text and noti#ing spe#i?# things a$out how it iswritten.

)ou "ight noti#e, +or exa"ple, the point o+ vie(

the

author has #hosen. )ou #ould also noti#e-

Obser ving Diction

9est your o$servation s*ills on these t(o senten#

A. 9he to(nDs ne( par*ing poli#y, (hi#h goes i

ee#t on >onday, should signi?#antly redu#e

tra+?# #ongestion on >ain &treet.

I

I

I

I

arti#ular (ords and phrases the (riter uses

9he (ay those (ords and phrases are arranged in

senten#es and paragraphs

epeated (ord or senten#e patterns

I"portant details a$out people, pla#es, and things

#. 9he to(nDs dra#onian ne( par*ing poli#y, (

goes into ee#t on >onday, should signi?#an

redu#e tra+?# #ongestion on >ain &treet.

)ou donDt need &herlo#* <ol"esDs "agni+yin

Bhen you "a*e o$servations, you #an then"a*e

valid inferences. As a "atter o+ +a#t, you did this in

Les!

son 11 (hen you "ade assu"ptions a$out ho(

the

(riter (anted to $e per#eived $ased on the point

o+

vie( he or she used.

Observations and InferencesIn+eren#es, as you "ay re#all, are #on#lusions

$ased

on reason, +a#t, or eviden#e. =ood in+eren#es

#o"e

+ro" good o$servations. 9he o$servations are the

evi!

den#e +or the in+eren#es. =ood in+eren#es/ones

$ased

on #are+ul o$servation/#an help you

deter"ine"eaning, as they helped &herlo#* <ol"es solve

#ri"es.

9o $e $etter readers, then, (e need to $e "ore

li*e

&herlo#* <ol"es- Be need to $e $etter o$servers. In

the

story G9he Adventure o+ the lan#hed &oldier,H

&her!

lo#* <ol"es tells a #lient- G/ see no more than you,

but / have trained myself to notice what / see.H )ou donDt

haveto $e

Einstein

to $e a

good

readerK

you Just

have to

train

yourse

l+ tonoti#e

(hat

you

see.

96




Denotation and Connotation

'o(, suppose senten#e A also had another adJe#tive

to

How Diction InfluencesMeaning

des#ri$e the ne( poli#y-

ut your po(ers o+ o$servation to (or* on the+ollo(!

A. 9he to(nDs ?r" ne( par*ing poli#y, (hi#hgoes

into ee#t on >onday, should

signi?#antly

redu#e tra+?# #ongestion on >ain &treet.

#. 9he to(nDs dra#onian ne( par*ing poli#y,

(hi#h

goes into ee#t on >onday, should

signi?#antly

ing senten#es. ead the" #are+ully and then (

do(n

(hat you noti#e a$out ea#h (riterDs spe#i?# #

o+

(ords. &ee i+ you #an use the (ritersD di#tion

deter!

"ine (hat they are in+erring a$out the seriou

o+

the situation they are des#ri$ing-

redu#e tra+?# #ongestion on >ain &treet.A. 9he politi#al parties are "eeting (ith thehopes

o the t(o senten#es no( "ean the sa"e

thing

)es and no. oth "rm and draconian suggest that

the

poli#y is stri#t, $ut ea#h (ord has a spe#i?#

i"pli#ation

or suggested "eaning a$out how stri#t that poli#y is.A

"rm poli#y is not as stri#t as a draconian poli#y.

:ur!

ther"ore, draconian suggests that the poli#y is not

only

stri#t $ut un+airly or unreasona$ly so.

&o, the (ords (riters #hoose, even though

they

"ay "ean the sa"e thing (hen you loo* the" up

inthe di#tionary, a#tually have another level o+

"eaning.

9his is #alled their #onnotation. 4onnotation is the

i"plied "eaning, the "eaning that evolves (hen

the

di#tionary de?nition 7denotation8 develops an

e"o!

tional or so#ial register or a suggestion o+ degree.

9he

spe#i?# (ords (riters #hoose/their diction or(ord

#hoi#e/#an there+ore reveal a great

a$out ho(

authors +eel a$out their su$Je#ts



o+ #learing up their dieren#es.

9he politi#al parties have entered into negotia!

tions in an atte"pt to resolve their #onPi#t.

oth senten#es #onvey the sa"e in+or"ation-parties are "eeting $e#ause they have a disagree!

nt o+ so"e sort to address. ut the dieren#es in the

on o+ ea#h senten#e tell us that these t(o situations

nDt exa#tly the sa"e/or at least that the t(o (rit!

have dierent per#eptions a$out the situations.

Bhat dieren#es did you noti#e $et(een thes

senten#es List the" $elo( 7an exa"ple has

pro!

vided to get you started8-

Your Observations:

Example' / noticed that sentence 6 says th

political

parties are Fmeeting,I whereas sentence .

they

Fhave entered into negotiationsI

Diction: the particular words chosen

and used by the author

Denotation: exact or dictionary meaning

Connotation: implied or suggested meaning

97




'o( that youDve listed your o$servations,ans(er

this Fuestion- In (hi#h senten#e do you thin* the

sit!

uation is "ore serious, and why do you thin* so79he

why is espe#ially i"portant.8

9he dieren#e in (ord #hoi#e should tell youthat

senten#e des#ri$es the "ore serious situation.

<ere

are so"e o+ the o$servations you "ight have

"ade

a$out the (ritersD di#tion that (ould have told you

so-

o+ #on+usion $et(een the t(o. <o(ever, Gresolsuggests that there is a "atter that "ust $e so

or settled. And, o+ #ourse, G#onPi#tH indi#ates a

"ore serious pro$le" than Gdieren#es.H

Reading between the Lines

Loo*ing at di#tion #an $e espe#ially help+ul (hen

(riterDs "ain idea isnDt Fuite #lear. :or exa"ple,

+ollo(ing paragraph/an ex#erpt +ro" a letter o+

o""endation/the author doesnDt provide a topi

senten#e that expresses the "ain idea. Instead,

"ust use your po(ers o+ o$servation to ans(er t

Fuestion a$out ho( the author +eels a$out the

des#ri$ed e"ployee.

8aragrap A

'i#ole ryan usually #o"pletes her (or* o

I

I

I

9he politi#al parties in senten#e are not

JustG"eeting,H theyDve Gentered into

negotiations.H

9his phrase is o+ten used to des#ri$e

disagree!

"ents $et(een (arring parties. And

Gnegotia!

tionsH are "u#h "ore +or"al than

G"eetings,H

suggesting that there is a serious dieren#e to

$eresolved in senten#e .

Bhereas in senten#e A they are ironing things

out,

the parties in senten#e only Gatte"pt toH

resolve

the pro$le"s. 9his i"portant dieren#e

suggests

that the pro$le" $et(een the parties in senten#e

A

is not that serious/the pro$le" is li*ely to

$e

resolved. In senten#e , on the other hand, Gin

an

atte"

ptH

sug

ges

ts

tha

t

the

pro

$le

"

is

Fui

te

seri

ous

an

d

tha

t it

(ill$e

di+?#ult to resolveK the outloo*

is dou$t+ul rather than hope+ul.In senten#e A, the parties are see*ing to G#lear up

their dieren#es,H (hereas in senten#e , the par!

ties (ant to Gresolve their #onPi#t.H 9he phrase

G#lear upH suggests that there is "erely so"e sort




Your Observations and Inferences:

Example' / noticed that the writer says Jicole

.ryan

FusuallyI completes her work on time

7o$servation8,which suggests that Jicole .ryan is good but not

per*

fect) she doesn’t always get her work done on

schedule

'o(, ta*e a loo* at a revised letter o+ re#"endation. 9he di#tion 7the (ord #hoi#e8 has

#hanged so that the paragraph sends a diere

"es!

sage. ead the paragraph #are+ully and deterho(

the (riter +eels a$out 'i#ole ryan-

7in+eren#e8.

8aragrap #

'i#ole ryan al(ays su$"its her (or*

pro"ptly and #he#*s it Judi#iously. &he is an

ex#el!

lent la$ te#hni#ian and has "astered sever(ays to

evaluate test results. &he has an extensive

*no(l!

edge o+ the latest "edi#al resear#h, (hi#h

$een

invalua$le.

3.Bhat "essage does the (riter o+ paragrap

9he di#tion o+ the paragraph $est supports

ans(er b- 9he (riter +eels that G'i#ole ryan isan

average e"ployee. &he doesnDt do outstanding (or*,

$ut she (onDt give you any trou$le.H )ou "ight

have

supported this in+eren#e (ith o$servations li*e these-

#onvey a$out 'i#ole ryan

a. 'i#ole ryan is an ex#eptional e"ployeher i""ediately

b. 'i#ole ryan is an average e"ployee. &

doesnDt do outstanding (or*, $ut she (o

give you any trou$le.

I

I

I

9he (riter uses the (ord usually in the ?rst sen!

ten#e, (hi#h "eans that 'i#ole ryan is good,

$ut

not greatK she doesnDt al(ays "eet

deadlines.

9he (riter des#ri$es 'i#ole ryan as a

G#o"pe!

tentH la$ te#hni#ian. 9his tells us that 'i#ole

ryan

does her (or* (ell enough +or the position, $ut

she is not ex#eptional. &he #ould $e $etter.

9he (riter tells us that 'i#ole ryan is

G+a"iliar

(ithH several (ays to evaluate test results.

9his

c. 'i#ole ryan is a lousy (or*er. onDt ev

thin* a$out hiring her.

9his ti"e you should have #hosen ans(e

9he#hange in di#tion tells you that this (riter thin

'i#ole

ryan is a +antasti# e"ployee. 9o ensure the

dieren#e

in (ord #hoi#e is #lear, (rite the (ords used i

para!

graph to repla#e the (ords in paragraph A.

?rst

repla#e"ent has $een ?lled in to get you star

"eans that she #an do her (or* using those evalu! ati on te#hniF



$ut she is no expert and does not

*no( all there is to *no( a$out evaluating

test

results.

PARAGRAPH A

usually

on time

PARAGRAPH B

always

I 9he (riter tells us that 'i#ole ryan has

Gso"e

*no(ledge o+ the latest "edi#al resear#h,H

(hi#h

tells us that 'i#ole ryan *no(s a little, $ut not

a

lotK again, sheDs $etter than so"eone (ho*no(s

nothing, $ut sheDs no expert.

99

carefully

competent

is familiar with

some knowledge

helpful



L E S S O N

13

&tyle-ItDs 'ot Bhat 9hey &ay $ut

<o( 9hey &ayIt

LESSON SUMMARYHow a writer puts words together to express meaning is as important

as what the writer says. This lesson shows you how to analyze the style

of a piece of writing in order to get a better understanding of what the

writer means.

tyleH you as*. GBhat does style have to do (ith reading #o"prehensionHA#tually, style has a good deal to do (ith reading #o"prehension. Oust as (riters use

dierent

stru#tures to organie their ideas and in+or"ation, they also use dierent styles to expres

ideas

and in+or"ation. 9hus, the "ore a(are you are o+ the ele"ents o+ style, the "ore su##ess+ully you #an

deter"ine

a (riterDs purpose and understand his or her ideas.

&tyle is also i"portant $e#ause it is o+ten (hat attra#ts us to, or repels us +ro", #ertain (riters or

o+



(riting. 9hough an a(areness o+ style "ight not "a*e us #hange our taste, it #an at least help us appr

dierent

(riters and dierent styles.

101

S



–STYLE: IT ’S NOT WHAT THEY SAY BUT HOW THEY SAY IT–

Style: a distinctive way of writing or speaking

or doing something; the manner in which

something is done

What Is Style?

&tyle, in (riting, generally #onsists o+ threeele"ents-

1. &enten#e stru#ture2. egree o+ detail and des#ription

3. egree o+ +or"ality

i#tion is also an aspe#t o+ style, $ut $e#ausedi#!

tion is so essential to "eaning, it had its o(n lesson

in

this $oo*.

Sentence Structure

Loo*ing at senten#e stru#ture "eans loo*ing at

the

type o+ senten#es the (riter has used. Are theyshort,

si"ple senten#es ;r are they long and #o"plex,

(ith

a lot o+ #lauses and phrases ;r does the (riter use

a

"ix oes every senten#e sound the sa"e, or is

there

variety in the (ord order and stru#ture Is the

#o"!

plexity or si"pli#ity o+ the senten#es at the rightlevel

+or the readers

ead the +ollo(ing senten#es and then

ans(er

the Fuestions that des#ri$e their senten#e

stru#ture.

A. 9he "eeting $egan. >r. 9ho"as des#ri$edthe

poli#y. 9hen, >r. %nder(ood spo*e in +avor

o+ it. A+ter(ard, >s. @illegas spo*e against it.#. A+ter the "eeting, (hen everyone had

already

le+t the roo", >s. @illegas stayed $eh

spea* (ith >r. 9ho"as. &he #are+

explained her position on the ne(

hoping sheDd get hi" to #hange hi

"ind.



Bhi#h version uses the sa"e senten#e stru#turehroughout

a. version A

b. version

Bhi#h version uses #o"plex senten#esa. version A

b. version

Bhi#h version varies the senten#e stru#tures,using dierent *inds o+ senten#es

a. version A

b. version

)ou pro$a$ly noti#ed that version A is the oneuses si"ple senten#es (ith essentially the sa"e

ten#e stru#ture throughout. 7)ou "ight also have

#ed that these senten#es sound rather dull

ause

they are so si"ple and unvaried.8 In version , th

senten#es are +ar "ore #o"plex (ith "ore variat

in their stru#ture.

Degree of Detail and Description

Bhen you loo* at degree o+ detail and des#riptio

t(o things-

1. <o( spe#i?# is the author oes he (rite Gdo7general8 or GLa$rador retrieverH 7spe#i?#

detail8 oes she (rite Gso"eH 7general8 or

Gthree and a hal+ poundsH 7spe#i?# detail8

2. <o( "u#h des#ription does the author provid

oes he (rite G>r. is "y "anagerH 7non!

des#riptive8 or G>r. , "y "anager, is a tall "

(ith pier#ing eyes and a "usta#heH 7des#ript

;r, does he go even +urther- G>r. , "y "ana

is six +oot ten (ith eyes that pier#e li*e *nives

and a "usta#he li*e <itlerDsH 7very des#riptive

9ry your hand at de#iding (hether (ords are#i?# and des#riptive or general and nondes#riptiv

1.Bhi#h version uses si"ple senten#esa. version A

b. version

102




5.Bhi#h o+ the +ollo(ing (ord7s8 or phrases are

"ore spe#i?# and des#riptive %nderline the".

Bhi#h (ords or phrases are "ore general and

nondes#riptive Cir#le the".

a. #arb. red 164 :ord

c. on the #orner o+ 54th and road(ay

d. on the #orner

your o$servations. Bhat do you noti#e thatDsdierent$et(een these t(o letters

0etter ALu#y-

Listen, a (hile ago, I ordered so"e

invitations

+ro" your (e$site. I havenDt gotten the" ye

Bhat

happened Bhere are they :ind out I nee

the"

/Isa$el

As you #ould pro$a$ly tell, ans(ers b and c are the

"ore spe#i?# and des#riptive ones, (hile ans(ers

a

and d are "ore general and nondes#riptive.

Degree of Formality

9he degree of formality o+ a pie#e o+ (riting has to

do

(ith ho( +or"al or #asual the (riterDs language is.

:or

exa"ple, does the (riter use slang as i+ spea*ing

to a

+riend, or Jargon 7spe#i?#, te#hni#al language8 as i+

spea*ing to #olleagues oes the (riter address

the

reader $y his or her ?rst na"e 7#asual8, or $y his or

her

title 7+or"al8

6.Bhi#h senten#es are "ore in+or"al %nderline

the". Bhi#h are "ore +or"al Cir#le

the".

a. LetDs get together a+ter (or* on 9hursday.

b. Be *indly reFuest that you Join us +or a

so#ial

gathering at the #lose o+ $usiness on

9hursday.

c. 9hese ?gures indi#ate the sales have

in#reased

signi?#antly.

d. &ales are up

0etter #

ear >s. >ira$ella-

9hree (ee*s ago, on April 1, I rush or

t(o $oxes o+ personalied party invitations

your (e$site 7;rder \12358. 9o date, I ha

not

re#eived "y order. lease loo* into this "at

i""ediately as I a" in dire need o+ this pro

&in#erely,

>s. Lindsey

Bhat did you noti#e a$out these t(o lette<o(

are they dierent Consider senten#e stru#tu

degree

o+ des#ription and detail, and degree o+ +or"a

List

your o$servations in the spa#e $elo( 7an exa

has

$een provided to get you started8-

Your Observations:Example' / notice that letter 6 addresses t

reader as

FLucy,I whereas letter . addresses her as F

-irabellaI

Chan#es are that you didnDt have "u#h trou$le



de#iding that senten#es a and d are "ore in+or"al and

senten#es b and c are "ore +or"al.

How the Three Elements ofStyle Work Together

Loo* at ho( these three ele"ents o+ style (or* togetherin the +ollo(ing t(o letters. oth #onvey essentially

the sa"e in+or"ation, $ut they are (ritten in radi#ally

dierent styles. ead the letters #are+ully and then list

103



At the sa"e ti"e, you pro$a$ly noti#ed that let!A does not provide the *ind o+ spe#i?# in+or"ation

letter does. Letter A tells us the (riter pla#ed an

er +or Gso"e invitationsH Ga (hile ago,H $ut letter

us the order (as pla#ed Gthree (ee*s ago, on

l

and that the order (as +or Gt(o $oxes o+

sonalied

y invitations.H 9he +a#t that letter A does not pro!spe#i?# details is +urther eviden#e that the reader

(s the (riter very (ell, +or the (riter doesnDt have

vide spe#i?# details. :urther"ore, in letter A, the

er uses a #o""and/G:ind outH/(hereas in

er , the (riter asks, rather than de"ands, that the

ter $e loo*ed into. 9his politeness rePe#ts a pro+es!

al distan#e $et(een (riter and reader.

In $usiness, as in "ost (riting, the audien#e usu!

deter"ines the (riterDs style. 9he (riter o+ letter Aro$a$ly #apa$le o+ (riting in the style o+ letter ,

ause she has a #asual relationship (ith her reader,

doesnDt need to use a +or"al style.

The Effect of Description

and Detail

In $usiness, (hat so"e people #all GPo(eryH sty

lots

o+ des#ription and detail/is al"ost never approp

Bhy e#ause in $usiness, as they say, Gti"e is

"oney,H

so readers donDt (ant to spend ti"e reading leng

des#riptions or extensive detail. 9hey Just (ant t

+a#ts- (hen the "eeting (ill $e held and (hereK

the ne( produ#t is designed to do and ho( "u#h

#ostsK ho( the ne( training "anual is #o"ing alo

"ost #ases, the "ore straight+or(ard, the $etter

;ther ti"es, ho(ever, (hen they (ant reade

i"agine a situation or to experien#e so"ething

through

language, (riters need a GPo(eryH style. 9hat is,

need a high degree o+ des#ription and detail. 9he

lo(ing t(o paragraphs sho( the dieren#e. oth

des#ri$e the sa"e appoint"ent, $ut in t(o very +erent styles. ;ne is (ritten in a style appropriate

$usiness and only re#ords the +a#ts. 9he other

des#ri$es

the "eeting in a style appropriate +or general reainterested in the +eelings o+ the people involved.

104




8aragrap A

)esterday at 10-00 A.>., >ar* &pen#er held

a

press #on+eren#e. Eleanor Cart(right (as present

as(ell. >r. &pen#er tal*ed a$out up#o"ing events

at

the &"ith?eld >useu" o+ Art, (here he is

ire#tor.

9hen he announ#ed that Eleanor Cart(right had

Just $een appointed ire#tor o+ evelop"ent.

9his

ne( position (as #reated due to the planned

$uild!

ing o+ a ne( (ing, (hi#h (ill house thesigni?#ant

art #olle#tion that (as donated to 9he &"ith?eld

>useu" last year. >r. &pen#er outlined

>s.

Cart(rightDs Fuali?#ations and introdu#ed her to

the press. &he dis#ussed plans +or the ne( (ing,

and

she also too* several Fuestions +ro" reporters

$e+ore

#redentials as the reporters hung on every :inally, >s. Cart(right too* the podiu" and

(o(ed

everyone (ith details a$out the ne( (ing.

alsotoo* several Fuestions. y the ti"e she (as

done,

everyone in attendan#e (as #har"ed $y he

and

sophisti#ation and they le+t the roo" #onvin

that

the &"ith?eld >useu", on#e $arely *no(n

truly $e#o"ing a "aJor +or#e in the art (or

'o(, (rite do(n your o$servations a$outt(o paragraphs $elo(. <o( are these t(o ver

di+!

+erent Bhat did you noti#e a$out the senten

stru#!

ture A$out the degree o+ des#ription and deta

A$out

the degree o+ +or"ality

the press #on+eren#e ended. Your Observations:

8aragrap #

)esterday at 10-00 A.>., >ar* &pen#er, the

pop!

ular ire#tor o+ the &"ith?eld >useu" o+ Art,

held

a press #on+eren#e. 9he roo" (as $uing (ith

reporters as >r. &pen#er too* the podiu".

&tanding

to his right (as a stri*ing (o"an (ith a #ri"son

suit. >r. &pen#er ?rst dis#ussed the soon!to!$e!

laun#hed artist!in!residen#e progra" as (ell as

the

up#o"ing annual +undraising dinner, (hi#h has

$een the hottest ti#*et in to(n ever sin#e

>r.

&pen#er #a"e to the &"ith?eld.

9he roo" (as thi#* (ith #uriosity as

>r.

&pen#er turned to(ard the "ysterious (o"an

andinvited her to Join hi" at the podiu". >r.

&pen#er

then spo*e in an ex#ited and genu

tone, GID"

delighted to introdu#e to you, the n

ire#tor o+

evelop"ent o+ the &"ith?eld

>useu", >s.

Eleanor Cart(right.H >r. &pen#er

explained that

this position (as #reated due to the

$uilding o+ the

ne( (ing, +or (hi#h #onstru#tion i

s#heduled to

start soon. 9he (ing (ill house the

i"pressive and

signi?#ant art #olle#tion o+ >r. and

>artin

u#*ner, (hi#h (as donated to the

"useu" last

year. >r. &pen#er listed >s. Cart(ri"pressive



xample' / noticed that version . is almost twice as

ng as version 6

'o(, use your o$servations to ans(er the+ollo(ing Fuestions-

11.Bhi#h version tells you "ore a$out >ar*&pen#er

a. paragraph A

b. paragraph

12.Bhi#h version tells you "ore a$out EleanoCart(right

a. paragraph Ab. paragraph

105




13.Bhi#h version is "ore o$Je#tivea. paragraph A

b. paragraph

14.Bhi#h version "a*es you +eel ex#iteda$out

Eleanor Cart(rightDs appoint"ent

a. paragraph A

b. paragraph

)ou noti#ed, o+ #ourse, that paragraph is"u#h

"ore des#riptive than paragraph A/it tells you

"ore

a$out $oth >ar* &pen#er and Eleanor Cart(right.

aragraph A Just provides the +a#ts/spe#i?#

details,

$ut no des#ription. aragraph A is very o$Je#tive.

Be

do not learn anything a$out >ar* &pen#er other

than

his Jo$ title. :or exa"ple, (e donDt *no( ho(

people

+eel a$out hi". In paragraph A, (e also learn very

lit!

tle a$out Eleanor Cart(right other than her ne( Jo$.

Be donDt *no( (hat she loo*s li*e or ho( people in the

roo" respond to her.

aragraph , ho(ever, tells us a$out

>ar*

&pen#erDs reputation 7GpopularH and responsi$le

+or

"a*ing the annual +undraising dinner Gthe hottest

a$out Eleanor Cart(right 7Gstri*ing (o"an (ith a#ri"son suit,H Gi"pressive #redentialsH8. Be also

a good deal a$out the general tone o+ the roo" a

ho(

this announ#e"ent (as re#eived 7Gthe roo" (as$uing,H Greporters hung on her every (ord,H Gt

le+t

the roo" #onvin#ed that the &"ith?eld >useu",

$arely *no(n, (as truly $e#o"ing a "aJor +or#e

art (orldH8. All these details help us +eel so"ethi

a$out the announ#e"ent and the people involve

$e#ause the #hara#ters and the situation are

presented

visuallyK (e #an al"ost see (hat happens.

Summar y

&tyle, as you #an see, is an i"portant aspe#t o+reading#o"prehension. It #an tell us a$out the (riterDs r

tionship to the readerK it #an distan#e us (ith its

tivity or dra( us in (ith its des#ription and detail

readers, (e tend to rea#t strongly to style, o+ten

out *no(ing (hy. ut no( you do *no( (hy, and

#an use that *no(ledge to help you understand (

you read.

ti#*et in to(nH8. aragraph also provides "any details


I

I

As you come across sentences or paragraphs written in different styles, see how they would sound if

the style were altered. Change the level of formality, the degree of description and detail, or the sen-

tence structure to create a new style.

Do you have a favorite author? Take a second look at a particularly memorable work by this author, pay-

ing close attention to the style elements at work. If you are a Jane Austen fan, pick out features that

make her novels enjoyable for you. Do you like her degree of formality, the way she uses detail to

describe fancy parties, or the way she varies her sentence structure? After you’ve taken a close lookat this work, try your own hand at it. Can you write a letter to a friend in the same style that Jane Austen



d have?

about

st

ngway or

hen King?

106



L E S S O N

1

<o( 9hey &ayIt,

art 9(o- 9one

LESSON SUMMARYThe way you perceive a person’s tone of voice has a great deal to do

with how you understand what that person is saying. The same is true

of tone in writing; it’s vital to pick up on clues to tone in order to under-

stand a written piece fully. This lesson shows you how.

ay this (ord out loud- G&ure.H

<o( did you say it id you say it (ith a s"ile, as in G&ure, anyti"eH ;r did y

it Patly,

as i+ responding to a #o""and ;r did you stret#h the (ord out, G+uuuurre,H as i+ you did

$elieve

(hat so"eone Just said ;r did you as* it, as in, GAre you sure this is o*ayH

erhaps you didnDt realie there (ere so "any (ays to say this one single (ord, Gsure.H ut there

Bhy 9he (ord itsel+ isnDt dierentK its denotation 7di#tionary "eaning8 isnDt dierentK so ho( #an the sa"e



express

so "any dierent things

9he dieren#e in the "eaning o+ all these sures #o"es +ro" the tone/ho( you say the (ord, and

ho(

your listeners (ill +eel (hen they hear you say it.

107

S



–HOW THEY SAY IT, PART TWO: TONE–

Tone: the mood or attitude conveyed by words or

speech

Bhen you spea* and listen, you #an hear thetoneo+ your voi#e as (ell as the tone o+ the person to

(ho"

you are spea*ing. ut ho( do you #at#h tone in

(rit!

ing <o( do you *no( ho( the (riter (ants his or her

(ords to sound G&ureH $y itsel+ doesnDt tell us

(hether

you should (hisper or shout it. )ou need to loo* at the

#ontext surrounding that (ord to ?nd #lues a$out

the

proper tone to use.

9hin* a$out ho( tone is #reated in spee#h.

Bhen

you say Gsure,H the tone #hanges a##ording to ho(

0etter #

ear @alued Custo"er-

9han* you +or your re#ent letter regarding

re+und poli#y and pro#edure. Be are ta*ing you

suggestion Fuite seriously and truly appre#iate#on#ern.

Bhi#h o+ these letters has a "ore positive toAs

you #an see, letter is "ore positive. Bhy Bha

you noti#e a$out letter that is dierent +ro" let

List your o$servations $elo(-

Example' / noticed that letter 6 is addressed F

4lient,I while letter . is addressed FDear @alue

4ustomerI

loudly or so+tly you say the (ord and ho( slo(ly or

Fui#*ly you say it. 9one is also #onveyed 7or supported8

$y the spea*erDs expressions and $ody language. In

(riting, o+ #ourse, you do not have these visual

resour#es, $ut you do have plenty o+ #lues to help you

deter"ine tone. 9hose #lues #o"e +ro" the ele"ents o+ language and style that youDve studied so +ar- point o+

vie(, di#tion, and style.

erhaps you noti#ed that letter uses *ey (

How Tone Influences Meaning

It "ay help you to thin* o+ a senten#e as a #olle#tiono+ ingredients 7(ords and phrases8 that result in a

dish

7idea8. 9hese ele"ents o+ language and style are li*e

the

spi#es that you need to give that senten#e a #ertain

Pa!

vor. ierent spi#es (ill result in a dierent Pavor

7tone8.

Loo* at the +ollo(ing t(o letters. oth #onvey

essentially the sa"e in+or"ation, $ut they have

t(o

rather dierent tones.

0etter A

ear Client-



Gvalued #usto"erH and Gtruly appre#iate.H Letter

re+ers to the spe#i?# #ontents o+ the readerDs

er,

s letting the reader *no( that his or her letter has

n read. :urther"ore, letter tells the reader not

the #o"pany G(ill ta*e your suggestion into

siderationH/(hi#h sounds a $it li*e an e"pty

pro"ise/$ut that the (riters are ta*ing the sugg

GFuite seriously.H

)ou "ay also noti#e that the senten#es in le

are longer than those in letter A, (hose senten#e

shorter and so"e(hat #hoppy. I+ you read those

senten#es out loud, ho( do they sound 9heyDre

very inviting, are they 9hey sound so"e(hat "

i#al and e"pty o+ any +eeling.

9han* you +or your letter. Be (ill ta*e your

suggestion into #onsideration. Be appre#iate your

#on#ern.

108




%se your o$servations to ans(er the +ollo(ing

Fuestions.<ereDs a short list o+ so"e o+ the "ore #o

(ords used to des#ri$e a (riterDs tone-

1. 9he tone o+ letter A is $est #lassi?ed as

a. sin#ere.b. #o"pli"entary.

c. indierent.

Choi#e c, indierent, $est des#ri$es the tone o+

letter A. 9here is no indi#ation that the (riters o+ let!

ter A have a#tually read their #lientDs letter, so thereDs

no

indi#ation that they plan to ta*e the #lientDs

suggestion

seriously. 9hey are indierent to it. Also, the senten#estru#ture indi#ates that the (riters have not put

"u#h

#heer+ul

#o"pli"entaryhope+ul

sad

gloo"y

apologeti#

#riti#al

inse#ure

disrespe#t+ul

hu"orous

sar#asti#

ironi#(ist+ul

+ore$oding

play+ul

sin#ere

insin#ere

authoritative

threatening

indierent

thought into (riting this letterK as a result, the

senten#es

sound a$rupt and even unappre#iative.

2. 9he tone o+ letter is $est #lassi?ed asa. #heer+ul.

b. sin#ere.

c. apologeti#.

In #ontrast to letter A, the (riters o+ letter are

b, sin#ere. 9hey *no( exa#tly (hat their #usto"er

(rote a$out/thereDs the i"portan#e o+ spe#i?#

details

again 9heyDve also ta*en the ti"e to individualie

the

letterK and theyDve added (ords that sho( they

value

their #usto"er and their #usto"erDs+eed$a#*.

Varieties of Tone

Oust as there are endless varieties o+ tone (hen (e

spea*, there are endless varieties o+ tone in

(riting.

I+ any o+ these ter"s are un+a"iliar to yo

please

loo* the" up in a di#tionary no(.

Practice

'o( loo* at several senten#es and paragraph

see i+

you #an #orre#tly identi+y their tone. As you rethe",

thin* o+ ho( the paragraphs sound. )ou "ay

(ant to read the" out loud. Bith (hat *ind o

do

you read BhatDs your tone %se your instin#

(ell

as your o$servations, to #hoose the #orre#t to

ea#h paragraph. Ans(ers and explanations #o

i""ediately a+ter the pra#ti#e paragraphs.

3.I thin* the the"e o+ this novel pro$a$ly haso"ething to do (ith revenge.

a. play+ul

b. un#ertain

c. #heer+ul

4.Bithout a dou$t, the the"e o+ this novel isrevenge.

a. gloo"yb. disrespe#t+ul




5. )our essay ;h, it (as Just +a$ulous. eally, IDve

never seen anything li*e it.

a. insin#ere

b. #riti#al

c. disrespe#t+ul

6. 9his is one o+ the $est essays IDve ever seen.ItDs

#lear, #on#ise, and #onvin#ing.

a. #o"pli"entary

b. (ist+ul

c. hope+ul

7.ill had stayed up all night preparing +orthis

presentation. <e had everything ready- #harts,

graphs, lists, statisti#s. 9his (as the $iggest

"eet!

ing o+ his #areer. <e (as ready. <e s"iled as

the

#a$ pulled up to 505 ar* Avenue, and he gave

the

taxi driver an extra large tip. <e entered the

$uild!

ing #on?dently and pushed \11 on the

elevator.&uddenly, as the doors o+ the elevator #losed,

he

realied that he had le+t his $rie+#ase in the

#a$.

a. #heer+ul

b. ironi#

c. #riti#al

Answers

3.b. 9he (riter is o$viously a+raid to $eauthorita!

tive and uses phrases li*e GI thin*,H Gpro$a!

$ly,H and Gso"ething to do (ithH torePe#tthis un#ertainty.

4.c. 9he (riter is #learly #o"+orta$le in "a*ing a

de?nitive state"ent. 9here is no hesitation

in

the tone here. Instead o+ suggesting, the(riter

5.a. e#ause o+ the opening Fuestion and $e#athe next senten#es are so vague, a reader assu"e that the (riter either hasnDt read tessay or didnDt li*e it. Also, GreallyH indi#ate

that the (riter is a+raid the reader (onDt $e#onvin#ed $y the state"ent, so he tries toe"phasie it. :urther"ore, GIDve neverseen anything li*e itH isnDt ne#essarily a#o"pli"ent/it #ould really "ean "anydierent things, not all o+ the" good.

6.a. %nli*e Fuestion 5, this paragraph really is#o"pli"entary. 9he (riter spe#i?es threethings that "a*e the readerDs essay ex#eptional- ItDs G#lear, #on#ise and #onvin#ing.H

9he use o+ "ore spe#i?# adJe#tives "a*es

(riterDs praise see" sin#ere.7.b. /rony is the "ood #reated (hen things hap

pen in a "anner that is opposite o+ (hat (expe#ted to happen. <ere, ill had preparediligently +or the $ig "eeting and had everthing ready. ut #ontrary to his expe#tationo+ having a very su##ess+ul presentation, hhad no presentation at all $e#ause he le+t h"aterials in the taxi #a$. 9he irony is heighened $y his #on?den#e.

Summar y

An a$ility to deter"ine tone is an essential #o"pnent o+ reading #o"prehension. ;+ten, (riters (

their tone #onvey their "eaning, so you need to

#are+ully +or #lues in the (riterDs language and st

deter"ine ho( (riters (ant their (ords to sound

de#lares- GBithout a dou$tRH



L E S S O N

1:

Bord o(er-utting It All 9ogether

LESSON SUMMARYThis lesson pulls together what you’ve learned in Lessons 11–14, as

well as in previous lessons. It shows you how to use point of view, dic-

tion, style, and tone to understand what a writer means.

ouDve learned a lot this (ee* a$out language and ho( "u#h it ae#ts "eaning. e+ore youthis

*no(ledge to the *no(ledge you already have a$out stru#ture and the $asi#s o+ reading #o

hension, ta*e a "inute +or a $rie+ revie( o+ the last +our lessons. ItDs al(ays a good idea to

and

revie( "aterial youDve learned $e+ore you go on to ne( "aterial.

Review: Language and Style



Point of view is the perspe#tive +ro" (hi#h the (riter spea*s. &o"eti"es, (riters use the ?rst!person pvie(

7/, me, my, we, our, us8 to express their personal +eelings and experien#es dire#tly to the reader. 9his p

vie(

#reates a sense o+ inti"a#y $et(een the reader and the (riter $e#ause it expresses an extre"ely su$J

per!

spe#tive. Bhen (riters use the se#ond!person point o+ vie(, they address the reader dire#tly $y using

pronoun

you. 9his point o+ vie( is o+ten used to give dire#tions and to "a*e the reader +eel dire#tly involved in t

a#tiondes#ri$ed $y the (riter. 9he third!person point o+ vie( is the o$Je#tive perspe#tive o+ a Gthird person,H

so"eone

(ho is not dire#tly involved in the a#tion or ideas expressed in the passage. 9his point o+ vie( esta$lis

dis!

111

Y



–WORD POWER: PUTTING IT ALL TOGETHER –

tan#e $et(een the reader and (riter and uses thepro!nouns he, his, him) she, hers, her) it, its) and they,

them,

and theirDiction re+ers to the spe#i?# (ords #hosen $y

the

author to express his or her ideas. e#ause (ords

have

$oth a denotation 7exa#t or di#tionary "eaning8 and

a

Practice

In todayDs pra#ti#e, youDll #o"$ine these aspe#tslan!

guage (ith everything else youDve learned in thisa$out reading #o"prehension-

connotation 7i"plied or suggested "eaning8, as (ell

as

an e"otional register, the (ords an author #hooses

arevery signi?#ant. Authors, li*e politi#ians, "ust

#hoose

their (ords #are+ully to express exa#tly the right

idea

(ith exa#tly the right i"pa#t.

+tyle is the "anner in (hi#h the (riters

express

their ideas in (riting. &tyle is #o"posed o+ three

"ain

ele"ents- senten#e stru#ture, degree o+ des#ription

and

detail, and degree o+ +or"ality. &o"e (riters use a

very

I

I

I

I

I

I

I

I

:inding the +a#ts

eter"ining the "ain idea

eter"ining vo#a$ulary "eaning through #ont

istinguishing +a#ts and opinionsChronologi#al order

Cause and ee#t

Co"pare and #ontrast

;rder o+ i"portan#e

+or"al styleK others "ay (rite in a #asual style.

Certain

styles are $est +or parti#ular audien#es or

purposes.

:or exa"ple, a high degree o+ +or"ality (ith

spe#i?#

details $ut (ithout any unne##essary des#ription

(ould$e appropriate +or $usiness, (here ti"e is "oney

and

(riters should get to the point as Fui#*ly as

possi$le.

:inally, tone is the "ood or attitude #onveyed

$y

the (riting. 9one is #reated $y a #o"$ination o+

point

o+ vie(, di#tion, and style. 9one is extre"ely

i"portantin deter"ining "eaning $e#ause as (e noted, a

(ord

as si"ple as GsureH #an have "any dierent

"eanings

depending upon the tone in (hi#h it is said. 9o

"ine the tone, you have to loo* +or #lues as to

the

(riter (ants his or her (ords to sound.

If any of these terms or ideas sound unfamil

to you, STOP. Please take a few minutes to

review whatever lesson is unclear.




Your Observations:

'o( ans(er the +ollo(ing Fuestions-

1.>s. Cra(+ordDs #o"pany (as pro?led in .usiness

!eek

a. in 1645.b. in 1661.

c. today.

2.Bhi#h senten#e $est su"s up the "ain idea o+

the paragraph

a. >s. Cra(+ord is very s"art.

b. >s. Cra(+ord is a dedi#ated #itien.

c. &pring?eld (ould $e no(here (ithout >s.

Cra(+ord.

3.G>s. Cra(+ord has $een a "odel #itien sin#eshe

"oved to &pring?eld in 1645H is

a. +a#t.

b. opinion.

c. point o+ vie(.

4.GInnovativeH "eansa. help+ul.

b. re"ar*a$le.c. inventive.

5. 9his paragraph is organied a##ording to (stru#ture

a. #ause and ee#t

b. #o"pare and #ontrast

c. #hronologi#al orderd. order o+ i"portan#e

6. 9his paragraph uses (hat point o+ vie(a. ?rst!person point o+ vie(

b. se#ond!person point o+ vie(

c. third!person point o+ vie(

Answers

1.a. GIn 1661, her #o"pany (as pro?led in .

ness !eek "againe.H2.b. Bhile it does see" that >s. Cra(+ord "

very s"art sin#e she has $een so su##ethat is not the "ain idea that governs t(hole paragraph. Instead, the paragraphigh!lights her dedi#ation to the to(n and lo##o""unity sin#e she "oved there. Ans#anDt $e #orre#t $e#ause although the pgraph indi#ates that >s. Cra(+ord is vervalua$le, it does not say that &pring?el

(ould$e no(here (ithout her. 9his is an in+eryou "ight "a*e $ut #annot support.

3.b. Although the senten#e does #ontain +a#Cra(+ord "oved to &pring?eld in 16458senten#e "a*es an assertion a$out thoyearssin#e 1645- >s. Cra(+ord has $een a "#itien all those years. 9his is an assertiopinion that needs eviden#e. 9he rest oparagraph provides that eviden#e.

4.c. 9he $est #lue to deter"ine the "eaningthis (ord is +ound in the last senten#e, (says that >s. Cra(+ord is $eing honoredGall her #utting!edge eorts on $ehal+ o#o""unity.H &in#e her eorts on $ehal+the #o""unity have $een G#utting!edg#an assu"e that her $usiness "odel, (in#ludes a great deal o+ #o""unity (or+undraising and is des#ri$ed as innovati

"ust also $e cutting*edge. 9here+ore, thde?nition o+ innovative "ust $e si"ilar

cutting*edge, so the li*ely #hoi#e is inve




5.c. 9he paragraph +ollo(s >s. Cra(+ordDs #ontri!$ution to the #o""unity +ro" the ti"eshe"oved to &pring?eld in 1645 to the present.

6.c. 9his paragraph uses the o$Je#tive third!person point o+ vie(. 9here is no / or we 7?rst

person8 or you 7se#ond person8, and the only

pronouns the paragraph uses are the third!

person pronouns she and her .

<o( did you do I+ you got all six ans(ers#orre#t,

good (or*. 9his ta$le sho(s you (hi#h lesson to

study

+or ea#h Fuestion you "issed.

7. 9he "ain idea o+ this passage is that theshopping "all (ould

a. $e great +or the #o""unity.

b. not #hange things "u#h.

c. $e $ad +or the #o""unity.

8.G9ranFuilH "eans

a. #al".

b. distur$ing.

c. #haoti#.

9. 9his passage is organied

IF YOU MISSED:

Question 1

Question 2

Question 3

Question 4

Question 5

Question 6

THEN STUDY:

Lesson 1

Lesson 2

Lesson 4

Lesson 3

Lesson 6

Lesson 11

a. in #hronologi#al order.b. $y #ause and ee#t.

c. $y order o+ i"portan#e.

d. $oth a and c.

e. $oth b and c.

10. 9his passage uses (hi#h point o+ vie(a. ?rst person

b. se#ond person

c. third person

Practice Passage 2

'o( try another paragraph. onDt +orget to "ar* it

up

as you read and "a*e o$servations. ay spe#ial

atten!

tion to language and style.

9here (ill $e dire #onseFuen#es +or residents i+a

shopping "all is $uilt on the east side o+ to(n.:irst,

the shopping "all (ill inter+ere (ith the tranFuil

and Fuiet at"osphere that (e no( enJoy.

&e#ond,

the "all (ill attra#t a huge nu"$er o+ shoppers

+ro" a variety o+ surrounding areas, (hi#h (ill

result

in "aJor tra+?# #ongestion +or those o+ us (ho

live

here. ut "ost i"portantly, to $uild theshopping

"all, "any o+ us (ill $e as*ed to sell our hoand

relo#ate, and this *ind o+ displa#e"ent sh

avoided at all #osts.



9his passage is (ritten +ro" (hose perspe#tivea. that o+ the residents

b. that o+ an outside #onsultant

c. that o+ the shopping "all developer

9he #hoi#e o+ the (ord GdireH suggests that the#onseFuen#es o+ the "erger (ould $e

a. "ini"al.

b. expe#ted.

c. disastrous.

13.Bhi#h (ords $est des#ri$e the style o+ this pasa. in+or"al, #onversational

b. des#riptive, story!li*e

c. +or"al, $usiness!li*e

14. 9he tone o+ this passage isa. sad.

b. +ore$oding.

c. threatening.

114




Answers

7.c. 9he ?rst senten#e is the topi# senten#e,

(hi#h

esta$lishes that the shopping "all (ill $e

$ad+or residents o+ the to(n. 9he re"aining

sen!

ten#es support that idea.8.a. 9his paragraph tells us ho( theshopping

"all (ill #hange the to(n. 9he senten#e

(ith

the (ord GtranFuilH #alls the to(n tranFuil

and Fuiet, and it says that the "all (ill

inter!

+ere (ith these Fualities. &in#e a "all$ynature is $ig and $usy, it is li*ely that it (ill

inter+ere (ith opposite *inds o+ Fualities.&in#e GtranFuilH and GFuietH are usedtogether, it is li*ely that they are si"ilarinnature. 9here+ore, GtranFuilH o$viously"eans #al", not distur$ing or #haoti#.

13.c. 9he passage avoids any unne#essary dtion or details and uses +or"al rather th#asual language.

14.b. Ea#h senten#e explains a negative ee

the shopping "all (ill have on the residand the negativity o+ this passage is heened $y the (ord GdireH and the phraseGavoided at all #osts.H 9hough the shop"all itsel+ "ight $e des#ri$ed as threat7#hoi#e c8, the (riter is not Gthreateningany$ody.

<o( did you do ;n#e again, #ongratulatyou got the" all #orre#t. I+ not, this ta$le tells

(hat

to do.

9.e. 9he (riter (arns the readers o+ the ee#tsthat a shopping "all (ill have on residents

o+ the to(n and arranges those ee#ts inordero+ i"portan#e, saving the "ost i"portantee#t +or last.

10.a. 9he ?rst!person point o+ vie( is rePe#tedin

the use o+ the pronouns us and we.11.a. 9he (riter says that the shopping "all

(ill have Gdire #onseFuen#esH +or the resi!dents and then uses the pronouns us and

we/(hi#h identi?es the (riter (ith theresidents/(hen listing those dire#onseFuen#es.

12.c. 9he ee#ts the (riter in#ludes here are all

IF YOU MISSED:

Question 7

Question 8

Question 9

Question 10

Question 11

Question 12

Question 13

Question 14

THEN STUDY:

Lesson 2

Lesson 3

Lessons 7 and 9

Lesson 11

Lesson 11

Lesson 12

Lesson 13

Lesson 14

very serious, espe#ially the third ee#t/displa#e"ent. 9he (riter has #hosen the (ordGdireH to e"phasie that seriousness.


I

I



ew the Skilling sectionsLessons 6–14.ny Skill Buildersdidn’t do.

a paragraph

t what you’ve

ed in the last

weeks about

structure and language. Begin

your paragraph with a clear topic sentence, such as “I’ve learned a lot about how writers use structure

and language.” Then, write several sentences that support or explain your assertion. Try to use at least

one new vocabulary word in your paragraph.

115



eading$et(een

the Lines

o( that youDve studied the (ay authors use stru#ture andlanguage toorganie and express their ideas, youDre ready to ta#*le "ore

di+?#ult pas!sages- those in (hi#h the (riters donDt provide #lear topi# sent

or do

not #learly indi#ate their intentions. 9o understand this type o+ text, you h

to Gread

$et(een the lines.H 9his "eans you have to really put your o$servation s*i

use and

s#our the passage +or #lues to "eaning. Li*e &herlo#* <ol"es, you (ill really have

noti#e

(hat you see.

y the end o+ this se#tion, you should $e a$le to-

I

I

I

I

eter"ine an i"plied "ain ideaeter"ine an i"plied #ause or ee#t

istinguish $et(een logi#al and e"otional appeals

eter"ine the the"e o+ a pie#e o+ literature

)ouDll loo* at a variety o+ texts, in#luding so"e literature, and then put it all to

in a revie( lesson.



117

N



idea is de?ned as an assertion a$out the su$Je#t that #ontrols or holds together all the ideas in the pas

9here!

+ore, the "ain idea "ust $e general enough to en#o"pass all the ideas in the passage. >u#h li*e a net

holds

everything in the passage together. &o +ar, all $ut one o+ the passages in this $oo* have had a topi# se

that

stated the "ain idea, so ?nding the "ain idea (as so"ething o+ a pro#ess o+ eli"ination- )ou #ould eli

the senten#es that (erenDt general enough to en#o"pass the (hole passage. ut (hat do you do (he

thereDs no

topi# senten#e

)ou use your o$servations to "a*e an in+eren#e/this ti"e, an in+eren#e a$out the "ain id

point o+

the passage.

119

O



–FINDING THE IMPLIED MAIN IDEA –

How to Find an ImpliedMain Idea

:inding an i"plied "ain idea reFuires you to use

youro$servations to "a*e an in+eren#e that, li*e a

topi#

senten#e, en#o"passes the (hole passage. It "ight

ta*e

a little dete#tive (or*, $ut no( that you *no( ho(

to

?nd details and ho( to understand (ord #hoi#e,

style,

and tone, you #an "a*e o$servations that (ill

ena$leyou to ?nd "ain ideas even (hen theyDre not

expli#itly

stated.

Answer

9he #orre#t ans(er is c, G9here is so"ething (ro

(ith the se#urity in the par*ing garage.H <o( #an

tell that this is the "ain idea :or one thing, itDs t

onlyone o+ the three #hoi#es general enough to serve

GnetH +or the paragraphK #hoi#e a is i"plied only

?rst senten#eK and #hoi#e b isnDt "entioned at a

addition, ea#h senten#e on its o(n suggests that

rity in the par*ing garage has not $een (or*ing p

erly. :urther"ore, the (ord GyetH indi#ates that t

is a #onPi#t $et(een the events that have ta*en

and the duties o+ the se#urity o+?#ers.

Practice Passage 1

:or the ?rst exa"ple o+ ?nding an i"plied "ain

idea,

letDs loo* at a state"ent +ro" a par*ing garage

"anager

in response to re#ent the+ts-

Practice Passage 2

'o( exa"ine the +ollo(ing state"ent that a neig

(rote a$out >r. >iller, (ho o(ned one o+ the #ar

(as vandalied in the par*ing garage-

adios have $een stolen +ro" +our #ars in our par*!

ing garage this "onth. Ea#h ti"e, the thieves

have

"anaged to get $y the par*ing garage se#urity

(ith

radios in hand, even though they do not have

a

par*ing garage identi?#ation #ard, (hi#h

people

"ust sho( as they enter and exit the garage.

)et

ea#h ti"e, the se#urity o+?#ers say they have

seen

nothing unusual.

'o(, there is no topi# senten#e in thisparagraph,

$ut you should $e a$le to deter"ine the "ain idea o+

this state"ent +ro" the +a#ts provided and +ro" the

Bell, >r. >illerDs a pretty #are+ree person. IDve

ro(ed his #ar on several o##asions, and a +e( t

IDve +ound the doors unlo#*ed (hen I arrived at

garage. <e o+ten +orgets things, too, li*e exa#t

(here he par*ed the #ar on a parti#ular day or

he put his *eys. ;ne ti"e, I +ound hi" (anderi

around the garage loo*ing +or his *eys, (hi#h h

thought he dropped on the (ay to the #ar, and

turned out the #ar door (as unlo#*ed any(ay.&o"eti"es, I (onder ho( he re"e"$ers his

address, let alone to ta*e #are o+ his #ar.

tone. Bhat does the state"ent suggest 2.Bhat is >r. >illerDs neigh$or suggesting



1.Bhi#h o+ the +ollo(ing $est su""aries the

state"entDs "ain idea

a. 9here are too "any the+ts in the garage.

b. 9here are not enough se#urity

guards.

c. 9here is so"ething (rong (ith the se#urity

in

the par*ing garage.

a. >r. >iller +orgets everything.

b. >r. >iller "ay have le+t his #ar door unlo#*

the day the radio (as stolen.

c. >r. >iller is too #are+ree +or his o(n good.

Answer

)ou #an atta#* the Fuestion this (ay- Bhi#h o+ th

three state"ents do the senten#es in the neigh$

state"ent support 9ry a pro#ess o+ eli"ination.

o+ the senten#es support #hoi#e a I+ not, #ross a

o

all o+ the senten#es support #hoi#e b Choi#e c

120




9he #orre#t ans(er is b, G>r. >iller "ay havele+t

his #ar door unlo#*ed the day the radio (as

stolen.H

<o( #an you tell e#ause this is the only idea thatall

o+ the senten#es in the neigh$orDs state"ent

support.

)ou *no( that >r. >iller o+ten doesnDt lo#* his #ar

doorsK you also *no( that he o+ten +orgets thing.

9he

#o"$ination "a*es it li*ely that >r. >iller le+t his

#ar

door unlo#*ed on the day his #ar radio (as stolen.

Practice Passage 3

'o( loo* at a paragraph in (hi#h the language

the

(riter uses is (hat ena$les you to deter"ine

"eaning.

<ere is a des#ription o+ Coa#h Lerner, a #ollege

$as!

*et$all #oa#h, (ritten $y one o+ his players. ead

the

paragraph #are+ully and see i+ you #an deter"ine

the

i"plied "ain idea o+ the paragraph.

Coa#h Lerner, "y $as*et$all #oa#h, is six +eetten

in#hes tall (ith a voi#e that $oo"s li*e a +oghorn

and

the hair#ut o+ a drill sergeant. Every "orning, he

"ar#hes onto the $as*et$all #ourt at pre#isely

4-00

and do"inates the gy"nasiu" +or the nextthree

hours. <e $ar*s orders at us the entire ti"e and

expe#ts that (e (ill respond li*e troops on a

$attle!

?eld. And i+ (e +ail to o$ey his #o""ands, he

"a*es

us spend another 5 "inutes under his

rule.

e+ore you de#ide on the i"plied "ain idea,listyour o$servations. Bhat did you noti#e a$out the

lan!

guage in this paragraph An exa"ple is

provided to get

you started.

Your Observations:

Example' / noticed that 4oach

Lerner’s voice is

compared to a foghorn



Bhi#h o+ the +ollo(ing $est expresses the"plied "essage o+ the passage

a. laying on Coa#h LernerDs tea" is di+?#ult.

b. laying on Coa#h LernerDs tea" is li*e $eing

under the #o""and o+ an ar"y general.

c. Coa#h Lerner is a terri$le $as*et$all #oa#h.

wer

#orre#t ans(er is b, Glaying on Coa#h LernerDs" is li*e $eing under the #o""and o+ an ar"y gen!

.H 9here are "any #lues in the language o+ this para!

ph that lead you to this in+eren#e. :irst, you pro$a$ly

#ed that Coa#h LernerDs voi#e G$oo"s li*e a

horn.H 9his #o"parison 7#alled a simile8 suggests

Coa#h Lerner (ants his voi#e to $e heard and

yed.

&e#ond, the des#ription o+ Coa#h LernerDs hair#ut

#riti#al part o+ the (ay the author esta$lishes the

e o+ this paragraph. 9o say that he has Gthe hair#utdrill sergeantH 7also a simile8 "a*es us thin* o+ a

tary leader (hose Jo$ it is to train soldiers. A (riter

(ouldnDt use this #o"parison unless he or she

(anted

to e"phasie "ilitary!li*e dis#ipline.

9he author tells us that Coa#h Lerner G"a

onto the $as*et$all #ourt,H G$ar*s orders,H an

expe#ts

his players to respond li*e Gtroops on a $attle

9he (riter #ould have said that Coa#h Lerner

GstridesH

onto the #ourt, that he $ar*s Ginstru#tions,H a

that he

expe#ts his players to a#t li*e Gtrained dogs.H

<o(ever,

sin#e the author is trying to paint a pi#ture o+

Lerner that (ill $ring to "ind a "ilitary leade

uses (ords that #onvey "ilitary ideas. 9hus, t

ans(ers a and c "ay $e true/it might $e di+

to

play +or Coa#h Lerner and he might $e a terri$

$as!

*et$all #oa#h/ans(er b is the only idea that the

senten#es in the paragraph support.

;+ #ourse, this personDs des#ription o+ Co

Lerner is very su$Je#tive, using as it does the

person point o+ vie(. As an a#tive reader, you

should

(onder (hether everyone sees Coa#h Lerner

(ay

or i+ this player is una$le to $e o$Je#tive.

121




Practice Passage 4

>any people ?nd reading literature a di+?#ult tas*

$e#ause in literature 7?#tion, dra"a, and poetry8,

the

"ain idea is al"ost never expressed in a #lear topi#sen!

ten#e. Instead, readers have to loo* +or #lues o+ten

hid!

den in the language o+ the text. :or exa"ple,

the

+ollo(ing ?#tional paragraph des#ri$es a #hara#ter.

ead it #are+ully, "a*e your o$servations, and

then

identi+y the "ain idea o+ the paragraph-

Every "orning (hen Clara arrives at the gy",she isgreeted (ith a $u o+ (ar" hellos. &he starts

her

(or*out in the (eight roo", (here her exer#ise

reg!

i"en is al(ays peppered (ith lively #hats (ith

those

around her. &he then "oves on to the pool,

(here

she stops and #onverses (ith other +riends and

a#Fuaintan#es $e+ore diving in and s(i""ing

laps.

As she s(i"s, her sole +o#us is the #al"ing sound

o+

her $ody gliding through the (ater/a rare

"o"ent

in her al(ays very so#ial days.

4. 9he "ain idea o+ this paragraph is thata. Clara is shy.

b. Clara *no(s everyone at the gy".

c. Clara is very +riendly.

Answer

Although it is possi$le that b, GClara *no(s every

at the gy",H there is no eviden#e in this paragra

support that in+eren#e. 9hus, b #annot $e the "a

idea. Ans(er a, GClara is shy,H #annot $e the #or

ans(er either, sin#e everything in the paragraph

gests that Clara is, in +a#t, Fuite outgoing.

:urther"ore, the language o+ the paragraph

ates a +eeling o+ (ar"th and +riendliness- Clara is

greeted (ith G(ar" hellosH and she has Glively #and #onversations (ith +riends and a#Fuaintan#e

also has Gvery so#ial days.H All these (ords (or*

together in the paragraph to paint a pi#ture o+ so

one (ho is very +riendly and so#ial. 9hus, (ithou

dire#tly saying so, the (riter tells us that c, GClar

very +riendly.HYour Observations:

Example' / noticed that 4lara talks with many peopleSummar y

>any (riters use i"pli#ation to #onvey "eaning than dire#tly stating their ideas. 9his is espe#ially

in literature, (here readers generally pre+er sugg

to dire#t state"ents. :inding the i"plied "ain id

reFuires a little dete#tive (or*, $ut it is not as di+

as you "ay have thought, no( that you *no( "o

a$out language and the (ay (ords #an $e used t

gest ideas.





I

I

Listen carefully to people today. Are there times when they imply things without directly saying them?

Are there times when you use suggestion to get your ideas across? How do you do this? Be aware of

how you and others use indirect language and suggestion to convey meaning.Write a paragraph that does not have a topic sentence. You should have a clear idea of the main idea

before you write your paragraph and make sure your sentences use language that will help your read-

ers understand your main idea. For example, think of a topic sentence about the kind of person you

are, but don’t write it down. Then, write several sentences that support your topic sentence with lan-

guage that leads your reader to the proper conclusion. You may want to show your paragraph to others

to see if they can correctly infer your main idea.

123



L E S S O N

1<

Assu"ingCauses andredi#ting

Ee#ts

LESSON SUMMARYToday’s lesson focuses on how to determine cause and effect when

they are only implied, rather than explicitly stated.

ave you ever regretted Just Gtelling it li*e it isH >any ti"es, you #anDt #o"e right out an(hat

youDd li*e, $ut li*e (riters, you #an get your ideas a#ross through implication o

in+eren#e.

9his lesson +o#uses on t(o spe#i?# types o+ i"pli#ation- reading $et(een the lines t

mine cause and reading $et(een the lines to predict eects.

In #ase you need a re"inder- A cause is the person or thing that "a*es so"ething happen or prod

anee#t. An eect is the #hange that o##urs as a result o+ so"e a#tion or #ause. Cause tells us (hy so"e



hap!

penedK ee#t tells us (hat happened a+ter a #ause 7or series o+ #auses8.

125

H



–ASSUMING CAUSES AND PREDICTING EFFECTS–

Determining Implied Causes

In order to see ho( to deter"ine #auses that arei"plied

rather than stated, loo* at the +ollo(ing $rie+ ?#tionalpassage. ead the passage #are+ully and a#tively.

A+ter

you "a*e your o$servations, see i+ you #an use

the

(riterDs #lues to deter"ine (hy the #hara#ters

are

9he phone rang, and Anne darted to ans(renda said in the $a#*ground, G9ell the"

#all $a#*, (e need to settle this no(. I told you

having #o"pany soon.H

Anne ignored rendaDs #o""ent and #ontued to engage in #onversation (ith a good +rie

hers. Gid I ever tell you a$out the ti"e (hen

?ghting.Loo* #are+ully at the dialogue $et(een these

Anne sat (ith her +eet up on the #ou#h, drin*ing

aCo*e. &he heard +ootsteps $y the +ront door.

renda

(as right on ti"e, as usual. 'ever a "inute early

or

late/+or her, everything (as very exa#t.

Anne pla#ed her +eet on the Poor, rea#hed

+or

the re"ote, and turned o the television. &he

*ne(

renda (ould de"and her #o"plete attention.&he

*ne( renda (ould hang up her #oat in the #loset

$y

the door 7third hanger +ro" the le+t8 and then

head

to the *it#hen +or her daily inspe#tion 7exa#tly

seven

steps8. &he *ne( this $e#ause they had $een

roo"!

"ates +or six "onths. 9a*ing a deep $reath, she

thought a$out (hat she (ould say to renda.

&he

(aited and (at#hed +ro" her spot on the #ou#h.

A "o"ent later, renda stepped into

the

*it#hen and surveyed the s#ene. Anne (at#hed

her

expression, (at#hed her eyes +o#us on the sin*,

and

(at#hed her +a#e harden (hen she sa( the

dishespiled high. ointing to the dishes, renda said dis!

appointedly, GI donDt $elieve (hat ID"

Ithought (e agreed to share the responsi$

thought it (as your turn to #lean the *it#h

(ee*H

GI havenDt gotten to the" yet,HAnne rep

GIDve

$een really $usy. elax. IDve got all night.H &h

(al*ed

into the *it#hen and added her e"pty glass to t

o+

the pile.

renda +u"ed. G)ou *no( ID" having

pany tonight &o"eho( I thought you (ou



ra#ters. Bhat do they say to ea#h other <o( is it

at other #lues +ro" the author #an you ?nd in this

e to help you understand the #ause o+ their

Pi#t

your o$servations $elo( and then ans(er the

s!

s that +ollo(.

r Observations:

xample' / noticed that 6nne was rela=ing and

atch*

g %@ when .renda arrived

1.Bhy does renda get angrya. $e#ause Anne is un+riendly

b. $e#ause she had a $ad day at (or*

c. $e#ause Anne didnDt do the dishes

d. $e#ause Anne is lay

2.Bhy didnDt Anne do the dishes

a. &he didnDt have ti"e to do the".

b. &he (anted to start a ?ght.

c. &he (as too lay.

d. &he (ants renda to get a ne( roo""ate.

done your share in the *it#hen. I+ (e (ant to re"ain

roo""ates, things have to #hange. H

126




3.Bhat does Anne do that sho(s she doesnDtintend

to shoulder her share o+ the

responsi$ilities

a. &he turns o the television.b. &he $egins to (ash the dishes in the

sin*.

c. &he al(ays helps around the house.

d. &he tal*s on the phone (ith a good +riend.

Answers

1.c. rendaDs +a#e GhardensH (ith anger (hen

she

sees the dishes in the sin*. )ou #an tell she

expe#ts the *it#hen to $e #lean (henshe#o"es ho"e. Anne (aits +or renda to

$egin

her Gdaily inspe#tion,H and (hen she (al*sin,she loo*s around the *it#hen as i+ sheDsinspe#ting it. 9hen she sees the dishes andher+a#e hardens. &he as*s (hy the dishes arestillin the sin*. :urther, she re"inds Anne a$out

the #o"pany she is expe#ting.2.b. )ou #an tell Anne is not (orried a$out

rendaDs rea#tion $e#ause she is laily

(at#h!

ing television instead o+ #leaning the*it#hen.&he *no(s renda is going to #he#*the*it#hen and that renda is going to $e "ad

a$out the dishes (hen she sees the".AsAnne (aits, she thin*s a$out (hat sheisgoing to say to renda.

3.d. AnneDs a#tions spea* loudly. &he ans(ers

the

phone and dis#ontinues a #onversation thatisi"portant i+ the t(o o+ the" intend tore"ain roo""ates.

Finding Implied Effects

Oust as (riters #an i"ply #ause, they #an alsosuggest

ee#ts. In the pra#ti#e passage you Just read,#learly had a spe#i?# goal. &he purposely de#

not to

do the dishes in an a#t o+ re$ellion. Bhy )ou

a

little $it a$out Anne and renda +ro" the pas

%se

that *no(ledge to ans(er the +ollo(ing Fuestio

Bhat

do you thin* Anne (as hoping to a#hieve Bh

ee#tdo you thin* she (as loo*ing +or

1. renda (ould do the dishes hersel+ +or on2. renda (ould get hersel+ a ne( roo""at

3. renda (ould stop $eing so neat and so

regi"ented.

<o( #an you tell that nu"$er 3 is the $esans(er )ou have to loo* #are+ully at the pass

Anne

says, Gelax. IDve got all night.H ut, renda h

o(n priorities. &he says she is expe#ting #o"

Anne

responds $y ignoring her and turning to a pho

#onversation.

9he passage doesnDt dire#tly say so, $ut

these

#lues, you #an #on#lude that AnneDs personal

#learly "ore relaxed than rendaDs. 9hatDs (h

didnDt do the dishes and thatDs also (hy she g

too*a phone #all.

ut (ill she get the ee#t she hoped +or

another loo* at the passage, paying #lose atte

to

the end. Bhat do you thin* Bill Anne get her

Bill renda #hange her (ays Bhy do you thi>ost li*ely, Anne (onDt get her (ish. <o(



you tell 9he end o+ the passage oers a stron

#lue.

renda #learly (ants to resolve the situation,

she

#anDt #o"pete (ith the telephone and pro$a$

(ith AnneDs relaxed personality.

127



>r. >iller (ill $e "ore #are+ul a$out lo#*ing his

#ar door.

>r. >iller (ill get a ne( #ar.

&o"e people (ho #urrently par* in the garage(ill ?nd a ne( garage to par* their #ar.

>r. >iller (ill $e "ore #are+ul (ith his *eys.

wers

#ts 1, 2, 5, , and 4 are logi#al predi#ted

#o"es.

Ee#t 3 is not li*ely $e#ause it is too extre"

par*ing garage "anagerDs state"ent does not su

that he plans to ?re se#urity guards. ather, it

suggests

that he plans to loo* into the se#urity pro$le".

9here is nothing in either state"ent to sugg

that ee#t 7that >r. >iller (ill get his radio $a#

#orre#t.

:inally, there is no reason at all to thin* that

>iller (ill get a ne( #ar $e#ause his radio (as st

<eDll li*ely get a ne( radio and perhaps heDll loo*

ne( par*ing garage, $ut thereDs no eviden#e +ro"

t(o state"ents to suggest that a ne( #ar is a li*

possi$ility.

128




Summar y

In reading, parti#ularly in reading literature, as (ellas

in real li+e, you o+ten have to ?gure out (hat the#auses

o+ a parti#ular event or situation "ight have $een.

9he

sa"e is true o+ ee#ts- oth in reading and in li+e,

you

spend a lot o+ ti"e trying to predi#t the out#oo+ real or predi#ted a#tions or events. I+ you Grea

$et(een the linesH (ithout going too +ar $eyo

(hatthe passage 7or real!li+e event8 a#tually #onta

you

#an usually do a pretty good Jo$ o+ predi#ting

#auses and ee#ts.


I

I

Observe people’s behavior today. If you see people acting particularly happy, sad, or angry, or exhibit-ing some other strong emotion or behavior, see if you can find any clues as to the cause of their emo-

tion or behavior. Are they reading a letter? Talking with someone? Waiting for something? Why are they

reacting this way?

Read a news article today that discusses a current event—an election, a train crash, or a political scan-

dal, for example. What effects can you predict will come about as a result of this event? Try to come

up with at least three predictions based on what you read.



L E S S O N

1=

E"otional@ersus Logi#alAppeals

LESSON SUMMARYWriters often appeal to your emotions to try to persuade you of some-

thing. But unless they also provide logical evidence to back up their

claims, you have no reason to accept their argument as valid. This les-

son helps you see how to distinguish between appeals to your emo-

tions and appeals to your sense of reason.

"agine that you are a$out to do so"ething (hen so"eone runs up to you and says, G)ou #anDt dthatH

GBhy notH you as*.

Ge#ause )ou Just #anDt, thatDs all.H

'o(, Ge#auseH is not li*ely to #onvin#e you that you shouldnDt do (hat you (ere a$out to d

it

Bhy not Bell, Ge#auseH does not provide you (ith a reason +or not doing (hat you (anted to do. It

there!

+ore, a very #onvin#ing argu"ent.



131

I



–EMOTIONAL VERSUS LOGICAL APPEALS–

The Difference betweenLogical and Emotional Appeals

Bhen (riters (ant to #onvin#e people o+ so"ething

orinPuen#e the" to thin* a #ertain (ay, they

generally

rely on t(o "eans o+ persuasion- appealing to the

readerDs sense o+ logi# and appealing to the

readerDs

e"otions. It is i"portant to $e a$le to distinguish

$et(een these t(o types o+ appeal $e#ause (hen

(rit!

ers rely only on appeals to e"otion, they negle#t

toprovide any real evidence +or (hy you should

$elieve

(hat they say. Briters (ho rely solely on

e"otional

appeals usually hope to get their readers so angry,

s#ared, or ex#ited that they (ill +orget to loo* +or

rea!

son or sense in the argu"ent.

%n+ortunately, "any readers arenDt a(are o+

this

strategy, so they "ay a##ept argu"ents that

are

un+ounded, "anipulative, or $oth. oliti#al leaders

(ho use the e"otional strategy in spea*ing to #ro(ds

are

#alled demagogues. Calling a leader a de"agogue is

no

#o"pli"ent sin#e it "eans that he or she relies on

preJ!

udi#e and passion rather than #lear thin*ing to

per!

suade people o+ his or her position. &ound

reasoning

reFuires that you are a$le to loo* $eyond

e"otional

appeals to deter"ine i+ there is any logic $ehind

the".

Logical: according to reason; according to

conclusions drawn from evidence or good

common sense

Emotional: relating to emotions; arousing or

exhibiting strong emotion

Bhile it is true that an appeal to e"otio

help strengthen an argu"ent $ased in logi#,

argu!"ent #annot $e valid i+ it is $ased solely on

e"otional

appeal.



Distinguishing betweenLogical and Emotional Appeals

$est (ay to see the dieren#e $et(een logi#al

otional appeals is to loo* at so"e exa"ples.

vely

d the passages that +ollo(, trying to dis#ern

therauthor is appealing pri"arily to your sense o+ rea!

or to your e"otions.

tice Passage 1

he City Coun#il o+ &te. Oeanne should reJe#t

andatory re#y#ling. :irst, everyone *no(s that

#y#ling doesnDt really a##o"plish very "u#h and

at people (ho support it are "ostly interested in

a*ing the"selves feel $etter a$out the environ!

ent. 9hey see "ore and "ore road #onstru#tionnd +e(er and +e(er trees and $uy into the notion

that sending $ottles and #ans to a re#y#ling pla

rather than a land?ll (ill reverse the trend. %n+

nately, that notion is no "ore than (ish+ul thin

&e#ond, the proponents o+ "andatory re#y

#ling are the sa"e people (ho supported the #

disastrous de#ision to reFuire an in#rease in th

nu"$er o+ pu$li# $us routes. A+ter the "ayor s

hundreds o+ thousands o+ dollars +or the ne( $

and +or street signs, $us shelters, and s#hedule

all Fui#*ly learned that there (as little to no in

in using pu$li# transportation a"ong the peop

+or (ho" the ne( routes (ere intended. >and

re#y#ling (ould add yet another #hapter to the

o+ (aste+ul govern"ent progra"s.

:inally, IDd li*e every #itien to ans(er this

Fuestion in the priva#y o+ his or her o(n heart

Bould the "andatory re#y#ling la( really inPu

$ehavior ;r (ould "ost people, in +a#t, go on

doing (hat they are doing no( 9hat is, (ould

re#y#lers *eep on re#y#ling and the people (h

thro( their $ottles and #ans in the trash #ontin

do Just that 7only $eing a little $it "ore #are+ul

$urying the $ottles inside GlegalH trash su#h as

$oxes and #oee ?lters8 Bhy should any o+ us

+or#ed to $e surreptitious a$out so"ething so

132




as thro(ing a(ay a so+t drin* #an I urge $oththe#oun#il and the "ayor to reJe#t this

"isguided

proposal.

Chan#es are that no "atter ho( you feel a$out

"andatory re#y#ling progra"s, this passage provo*ed

a

rea#tion in you. erhaps you +ound so"e o+ the

(riterDs

argu"ents #onvin#ingK perhaps they si"ply "ade

you

(ant to argue $a#*. ut ta*e another loo* at the

passage.Is there any appeal to your sense o+ logi# here/

reason,

eviden#e, or #o""on sense ;r is the author only

appealing to your preexisting ideas and +eelings

a$out

environ"entalis" and govern"ent

progra"s

What Reasons Does the Writer Offer?

9o help you see (hether the (riterDs appeals are$ased

on logi# or e"otion, $rea* do(n his argu"ent. 9he

(riter oers three dierent reasons +or opposing

the

"andatory re#y#ling proposal. List the"

here.

1.

2.

3.

)ou pro$a$ly noti#ed that ea#h o+ the threepara!

graphs deals (ith a dierent reason that the (riter

opposes the "andatory re#y#ling progra". 9hey

are-

1.e#y#ling progra"s do not help theenviron"ent

and people (ho support the "andatory

re#y#ling

progra" do so si"ply in order

"a*e the"!

selves +eel $etter a$out a de#linin

environ"ent.

2. 9he people (ho support "andare#y#ling

also supported a +ailed progra" t

in#rease #ity

$us routes.

3.A "andatory re#y#ling progra" (not a#tu!

ally #ause people (ho do not pres

re#y#le to



the Appeals Logical?

next step is to see i+ these reasons are logical oes

author #o"e to these #on#lusions $ased on reason,

en#e, or #o""on sense I+ you loo* #are+ully, you

see that the ans(er is no. Ea#h o+ the (riterDs argu!

nts is $ased purely on e"otion (ithout any logi# to

port it.

egin (ith the ?rst reason- &ecycling programs

ot help the environment and people who support thendatory recycling program do so simply in order to

ke themselves feel better about a declining environ*

nt Is there any logi# $ehind this argu"ent Is this

e"ent $ased on eviden#e, su#h as poll data sho(!

a lin* $et(een +eeling $ad a$out the environ"ent

supporting the progra", or environ"ental reports

(ing that re#y#ling doesnDt i"prove the environ!

nt to any appre#ia$le degree

egardless o+ (hether you agree or disagree (ith

author, you #an pro$a$ly see that this argu"ent ised only in e"otion rather than in logi#. 9he argu!

nt #ru"$les (hen you $rea* it do(n. 9he author

s to $lunt any s*epti#is" a$out his argu"ent $y say!

that Geveryone *no(sH that re#y#ling doesnDt

o"plish very "u#h and that people support it

tly +or sel?sh reasons. <e states this as i+ it (as an

esta$lished +a#t, $ut he +ails to esta$lish it (i

den#e. Even though "any people "ay agree,

#an

#orre#tly #lai" that everyone *no(s this to $e

/

as presented, it is "ere opinion. In +a#t, "any

people

(ould argue in turn that re#y#ling does a grea

to

help #lean up the environ"ent. And i+ the (rit

#an!

not say +or a +a#t that re#y#ling doesnDt (or*,

#an

he #onvin#ingly assert that people support it

sel?sh

reasons

Even (ithout this Pa(, the (riterDs argu"

not logi#al $e#ause there is no eviden#e in this

that

the parti#ular "andatory re#y#ling progra" $

dis#ussed $y the #ity #oun#il (ill not (or*. 9hauthor

"oves +ro" stating his opposition to the prog

the ?rst senten#e to a paragraph o+ un#onvin

gen!

eralities a$out re#y#ling progra"s in general.

$egin re#y#ling.

133




9he authorDs se#ond argu"ent is that the people

who support mandatory recycling also supported a

failed

program to increase city bus routes. Is there any logi#in

this state"ent 'o, not i+ (e $ear in "ind that

the

point o+ the argu"ent is the re#y#ling progra" and

not

the $us route progra". eaders (ho are sy"patheti#

to

the underlying "essage that "any govern"ent pro!

gra"s are (aste+ul "ay get #aught up in the

e"otiono+ their opinion and lose sight o+ the +a#t that

the

author is not even tal*ing a$out the proposed

"anda!

tory re#y#ling plan. 9he argu"ent is designed to su#!

#eed $y appealing to this underlying

sy"patheti#

response rather than $y addressing the "erits

and

de"erits o+ the proposal $eing #onsidered.

9he third argu"ent is that a mandatory

recycling

program would not actually cause people who do not

presently recycle to begin recycling. Again, the

author

oers no eviden#e +or his #lai". Instead, he (or*s on

his readersD sense o+ sha"e a$out their o(n +ailure

to

#o"ply (ith lo#al ordinan#es or on their

#yni#is"

a$out (hether their +ello( #itiens (ill #o"ply (ithsu#h rules. <e doesnDt oer eviden#e that people

(onDt

#o"ply, or that the la( en+or#e"ent authorities (ill

$e

inee#tive in +or#ing #o"plian#e, instead suggesting

that the proposed progra" (ould $e an undue

$urden,

+or#ing good people to a#t Gsurreptitious,H or

stealthy,

a$out everyday, inno#ent a#tions. Again, he avoidssup!

porting his argu"ent (ith logi#, reason, o

eviden#e.

Practice Passage 2

'o( loo* at another argu"ent +or the sa"

position.

'oti#e ho( "u#h "ore logi#al this essay

(hether

you agree (ith the author/si"ply $e#aus

author

gives explanations and eviden#e +or his p

rather

than appealing solely to the readersD

e"otions.

9he City Coun#il o+ &te. Oeanne sho

reJe#t"andatory re#y#ling. Although "any go

people

support this idea, the proposal +a#ing us

deeply

Pa(ed that I $elieve their support i

"ispla#ed.

9he "ost glaring pro$le" is that th

"andatory



y#ling progra" proposed here (ould #reate att as "u#h pollution as it (ould eli"inate. ;ur

h$ors in )oungsville #ould testi+y to that-

ensleaves e#y#ling, the proposed #ontra#tor,

the re#y#ling #ontra#t in )oungsville ?ve years

and their "a#hinery spe(ed so "u#h toxi# gas

o+ its s"o*esta#*s that the #ity govern"ent

ped all re#y#ling, "andatory or optional, +or a

d year.;ne o+ the $iggest #on#erns people have is that

$ottles and #ans they thro( a(ay today (ill

er a##u"ulate in unsightly, unsanitary land?lls

o up in s"o*e +ro" an in#inerator. ut the +a#t

he "atter is that ne( (aste treat"ent +a#ilities in

r$y #ounties soon (ill eli"inate "ost o+ the

d +or land?lls and in#inerators. y #o"pa#ting

orted trash into $lo#*s #o"para$le in hardness

on#rete, the ne( +a#ilities "a*e it availa$le +or

in $uilding +oundations, di*es, and road #on!#tion. 9his +or" o+ Gre#y#lingH / not part o+ the

sent proposal / doesnDt reFuire us to #olle#t the

gar$age in any ne( (ay $e#ause it doesnDt "a

(hether the #ontent is #oee grounds or Jui#e

$ottles.

An argu"ent in +avor o+ the re#y#ling pro!

posal +or (hi#h I have so"e sy"pathy is that

"andatory re#y#ling (ill raise peopleDs a(aren

our $eauti+ul and +ragile environ"ent. ePe#tin

on this, ho(ever, I re#alled our (onder+ul edu#

tional progra"s, $oth in the s#hools and in the

"edia. @oluntary re#y#ling is at an all!ti"e hig

level o+ parti#ipationK $oth anglers and environ

"entalists are #ele$rating the re#ent reopenin

the

&te. Oeanne Bater(ay to ?shingK do(nto(n &te

Oeanne (on the G=reening o+ the &tateH a(ard

last year. 9a*en together, these +a#ts suggest t

a

popula#e already deeply engaged (ith environ

tal issues and no( loo*ing hard +or ne(, (ell!

#on#eived proposals to do even "ore. 9he pre

proposal si"ply doesnDt "easure up to our #ityhigh standards.




)ou pro$a$ly noti#ed i""ediately that thispas!

sage also gives three reasons +or not supporting

the

"andatory re#y#ling progra"/so the authorsdonDt

dier over (hether or not to reJe#t the proposed

pro!

gra". 9he t(o passages donDt have as "u#h in

#o""on

in their style o+ argu"ent, though, and that is our

+o#us

here. LetDs ta*e a #loser loo* at passage 2.

I

I

9he proposed #ontra#tor #aused a great depollution +ro" s"o*esta#*s in a near$y #ity

years $e+ore.

9he s"o*esta#* toxi#ity in the near$y #ity (

extensive that even voluntary re#y#ling (ahalted

+or a year, "eaning that even less re#y#ling

pla#e than $e+ore the "andatory re#y#ling

gra" $egan.

What Reasons Does the Writer Offer?

rea* this argu"ent do(n as you did the ?rst one.

<ere are the reasons the author o+ passage 2

provides

in arguing that the "andatory re#y#ling

progra"

9he se#ond argu"ent is supported $y the

+ollo(ing logi#-

should $e reJe#ted. %nderneath ea#h reason, "a*e

a

note a$out the logic $ehind the reasonK say (hat

rea!

soning, eviden#e, or #o""on sense the author

points

to in support o+ the argu"ent.

I 'e( (aste treat"ent +a#ilities allo( all (as

$e

reused (ithout the need +or sorting it into (

to

$e re#y#led and (aste to $e in#inerated or

a

land?ll, $ut the proposed plan does not invo

these ne( +a#ilities.

1. 9he proposed "andatory re#y#ling progra"

(ould #ause as "u#h pollution as it (ould

eli"inate.

:inally, the third argu"ent is supported this (

I 9he popula#e o+ &te. Oeanne is already high

#ons#ious o+ the environ"ent, and $ene?t +

edu#ational progra"s in the s#hools and th

2.

'e( (aste treat"ent +a#ilities lessen the need+orre#y#ling progra"s.

3. 9he "andatory re#y#ling progra" is notneeded

I

"ass "edia.

9he high environ"ent!#ons#iousness o+ thepeople sho(s 7a8 the high rate o+ voluntary

re#y#ling, 7$8 the #ele$rated reopening o+ t

&te. Oeanne Bater(ay to ?shing, and 7#8 the

#ityDs do(nto(n (inning a state environ"e

a(ard the previous year.

to raise peopleDs a(areness o+ the environ"ent.

More Practice

'o( that youDve exa"ined t(o $rie+ essays/

thatappeals to e"otion and one that appeals to lo




1.%sing a #ell phone (hen driving is danger!ous and anyone (ho does this is stupid.

2.%sing a #ell phone (hen driving is dan!

gerous $e#ause (hen drivers hold a#ell

phone to their ear, theyDre only

using

one hand to #ontrol their "otor

vehi#le,

(hi#h "a*es the" "u#h "ore li*ely to

have an a##ident.

3.>any states have $anned #ell phone

use(hen driving $e#ause it is dangerous.

9hese la(s have $een put into

ee#t

$e#ause o+ startling statisti#s that point

to the elevated ris* o+ #ar a##idents

due

Answers

It should $e #lear that argu"ent 1 is an appeal to

tion (ithout any logi# and that argu"ents 2, 3, a

use #o""on sense, eviden#e, and reason. ut a

"ent "ight not $e so o$vious sin#e it "ay seea reasona$le argu"ent. <o(ever, it does not add

all

the logi#al reasons that leashes are ne#essary $u

instead

points to one +rightening possi$ility. )es, (e (ou

li*e to avoid $eing atta#*ed $y a dog, (hi#h is a

and threatening possi$ility, and $y using only thi

nario in the argu"ent, the (riter is appealing dir

to our e"otions.

Summar y

to #ell phone use.

Loo*ing +or appeals to logi# (ill "a*e you a "ore

4.ogs should al(ays $e *ept on a leash

in

pu$li# pla#es. Bhat i+ you (ere (al*ing

do(n the street "inding your o(n $usi!

ness and a loose dog ran up and

atta#*ed you

i#al reader and thin*er. And on#e you learn to rea

$et(een the lines in an argu"ent 7to loo* $ehind

tional appeals +or so"e sort o+ logi#al support8, y

have "ore #on?den#e as a reader and $e a $ette

Judge

o+ the argu"ents that you hear and read.

5.ogs should al(ays $e *ept on a leash inpu$li# pla#es. A leash #an prote#t dogs

+ro" tra+?#, gar$age, dangerous pla#es,

and getting lost. It #an also prote#t peo!

ple +ro" $eing har"ed $y overealous,

angry, or agitated dogs.


I

I

Listen carefully to how people around you try to convince you (or others) when they want you to think

or act a certain way. For example, if a friend wants you to try a new place for lunch, how does he or

she try to convince you: with appeals to your sense of logic (“The food is great—and so are the prices!”)

or to your emotions (“What, are you afraid to try something new?”)? If your boss asks you to work over-

time, does he or she appeal to your sense of logic (“You’ll make lots of extra money”) or to your emo-

tions (“I could really, really use your help”)? See which arguments you find most convincing and why.

Read an editorial from the Opinion-Editorial page of your local newspaper. Look at how the writer sup-



his or her

ment. Is the

orial

ncing?

Why? What reasons or evidence does it use to

support its position?

136



L E S S O N

1>

:inding>eaningin Literature

LESSON SUMMARYMany people are scared of reading literature—stories, poems, and

plays—especially if they have to answer questions about it, as in a test

situation. But now that you know so much about finding an implied main

idea, you can also find the theme, or main idea, of a work of literature.

This lesson works with poetry to show you how to do it.

iterature 7novels, poe"s, stories, and plays8 #an $e Fuite inti"idating to "any readers. Inliterature,

"eanings are o+ten i"plied, and "essages and the"es are not #onveniently housed in a to

ten#e. <o(ever, no "atter (hat you are reading, you #an +eel #on?dent that the author has

$ehind

#lues that (ill help you to ?nd the the"e 7the main idea8. As an a#tive reader, you are no( (ell!eFuipp

read

$et(een the lines to ?nd "eaning in anything you read.

9hroughout these pages, you have spent a great deal o+ ti"e lo#ating the "ain ideas in various p



(rit!

ing. :inding the the"e o+ a (or* o+ literature is si"ilar to ?nding the "ain idea in an arti#le, passage, o

"e"o.

Oust as the "ain idea is "ore than the su$Je#t o+ a given arti#le, passage, or "e"o, the the"e o+ a (o

litera!

ture is also "ore than Just its su$Je#t- It is (hat the text says about that su$Je#t. 9he"e, in other (ord

over!

all "essage or idea that a (or* o+ literature #onveys. :or exa"ple, you #an pro$a$ly ?gure out +ro" th

that

the subAect o+ Oohn onneDs poe" Geath e 'ot roudH is death. <o(ever, the theme is not "erely Gd

$ut

(hat the poe" says about death, (hi#h happens to $e that death is a gi+t i+ one $elieves in

137

L



–FINDING MEANING IN LITERATURE–

9here isnDt roo" in this short lesson to loo* at

the"e in a short story, novel, or play. &o this lesson

(ill

introdu#e you to a +e( poe"s. ut donDt $e

+rightened-eading poetry is really Just li*e reading anything

else.

)ou Just have to read a little "ore #are+ully and

rely a

little "ore on your sense o+ o$servation. )ou ?nd

the"e in poetry the sa"e (ay you do in other *inds

o+

(riting- $y loo*ing +or #lues in (hat happens and in

the

(ords the (riter uses to des#ri$e (hathappens.

How Action Conveys Theme

:irst, loo* at an exa"ple o+ ho( the a#tion o+ a poe"/(hat happens in it/leads you to understand the

the"e.

And into "y garden stoleBhen the night had veilDd the pole- veiled K conc

In the "orning glad I see

>y +oe outstret#hDd $eneath the tree.

What Happened?

9o understand the authorDs the"e, you need to lo

#are+ully at (hat happened, and (hy. Loo* at ea#

the +our stanas 7a stana is a poeti# Gparagraph

ea#h

stana in this poe" is +our lines long8 to tra#* the

a#tion.

Bhat happens in the ?rst stana

1. 9he spea*er (as angry (itha. a +riend.

b. a +oe.

c. his +riend and his +oe.Practice Passage 1

ead the +ollo(ing poe" $y Billia" la*e +ro" his

$oo* +ongs of >=perience, pu$lished in 16. ead it

out

loud, $e#ause poetry is "eant to $e heard as (ell

as

read. 9hen read it again (ith your pen in hand-

ead

a#tively, "a*ing your o$servations and #o""ents

in

2.<o( did the spea*er handle his anger to(ard

+riend

a. <e told his +riend a$out it and it (ent a(ay

b. <e *ept it to hi"sel+ and it gre(.

c. <e *ept it to hi"sel+ and it (ent a(ay.

the "argins. 9hen ans(er the Fuestions that +ollo(.3.<o( did the spea*er handle his anger to(ard

A 8oison &ree

I (as angry (ith "y +riendK

his +oe

a. <e told his +riend a$out it and it (ent a(ay

b. <e *ept it to hi"sel+ and it gre(.I told "y (rath, "y (rath did end. wrath K anger c. <e *ept it to hi"sel+ and it (ent a(ay.I (as angry (ith "y +oe-

I told it not, "y (rath did gro(.

And I (aterDd it in +ears,

'ight ] "orning (ith "y tearsKAnd I sunned it (ith s"iles,

foe K enemy

)ou pro$a$ly ?gured out the ans(ers (ithoutoo "u#h trou$le- 1. c, 2. a, 3. b.

'o( loo* at the se#ond stana. 9he *ey to u

standing this stana is *no(ing (hat GitH re+ers teread the ?rst and se#ond stanas #are+ully in o



And (ith so+t de#eit+ul (iles.

And it gre( $oth day and night, 9ill it $ore an apple $rightK

And "y +oe $eheld it

shine,

And he *ne( that it (as "ine.

wiles K trickery,

deceit ans(er the next Fuestion.

4.GItH re+ers toa. tears.

b. s"iles.

c. (rath.

138




Choi#e c/G(rathH/is the last thing"entioned

in the ?rst stana, so it +ollo(s that G(rathH is (hat

GitH

re+ers to. 9he se#ond stana tells us that the

spea*er

G(aterDdH it 7his (rath8 (ith +ears and GsunnedH it

(ith

s"iles and (iles. <o( #an this $e Can you

literally

(ater and sun your anger 'o, $ut the spea*er is

not

$eing literal here. Instead, he is using ?gurative

lan!guage. Li*e the si"iles (e sa( earlier a$out Coa#h

Lerner, #o"paring his voi#e to a +oghorn and his

hair!

#ut to that o+ a drill sergeant, this stana uses

a

metaphor /a #o"parison that doesnDt use the

(ords

like or as/to #o"pare the spea*erDs (rath to

so"e!

thing that gro(s (ith (ater and sun. 'o(, given

these

#lues 7and the $est #lue o+ all, the title o+ the poe"8,

to

(hat exa#tly is the spea*er #o"paring his

(rath

5. 9he spea*er #o"pares his (rath toa. a Po(er.

b. a tree.

c. the sun.

9he poe" doesnDt exa#tly tell you, $ut yoguess. 9he spea*er had an appleK you *no( th

this

apple gre( on a tree and that this tree is a "e

+orthe spea*erDs anger. )ou also *no( that the p

#alled GA oison 9ree.H )ou read in the +ourth s

that, in the "orning, the spea*er ?nds his +oe

stret#hDd $eneath the tree.H Bhat #an you

#on#lude

7.At the end o+ the +ourth stana, the +oea. is (aiting to a"$ush the spea*er and *

(ith the apple.

b. has $een *illed $y the apple he stole $eit

(as poisonous.

c. is (aiting to share the apple (ith the sp

Bhi#h ans(er do your #lues add up to 9only

one that #an $e #orre#t is b. 9he spea*er (as

angryK the

tree 7and so the apple8 (as poisonous. )ou *n

that

the +oe, seeing the apple, snu#* into the spea

gar!

den. Apparently he ate the apple, $e#ause no

Goutstret#hDd $eneath the tree.H )ou also *no(

the

spea*er is GgladH to see his +oe outstret#hed t

(ay/

heDs glad to see hi" dead.

9he ans(er, o+ #ourse, is b, a tree. 9he title gives

this a(ay. Also, a tree is the only plant that #ould

$ear

Gan apple $right,H as in the third stana.

Bhat else happens in the third stana

6.In the third stana, the +oea. gro(s his o(n apple.

b. shines the spea*erDs apple.c. sees the spea*erDs apple.

9he ans(er is c, the +oe sees thespea*erDs apple

7G"y +oe $eheld it shineH8.

:inally, (hat happens in the +our

stana 9his

stana is so"e(hat tri#*ier than the ot

$e#ause inthis stana, so"ething happens that



dire#tly

stated. )ou *no( that the +oe snea*s into the

spea*erDs

What Does It Mean?

;*ay, so thatDs (hat happened in the poe".

(hat

does it all "ean

Loo* again at the a#tion. Bhat the spea*

(as

to tell his +riend a$out his (rath. Bhat the spea

didn’t

do (as to tell his ene"y a$out his (rath. 9he

results o+

the spea*erDs a#tion and his ina#tion are your #

the

"eaning o+ the poe" as a (hole, its the"e.

8.Bhi#h o+ the +ollo(ing $est su""aries ththe"e o+ the poe"

a. onDt stealK it #an *ill you.

b. Choose your ene"ies #are+ully.

c. I+ you donDt tal* a$out your anger, it #an

deadly.

garden 7GAnd into "y garden stoleH8, $ut (hat elsehappens

139



&e Eagle

9he other exa"ple o+ personi?#ation is +oun<e #lasps the #rag (ith #roo*edhandsK

Close to the sun in lonely

lands,

inged (ith the aure (orld, he

stands.

9he (rin*led sea $eneath hi"

#ra(lsK<e (at#hes +ro" his "ountain

(alls,

And li*e a thunder$olt he +alls.

crag K steep

or rugged rock

a5ure K

sky blue

line , (here the sea G#ra(lsH li*e a $a$y or a tu

<ereDs a "e"ory test-

11.Line , GAnd li*e a thunder$olt he +alls,H uses(hi#h o+ the +ollo(ing poeti# devi#es

a. personi?#ation

b. si"ile

c. irony

140




9his line uses b, a si"ile that #o"pares theeagle

to a thunder$olt. Bhat is the ee#t o+ this

#o"parison

12. 9he #o"parison o+ the eagle to a thunder$olt

"a*es the reader thin* o+ the eagle as

a. a (ea*, ti"id #reature.

b. an unpredi#ta$le #reature.

c. a po(er+ul, +ast #reature.

Li*e all good si"iles, this #o"parison #reatesa

vivid i"age that not only helps us a#tually pi#ture

the

eagleDs Pight, $ut also tells us something about the

eagle

$y #o"paring it to the in#redi$le +or#e o+ nature that

is

lightning. 9he eagle, this si"ile suggests, is as

po(er!

+ul, as +ast, as dangerous/and as i"possi$le to #at#h

/

as a thunder$olt. Be should, in short, $e as a(ed $y

the

eagle as (e are $y lightning/and that +eeling,"ore

than an idea (e "ight #all a the"e, is (hat this

poe"

is all a$out.

Action + Language = Theme

In the ?nal poe" +or today, $y A"eri#an poet

&tephenCrane, see i+ you #an deter"ine the the"e o+ the

poe"

$y loo*ing at $oth the a#tion o+ the poe" and its

lan!

guage 7di#tion, style, and tone8. As $e+ore, $egin

$y

reading the poe" #are+ully, ?rst out loud and then

(ith pen in hand.

Practice Passage 3

A Ban *aid to te niverse

A "an said to the universe-G&ir, I existH

G<o(ever,H replied the univers

G9he +a#t has not #reated in "

A sense o+ o$ligation.H



Bhi#h senten#e $est su""aries the the"e o+ his poe"

a. 9he universe is too $ig +or hu"anity.

b. 9he universe is indierent to hu"anity.

c. <u"anity has an o$ligation to the universe.

9he $est ans(er is b, G9he universe is indierentu"anity.H 9his idea is #onveyed in part $y the a#tion

he poe"- (hat the "an says to the universe and theerseDs reply. ut the universeDs indieren#e is also

e#ted in the language o+ the poe".

Bhi#h o+ the +ollo(ing $est des#ri$es the tone o+ his poe"

a. (ar", #aring

b. hot, angry

c. #old, +or"al

9he (ords o+ this poe"/espe#ially Gsir,H G+a#t,HGsense o+ o$ligationH/are #old, +or"al (ords that

rePe#t the (ay the universe +eels a$out "an-

indier!

ent. 9here is no sense o+ inti"a#y, no relation

no

(ar"th in these (ords. 9he poetDs di#tion and

help to reveal the the"e o+ the poe".

Summar y

eading poetry (asnDt so $ad a+ter all, (as ityou arean a#tive reader (ho is sensitive to the langua

used $y

the poet, you #an use the #lues the poet gives

to

help you enJoy the pi#tures and e"otions #rea

through (ords and understand the poe"Ds th

And

i+ you #an do this +or poe"s, you #an #ertainly

+orstories, novels, and plays as (ell.





I

I

Read a poem on your own today. See if you can read between the lines to determine its theme.

Read a short story today. Apply the techniques you used to determine the theme in a poem to deter-

mine the theme of the story.

142



son 1;'ding anlied main

a. )outi#eding +ors in#ture,uage, and

e,(ell as the

s o+ thesage, to

er"ine the

n idea.

0esson 1<' nderstanding implied causes and e?ects. )ou learned to Gread $et(een t

linesH to deter"ine

#auses and "a*e predi#tions a$out ee#ts.

0esson 1=' Emotional and logical appeals. )ou learned that argu"ents that appeal to

readersD e"otions

"ust $e supported $y logi#, as (ell in order, to $e #onvin#ing.

0esson 1>' -inding te teme in literature. )ou used your dete#tive s*ills to ?nd the "

idea i"plied $y

the stru#ture, language, style, and a#tion in a (or* o+ literature.

143

Y



–DRAWING CONCLUSIONS: PUTTING IT ALL TOGETHER –

If any of these terms or strategies sound

unfamiliar to you, STOP. Please take a few

minutes to review whatever lesson is unclear.

Practice

9oday, youDll pra#ti#e these s*ills in #o"$ination (ith

s*ills #overed earlier in this $oo*-

e"ployees +or all #ollege #redit #ourses/(het Jo$ related or not/oers a servi#e not only to

e"ployees, $ut to the entire #o"pany.

;ne good reason +or giving e"ployees un#

ditional tuition rei"$urse"ent is that it sho(s #o"panyDs dedi#ation to its e"ployees. In toda

e#ono"y, (here Jo$ se#urity is a thing o+ the p

and e"ployees +eel "ore and "ore expenda$l

i"portant +or a #o"pany to de"onstrate to its

e"ployees that it #ares. 9he $est (ay to do th

(ith #on#rete invest"ents in the".

I

I

I

I

I

I

I

I

I

I

I

I

:inding the +a#tseter"ining the "ain idea

eter"ining the "eaning o+ un+a"iliar (ords

istinguishing $et(een +a#t and opinionChronologi#al order

;rder o+ i"portan#e

Cause and ee#t

Co"parison and #ontrast

oint o+ vie(

i#tion

Language and style

9one

In turn, this dedi#ation to the $etter"ent o

#o"pany e"ployees (ill #reate greater e"plo

loyalty. A #o"pany that puts out +unds to pay +

edu#ation o+ its e"ployees (ill get its "oney $$y

having e"ployees stay (ith the #o"pany long

(ill redu#e e"ployee turnover, $e#ause even

e"ployees (ho donDt ta*e advantage o+ the tu

rei"$urse"ent progra" (ill $e "ore loyal to t

#o"pany Just *no(ing that their #o"pany #are

enough to pay +or their edu#ation.

>ost i"portantly, the #o"pany that has a

unrestri#ted tuition rei"$urse"ent progra" (

have higher Fuality e"ployees. Although theseI+ this see"s li*e a "onu"ental tas*, donDt(orry-

It isnDt. )ouDve already "astered so"e o+ these s*ills

and

should $e very #o"+orta$le (ith the others. In +a#t,

you

(ill pro$a$ly $e surprised at ho( easy you ?nd this

exer#ise to $e.

Practice Passage

Are you ready ead the +ollo(ing essay. e"e"$er,

read a#tively and "a*e o$servations in the spa#e

pro!

vided on the next page. 9hen ans(er the

Fuestions

that +ollo(. 9his (ill give you a #han#e to see ho(

(ell

your reading s*ills are #o"ing along.

Although "any #o"panies oer tuition rei"$urse!

"ent, "ost #o"panies only rei"$urse

e"ployees

+or #lasses that are relevant to their po

9his is

a very li"iting poli#y. A #o"pany th

rei"$urses



panies do indeed run the ris* o+ losing "oney

"ployees (ho go on to another Jo$ in a dier!

#o"pany as soon as they get their degree, "ore

n than not, the e"ployee (ill stay (ith the #o"!

y. And even i+ e"ployees do leave a+ter gradua!

, it generally ta*es several years to #o"plete any

ree progra". 9hus, even i+ the e"ployee leaves

n graduating, throughout those years, the

ployer (ill have a "ore sophisti#ated, "ore

intelligent, and there+ore "ore valua$le and pr

du#tive e"ployee. And, i+ the e"ployee stays,

edu#ation (ill dou$ly $ene?t the #o"pany- 'o

only is the e"ployee "ore edu#ated, $ut no(

e"ployee #an $e pro"oted so the #o"pany do

have to ?ll a high!level va#an#y +ro" the outsid

;pen positions #an $e ?lled $y people (ho alre

*no( the #o"pany (ell.




9hough un#onditional tuition rei"$urse"ent

reFuires a signi?#ant invest"ent on the

e"ployerDs

part, it is perhaps one o+ the (isest invest"ents

a#o"pany #an "a*e.

Your Observations

e#ord your o$servations a$out the passage in the

spa#e $elo(.

Questions

1.A##ording to the passage, un#onditional tuition

rei"$urse"ent is good +or (hi#h o+ the +ollo(!

ing reasons

a. E"ployees get a #heaper edu#ation.

b. E"ployees $e#o"e "ore valua$le.

c. E"ployees #an ?nd $etter Jo$s.

2.<o(, a##ording to the passage, (illun#ondi!

tional tuition rei"$urse"ent redu#e

e"ployee

turnover

a. $y "a*ing e"ployees "ore loyalb. $y paying e"ployees "ore "oney

c. $y pro"oting edu#ation

3. 9he ?rst senten#e o+ the passage,GAlthough

"any #o"panies oer tuition

rei"$urse"ent,

"ost #o"panies only rei"$urse e"ployees

+or

#lasses that are relevant to their position,H

is

a. +a#t.

b. opinion.



b. 9he senten#e is an opinionK it sho(s ho( theuthor +eels a$out the poli#y.

b c. 9he author lists the (ays #o"panies (ould

$ene?t $y having un#onditional tuition rei"!

$urse"ent in order o+ i"portan#e +ro" least to

"ost i"portant. 9he author also sho(s the posi!

ive ee#ts un#onditional rei"$urse"ent (ould

have on the #o"pany.

c. 9here is no / or you hereK the (riter doesnDte+er dire#tly to hersel+ or to the reader. Instead,

everything is spo*en o+ in the third person.

c. 9he (riter "ost li*ely uses the third!person

point o+ vie( $e#ause it is o$Je#tive, and her argu!

"ent is "ore li*ely to $e ta*en seriously. I+ she

used the ?rst person, readers "ight thin* she (as

n e"ployee (ho (anted her e"ployer to pay +or

her tuition, and she (ouldnDt $e ta*en seriously.

a. y using a (ord asso#iated (ith edu#ation, the

(riter stresses the i"portan#e o+ edu#ation +orhe #o"pany.

b. 9he passage des#ri$es only positive ee#ts o+

un#onditional rei"$urse"entK there is s#ar#e

negative (ord.

10.a. I+ e"ployees o+ #o"panies that oer un#o

tional tuition rei"$urse"ent are "ore loyal t

their #o"panies 7see the se#ond and third pa

graphs8, it +ollo(s that other e"ployees (ill $

loyal $e#ause their #o"pany isnDt sho(ing en

dedi#ation to their $etter"ent.

11.c. )our $est #lue that e=pendable "eans

replaceable

is that the (riter uses the (ord i""ediately

saying that Jo$ se#urity is a thing o+ the past,

that (or*ers donDt +eel they are i"portant or

a$le to a #o"pany that #an ?re the" on a

"o"entDs noti#e.

12.b. 9here is #o""on sense or reason $ehind

o+ the (riterDs argu"ents. Indeed, there are +

any, e"otional appeals in this passage.

13.b. 9his "ain idea is expli#itly stated in the la

senten#e o+ the ?rst paragraph 7a good pla#e

loo* +or the "ain idea o+ a longer passage li*one8 and repeated at the end o+ the passage




<o( did you do I+ you got all o+ the ans(ers

#orre#t, #ongratulations =ood (or*. I+ you "issed

a

+e(, you "ight (ant to ta*e ti"e to revie( the

#orre!sponding lessons.

Congratulations!

)ouDve #o"pleted 20 lessons and have seen yreading s*ills in#rease. I+ youDre preparing +or

stan!dardied test, you should #he#* out Appendix

(hi#hIF YOU MISSED:

Question 1

Question 2

Question 3

Question 4

Question 5

Question 6

Question 7

Question 8

Question 9

Question 10

Question 11

Question 12

Question 13

THEN STUDY:

Lesson 1

Lesson 1

Lesson 4

Lesson 4

Lessons 6–10

Lesson 11

Lesson 11

Lesson 12

Lesson 14

Lessons 16 and 17

Lesson 3

Lesson 18

Lessons 2 and 16

provides tips on ho( to prepare and (hat to d

during

the test. And donDt +orget Appendix , (hi#h g

sug!

gestions +or ho( to #ontinue to i"prove your

reading

s*ills, along (ith a list o+ suggested $oo*s orga

$ysu$Je#t #ategories.

'o( itDs ti"e to re(ard yoursel+ +or a Jo$

done. uy yoursel+ a good $oo* and enJoy



147



osttest

o( that youDve spent a good deal o+ ti"e i"proving your reading #o"prehensita*e this

posttest to see ho( "u#h youDve learned. I+ you too* the pretest at the $eginning o+ this

you

#an #o"pare (hat you *ne( (hen you started the $oo* (ith (hat you *no( n

Bhen you #o"plete this test, grade yoursel+, and then #o"pare your s#ore (ith your s#ore on the

pretest.I+ your s#ore no( is "u#h greater than your pretest s#ore, #ongratulations/youDve pro?ted noti#ea$ly

your

hard (or*. I+ your s#ore sho(s little i"prove"ent, perhaps you need to revie( #ertain #hapters. o yo

noti#e a

pattern to the types o+ Fuestions you got (rong Bhatever you s#ore on this posttest, *eep this $oo* a

+or

revie( and re+er to it (hen you need tips on ho( to read "ore e+?#iently.

%se the ans(er sheet on the next page to ?ll in the #orre#t ans(ers. ;r, i+ you pre+er, si"ply #ir#le

ans(er

nu"$ers in this $oo*. I+ the $oo* doesnDt $elong to you, (rite the nu"$ers 1N50 on a pie#e o+ paper an

re#ord

your ans(ers there. 9a*e as "u#h ti"e as you need to do this short test. Bhen you ?nish, #he#* your

ans(ers against

the ans(er *ey that +ollo(s. Ea#h ans(er tells you (hi#h lesson o+ this $oo* tea#hes you a$out the rea

strat!

egy in that Fuestion.



149

N



–LEARNINGEXPRESS ANSWER SHEET–

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.16.

a

a

a

a

a

a

a

a

a

a

a

a

a

a

aa

b

b

b

b

b

b

b

b

b

b

b

b

b

b

bb

c

c

c

c

c

c

c

c

c

c

c

c

c

c

cc

d

d

d

d

d

d

d

d

d

d

d

d

d

d

dd

18.

19.

20.

21.

22.

23.

24.

25.

26.

27.

28.

29.

30.

31.

32.33.

a

a

a

a

a

a

a

a

a

a

a

a

a

a

aa

b

b

b

b

b

b

b

b

b

b

b

b

b

b

bb

c

c

c

c

c

c

c

c

c

c

c

c

c

c

cc

d

d

d

d

d

d

d

d

d

d

d

d

d

d

dd

35.

36.

37.

38.

39.

40.

41.

42.

43.

44.

45.

46.

47.

48.

49.50.

a

a

a

a

a

a

a

a

a

a

a

a

a

a

aa

b

b

b

b

b

b

b

b

b

b

b

b

b

b

bb

c

c

c

c

c

c

c

c

c

c

c

c

c

c

cc

d

d

d

d

d

d

d

d

d

d

d

d

d

d

dd

17. a b c d 34. a b c d

151



–POSTTEST–

Posttest

9he posttest #onsists o+ a series o+ reading passages (ith Fuestions that +ollo( to test your#o"prehension.

Drunge Busic and American 8opular Culture

9he late 1640s +ound the lands#ape o+ popular "usi# in A"eri#a do"inated $y a distin#tive style o+ ro#roll

*no(n as 2lam &ock or Hair -etal/so #alled $e#ause o+ the over!styled hair, "a*eup, and (ardro$e (

the genreDs ostentatious ro#*ers. ands li*e oison, Bhitesna*e, and >^tley Cr_e popularied gla" ro#

their

po(er $allads and Pashy style, $ut the produ#t had (orn thin $y the early 1660s. Oust as super?#ial as

40s, gla"

ro#*ers (ere shallo(, short on su$stan#e, and "usi#ally in+erior.In 1661, a &eattle!$ased $and #alled 'irvana sho#*ed the #orporate "usi# industry (ith the relea

de$ut

single, G&"ells Li*e 9een &pirit,H (hi#h Fui#*ly $e#a"e a huge hit all over the (orld. 'irvanaDs distorte

guitar!

laden sound and thought!provo*ing lyri#s (ere the antithesis o+ gla" ro#*, and the youth o+ A"eri#a (

Fui#*

to pledge their allegian#e to the $rand!ne( "ove"ent *no(n as grunge.

=runge a#tually got its start in the a#i?# 'orth(est during the "id!1640s. 'irvana had

si"ply "ain!

strea"ed a sound and #ulture that got its start years $e+ore (ith $ands li*e >udhoney, &oundgarden, =reen

iver. =runge ro#*ers derived their +ashion sense +ro" the youth #ulture o+ the a#i?# 'orth(est- a "e

pun*

ro#* style and outdoors #lothing li*e Pannels, heavy $oots, (orn out Jeans, and #orduroys. At the heigh

"ove!

"entDs popularity, (hen other &eattle $ands li*e earl Oa" and Ali#e in Chains (ere all the rage, the tra

o+

grunge (ere (or*ing their (ay to the height o+ A"eri#an +ashion. Li*e the "usi#, the teenager

+ast to

e"$ra#e the grunge +ashion $e#ause it represented de?an#e against #orporate A"eri#a and shallo( p#ulture.

9he popularity o+ grunge "usi# (as ephe"eralK $y the "id! to late!1660s, its inPuen#e upon A"e

#ul!

ture had all $ut disappeared, and "ost o+ its re#ognia$le $ands (ere no(here to $e seen on the #hart

heavy

sound and the"es o+ grunge (ere repla#ed on the radio (aves $y $oy $ands li*e the a#*street oys,

the

$u$$legu" pop o+ ritney &pears and Christina Aguilera.

9here are "any reasons (hy the &eattle sound +aded out o+ the "ainstrea" as Fui#*ly as it ro#*e

pro"i!

nen#e, $ut the "ost glaring reason lies at the de?ant, anti!esta$lish"ent heart o+ the grunge "ove"e



itsel+. It

is very hard to $u#* the trend (hen you are the one setting it, and "any o+ the grunge $ands (ere nev

#o"!

+orta$le (ith the +a"e that (as thrust upon the". %lti"ately, the si"ple +a#t that "any grunge $ands

so

against "ainstrea" ro#* stardo" eventually too* the "ove"ent $a#* to (here it started- undergroun

?#*le

A"eri#an "ainstrea" pu$li#, as Fui#* as they (ere to hop on to the grunge $and(agon, (ere Just as F

hop

o and "ove on to so"ething else.

153



–POSTTEST–

1. 9he (ord GostentatiousH in the ?rstsenten#e

"ost nearly "eans

a. stu$$orn.

b. youth+ul.c. sho(y.

d. unadorned.

2. 9eenagers e"$ra#ed grunge +ashion$e#ause

a. they (ere tired o+ =la" o#* +ashion.

b. it de?ed #orporate A"eri#a and the shallo(!

ness o+ pop #ulture.

c. grunge ro#*ers told the" to e"$ra#e it.

d. it outraged their parents.

3.y stating that Ggla" ro#*ers (ere shallo(, shorton su$stan#e, and "usi#ally in+erior,H this author is

a. using a ti"e!honored +or" o+ reporting that

digni?es his or her position.

b. resorting to a su$Je#tive, e"otional assertion

that is not an ee#tive (ay to $uild an

argu"ent.

c. "a*ing an o$Je#tive, logi#al assertion

$ased

on +a#ts.d. "erely Fuoting (hat others say a$out

gla"

ro#* and deta#hing her! or hi"sel+ +ro"

the

opinion.

4. 9his (riter is trying to do#u"enta. the popularity o+ gla" ro#*.

b. 'irvanaDs role in populariing grunge "usi#.

c. the rise and +all o+ grunge "usi#.d. the reasons young people responded so

enthu!

siasti#ally to grunge "usi#.



##ording to this passage, (hat is the dieren#eet(een gla" ro#* and grunge

=la" ro#* is Pashier and super?#ial, (hile

grunge is thought!provo*ing and anti!

esta$lish"ent.

. =la" ro#* appeals to teenagers, (hile grunge

appeals to adults.

=la" ro#* +aded Fui#*ly, (hile grunge is still

pro"inent.. =la" ro#* (as "ore #o""er#ially su##ess+ul

than grunge.

he tone o+ the senten#e, G9he ?#*le A"eri#an

"ainstrea" pu$li#, as Fui#* as they (ere to h

on to the grunge $and(agon, (ere Just as Fu

to hop o and "ove on to so"ething elseH #a

$e $est des#ri$ed as

a. authoritative.

b. gloo"y.

c. #yni#al.

d. ironi#.

7.Bhi#h o+ the +ollo(ing $ands is not asso#iated(ith grunge

a. 'irvana

b. >udhoney

c. earl Oa"

d. a#*street oys



– POSTTEST–

&o 0ease or 9ot to 0ease

lanning to lease a #ar $e#ause you donDt thin* you #an aord to $uy 9hin* again. Leasing #an end up Just

as expensive as $uying/and you donDt even get to the *eep the #ar. >ost people (ho are thin*ing a$oleasing

are attra#ted to this option $e#ause they $elieve it (ill #ost the" less "oney. And theyDre right/it is #

$ut

only in the short ter". :or exa"ple, i+ you (ere to lease a $rand!ne( &u$aru :orester (ith X,000 do(

"ight

pay X300 per "onth +or the #ar. I+ you (ere to $uy the sa"e #ar (ith X3,000 do(n, you (ould pay #los

X00

per "onth. ;ver a three!year lease, thatDs X3,00/a $ig savings. ut a+ter your lease is over, you hav

give the

#ar $a#*. I+ you (ant to *eep driving, youDll either have to put another do(n!pay"ent on another leaseyou

have the option to $uy the #ar, youDll have to pay thousands o+ dollars to pur#hase the vehi#le/dollars

(onDt

$e spread out in "ore "anagea$le "onthly pay"ents.

>any people (ant to lease $e#ause they #an drive a "ore up"ar*et #ar than they "ight other(is

a$le

to aord. :or exa"ple, i+ your "onthly $udget allo(ed you to spend X300 on a #ar, you "ight $e a$le t

a

$rand ne( :ord Explorer. :or the sa"e pri#e, you "ight have to $uy an Explorer that (as t(o or three

old

(ith 50,000 "iles, or $uy a ne( $ut #onsidera$ly less expensive "a*e and "odel. A lease, there+ore, a

you

to drive the latest "odels o+ "ore expensive #ars. ut (hen your lease is over, you (ill have

return that

Explorer. Bhatever #ar you #an aord to $uy, you get to *eep it, and it (ill al(ays have a resell or trad

value

i+ you (ant to later upgrade to a ne(er #ar.

:urther"ore, people (ho lease #ars are o+ten sho#*ed and appalled $y ho( "u#h they "ust pay (

the

lease is over. >ost leases li"it you to a #ertain nu"$er o+ "iles, and i+ you go over that allot"ent, you

pay+or ea#h "ile. As a result, at the end o+ a lease, you "ay end up paying thousands o+ dollars in "ileage

:or

exa"ple, i+ your lease #overs you +or 25,000 "iles over three years, $ut you drive 0,000, thatDs an ex

15,000 "iles.

At X.11 per "ile, thatDs X1,50 youDll have to pay. And you still (onDt have a #ar.

In addition, (hen you lease, you still have to pay +or regular "aintenan#e and repairs to the vehi#

&in#e

you "ust return the #ar (hen your lease expires, you are paying to repair so"eone elseDs #ar. I+ you o(

#ar,

ho(ever, you (ould *no( that every dollar you spend "aintaining or repairing the #ar is an invest"enreal



pie#e o+ property/your property, not so"eone elseDs.

y no(, the $ene?ts o+ $uying over leasing should $e #lear. ut i+ youDre still not #onvin#ed, re"e

this

+unda"ental +a#t- I+ you lease, (hen your lease is up, and a+ter youDve "ade all o+ your "onthly pay"

paid

+or extra "ileage, and paid +or repairs, you must give the car back It isnDt yours to *eep, no "atter ho

the

lease #ost you. Bhatever "a*e or "odel you #an aord to $uy, it is yours to *eep a+ter you "a*e the

pay"ents.

9hereDs no giving it $a#*, and that "a*es all the dieren#e.

8.A##ording to the passage, (hi#h o+ the+ollo(ing

state"ents is true

a. eople $elieve leasing (ill #ost the"

less

"oney.

b. >ost A"eri#ans lease rather than $uy

#ars.

c. >ost #ar leases allo( +or unli"ited

"ileage.d. Leasing a #ar is never as expensive as

$uying. 155

9.Bhi#h o+ the +ollo(ing senten#es $est su"ries the "ain idea o+ this passage

a. Leasing a #ar is a $ad idea.

b. 9he $ene?ts o+ $uying a #ar out(eigh th

$en!

e?ts o+ leasing a #ar.

c. Leasing allo(s people to drive "ore expe

#ars than they "ight other(ise $e a$le to

aord.

d. eople are o+ten sho#*ed at ho( "u#h they end up paying (hen a #ar lease is o



– POSTTEST–

10. 9he author "a*es his or her point $ya. "a*ing an argu"ent using

#hronologi#al

order.

b. arguing the $ene?ts o+ $uying +ro" the"ost

to least i"portant.

c. #o"paring and #ontrasting leasing and

$uying.

13.:ro" the #ontext, it #an $e deter"ined that t(ord Gup"ar*etH in the third paragraph "ean

a. sa+er.

b. $igger.

c. expensive.d. dependa$le.

d. stating opinions.

14.Bhy did the author #hoose the se#ond!person

11. 9his (riter $ases his or her argu"ent pri"arily

on

a. +a#ts derived +ro" the authorDs

personalo$servations.

b. opinions that others have reported to

the

author.

c. +a#ts (ith logi# and statisti#s supporting

the".

d. opinions derived +ro" the authorDs personal

o$servations.

12.In another version o+ this passage, the ?rstsen!

ten#e o+ the third paragraph did not use

the

(ords Gsho#*ed and appalledH to des#ri$e the

rea#tion o+ #ar leasers to ho( "u#h "oney

they

"ust pay (hen the lease is over. Instead, the

sen!

ten#e read- G:urther"ore, people (ho lease

#ars

are usually una(are o+ ho( "u#h they "ustpay

(hen the lease is over.H Bhy do you thin* the

(riter #hanged the senten#e to in#lude

Gsho#*ed

and appalledH

a. &o"eone he or she intervie(ed +or the story

point o+ vie( +or this passage

a. 9he se#ond!person point o+ vie( puts reade

into the a#tion o+ the (riting.

b. 9he se#ond!person point o+ vie( "a*esreaders i"agine the"selves in the situation

c. 9he se#ond!person point o+ vie( "a*es

readers pay "ore attention.

d. all o+ the a$ove

15.Bhen this author says that G"ost people (anto lease $e#ause they #an then drive a "ore

up"ar*et #ar,H he or she is

a. "a*ing a generaliation that reFuires evide

$e+ore it #an $e #on?r"ed.b. "a*ing an o$vious generaliation that nee

no eviden#e.

c. rea#hing an unreasona$le #on#lusion $ased

eviden#e provided.

d. rea#hing a reasona$le #on#lusion $ased on

eviden#e provided.

used these (ords.

b. 9hese (ords "a*e the author sound s"arter.

c. 9hese (ords have a positive #onnotation that

help the author "a*e his or her #ase.d. 9hese (ords have a po(er+ul negative #onno!



– POSTTEST–

,&e ee5l! isit/

7short story ex#erpt8

9he reFuisite visit happened typi#ally on sunny &aturdays, (hen "y #hild spirits (ere at their highest

#ould$e "ost di"inished $y the #ra"ped interior o+ her house. >y "other, a##usto"ed to the $right, spa#io

+ar"!

house that (as on#e =rand"aDs see"ed no less sus#epti$le to the gloo". &he (ould set her Ja

=rand"a

des#ri$ed the "any ail"ents attendant on age and (ould #he#* her (at#h/an hour $eing the

"ini"u" she

expe#ted hersel+ to (ithstand. <er $arely #ontained i"patien#e and "y grand"otherDs #rippling age ra

out

around "e. Be (ere the (o"en o+ the Carlson #lan, ea#h thro$$ing (ith agitation, li*e #on#entri#, $lin

#ir!#les on a radar s#reen.

I (ould sit at the (hite and red "etal ta$le (ith the pull!out leaves and $uilt!in silver(are dra(er

ing al"onds. 9his (as the one good thing at =rand"aDs house, the al"onds, (hi#h she *ept in a green

epres!

sion glass $o(l. I (ould li+t the lid #are+ully and try to set it do(n on the "etal ta$le Fuietly, then atte"

#ra#*

the nuts (ithout s#attering the shell #ru"$s. It (as not good to dra( attention to "ysel+ at =rand"a

CarlsonDs.

&ounding angry, she (ould #all to "e in her #roupy dra(l. Bhen I +ailed to understand her, she (ould

out

to "e (ith her palsied, sli#*, (rin*led hand and shout, G<ereH &he (ould $e oering so"e o+ her hore

#andy, (hi#h tasted li*e a #ross $et(een $utters#ot#h and $itter sti#*s.

9here (as this la"enta$le air in the di" house (ith its it#hy "ohair +urniture and its d

#olors, an

a(areness/=rand"aDs/underlying the "entholatu", that her age s#ared her grand*ids. I (ould year

during

the duti+ul visit to get outside into the yard, (here =rand"a had transplanted a +e( Po(ers (hen she

+ro"

the +ar". ut even the yard, (ith its overgro(n hedges and rusted "etal la(n #hairs, see"ed dreary. B

#a"e

$a#* inside, light and air $ursting in (ith "e, =rand"a, her hair up in a gray $un, (ould ro#* a little ans"ile.

I (ould lean then against "y "otherDs #hair, =rand"aDs +ond eyes peering at "e, and (hisper out o+ t

#orner

o+ "y "outh, G>o", #an (e goH

16.:ro" the overall #ontext o+ the passage, it is"ost

li*ely that the (ord lamentable at the

$eginning

o+ the third paragraph, "eansa. laugha$le.

b. sad.

c. insane.

d. inspired.

17.Bhi#h o+ the +ollo(ing does the

s#reeni"age unders#ore



a. the narratorDs a$sorption in gadgets and the

"odern (orld

b. the narratorDs daydrea"ing nature18.In revising this story, the author is #onside

ta*ing out the re+eren#e to G$utters#ot#h a

$itter sti#*sH and instead des#ri$ing the #a

as G$itter (ith a s(eet under!taste.H Bhi#h

$etter/the original or this alternative

des#ription/and (hy

a. the original, $e#ause it leaves the a#tua

up to the readerDs i"agination

b. the original, $e#ause it is "ore vivid and

exa#t

c. the alternative, $e#ause it is "ore $rie+

the point

d. the alternative, $e#ause it is "ore vivid

exa#t

c. the narratorDs uneasy sense o+ hersel+ in the

sa"e lineage as her "other and grand"other

d. all o+ the a$ove

157



– POSTTEST–

19.Assu"e this pie#e is ?#tion and #ould have$een

(ritten +ro" any point o+ vie(. Bhat (ould a

s(it#h to third person a#hieve

a. eaders (ould $e so"e(hat distan#ed +ro"the narratorDs +eelings.

b. 9he author (ould have "ore latitude

to

express the narratorDs +eelings.

c. eaders (ould $e "ore li*ely to identi+y (ith

the +eelings expressed.

d. 9he grand"otherDs +eelings (ould

$e#o"e

"ore apparent.

21.Bhi#h o+ the +ollo(ing a##urately rePe#ts the#o"parative attitudes o+ the #hara#ters in thi

ex#erpt

a. 9he attitudes o+ the "other and the daugh

are si"ilar.b. 9he attitudes o+ the grand"other and the

"other are si"ilar.

c. 9he attitudes o+ the grand"other and the

granddaughter are si"ilar.

d. 9he attitudes o+ the "other and the daugh

are dissi"ilar.

20.In a previous version o+ this story, the authordes#ri$ed the garden as having Glush hedges and

Fuaint "etal #hairs.H Bhy is it "ore ee#tive to

des#ri$e the hedges as Govergro(nH and the

#hairs as GrustedH

a. 9hese (ords add to the sense o+ age lingering

over the pla#e.

b. 9hese (ords have a negative #onnotation,

(hi#h "irrors the girlDs +eelings a$out the visits.

c. 9hese (ords "a*e the garden see" li*e less o+

an es#ape than the girl had hoped +or.

d. all o+ the a$ove

,&e olf and te Crane/

A (ol+ (ho had a $one stu#* in his throat hired a #rane, +or a large su", to put her head into his "outh an

out the $one. Bhen the #rane had extra#ted the $one and de"anded the pro"ised pay"ent, the (

grinning

and grinding his teeth, ex#lai"ed- GBhy you have surely already had a su+?#ient re#o"pense,

having $eenper"itted to dra( out your head in sa+ety +ro" the "outh and Ja(s o+ a (ol+.H

22.:ollo(ing is a list o+ "orals +ro" this and otherAesop +a$les. Bhi#h one is the "ost li*ely #o"!

panion to this +a$le

a. &el+!help is the $est help.

b. 9he loiterer o+ten $la"es delay on his "ore

a#tive +riend.

c. 9he greatest *indness (ill not $ind the

ungrate+ul.

d. In serving the (i#*ed, expe#t no re(ard.



158



– POSTTEST–

-l!)igtsFA Consumer Duide to Air &ravel

7ex#erpt8

I+ your reservations are $oo*ed +ar enough ahead o+ ti"e, the airline "ay oer to "ail your ti#*ets to y

<o(!ever, i+ you donDt re#eive the ti#*ets and the airlineDs re#ords sho( that they "ailed the", you "ay ha

go through

#u"$erso"e lost!ti#*et pro#edures. It is sa+er to #he#* the telephone dire#tory +or a #onveniently lo#at

travel

agen#y or airline ti#*et o+?#e and $uy your ti#*ets there.

As soon as you re#eive your ti#*et, "a*e sure all the in+or"ation on it is #orre#t, espe#ia

airports

7i+ any o+ the #ities have "ore than one8 and the Pight dates. <ave any ne#essary #orre#tions "ade

i""ediately.

ItDs a good idea to re#on?r" your reservations $e+ore you start your tripK Pight s#hedules so"eti"#hange.

;n international trips, "ost airlines reFuire that you re#on?r" your on(ard or return reservations at le

hours

$e+ore ea#h Pight. I+ you donDt, your reservations "ay $e #an#eled.

Che#* your ti#*ets as you $oard ea#h Pight to ensure that only the #orre#t #oupon has $een re"o

the

airline agent.

23.'u"$ering the paragraphs 1 through as they

no( appear, #hoose the option that pla#es

the"

in #hronologi#al order.

a. 2, 3, , 1

b. 3, 1, 2,

c. 3, 2, 1,

d. 1, 2, 3,

24.'oti#e that this "anual is (ritten in the se#ond

person, e"ploying the GyouH pronoun.

Consider!

ing the purpose o+ the "anual, is this the $est#hoi#e and (hy

a. )es, $e#ause it avoids the ne#essity to

#hoose

$et(een "ale and +e"ale pronouns.

b. )es, $e#ause the people (ho (ill $e doing

the

traveling are addressed dire#tly.

c. 'o, $e#ause not all people travel $y

plane.

d. 'o, $e#ause it "a*es readers unne#essarilyun#o"+orta$le to $e addressed dire#tly.

25.As the passage appears in paragraph 1, (suggested that you $uy your ti#*ets +ro" a

veniently lo#atedH agen#y or o+?#e

a. $e#ause you #an stop on your (ay to th

port to pi#* up your ti#*ets

b. $e#ause you #an pi#* your ti#*ets up ra

than relying on the "ail

c. $e#ause the airlines the"selves o+ten "

"ista*es in issuing ti#*ets

d. $e#ause it is good to support lo#al $usi

26.Bhi#h is a possi$le result o+ not +ollo(ing t

advi#e oered in the ?rst senten#e o+ para2

a. )ou "ight Py into the right #ity, $ut the

airport.

b. )ou "ight "iss your Pight, $e#ause the

(as i"properly re#orded.

c. )ou "ight not $e allo(ed to $oard your

$e#ause the na"e on the ti#*et doesnDt



that on your I.

d. Any o+ the a$ove #ould happen as a res

not +ollo(ing the advi#e.

159



– POSTTEST–

,#ear *tor!/

Ca"pers =ene and >arie >arsden too* pride in $eing good #itiens (hen in the (ild. Bhile drivithree

hundred "iles +ro" their ho"e in Colorado to the =reen iver La*es area o+ the Bind iver>ountains in

Byo"ing, they instru#ted their #hildren in the proto#ol theyDd learned in the $ear sa+ety pa"phlet

out $y the

ridger!9eton :orest &ervi#e. 9he nu"$er!one rule (as GonDt +eed the $earsH/(hether intenti

or not.

Barning the *ids not to go any(here near a $ear, the >arsdens had no pro$le" (ith the intentional part, $

unintentional part (as not as easy to avoid as they thought.

>r. and >rs. >arsden did their $est to *eep a tidy #a"p. Bhile the $ear "anual had said to

all +ood

at least ten +eet o the ground and +our +eet out +ro" the trun* o+ a tree, they did (hat all the other peoplnear$y pu$li# #a"pground (ere doing and lo#*ed their +ood in their little utility trailer at night. A+

that the

s#ent o+ the $ait "ight attra#t a $ear, they even lo#*ed up >arieDs ?shing pole. It (as al(ays dar* (hen th

(ent

to $ed, $ut they perused the #a"psite (ith Pashlights, "a*ing sure nothing (as le+t out. 9a*ing the

re#o""ended

pre#aution o+ sleeping a hundred yards +ro" (here they #oo*ed their +ood, they *ept the #ar ne

their tents,

unhit#hed +ro" the trailer, (hi#h they le+t up at the other #a"p. e+ore going to $ed ea#h night, a

the >ars!

dens too* o the #lothes they had (orn during the day (hile eating, repla#ing the" (ith paJa"as that the

only +or sleeping. 9hey (ere also #are+ul to lo#* the dirty laundry in the trailer. As the pa"phlet advised, th

too*

no sna#*s into their tents.

=ene says he no( regrets not having ta*en their dog into the tent at night, $ut they li*ed having hi"

guard.

&"all ani"als (ould o+ten #o"e sni+?ng around, and the dog (ould #hase the" $a#* into the thi#*ets, the

return

to the hollo( heDd dug +or hi"sel+ in +ront o+ the #hildrenDs tent. ut on the night o+ the en#ounter, &pi*e (

not stop $ar*ing, and >arie >arsden *ne( he "ust $e sounding the alar" on so"ething "ore

dangerous anddauntless than a ra##oon or sFuirrel. Bhen she unipped the tent and shined her Pashlight in the dire#tion

#oo*ing area, she sa( &pi*e atte"pting to hold a young grily $ear at $ay.

9hey all "anaged to pile into the #ar, and (ith the *ids sitting atop stued sa#*s +ull o+ #lothes and g

they

drove Fui#*ly do(n the trail, #alling out the (indo( to &pi*e and a$andoning the #argo trailer to

(hatever +ate

the $ear "ight have in store +or it. %n#ertain (hether the $ear (as +ollo(ing, one o+ the #hildren o

a door

and loaded &pi*e up on the run. 9hey drove to a pay phone t(enty "iles a(ay and #alled a :ish and =a"e

epart!"ent ranger, (ho identi?ed the $ear $y the (hite ru the >arsdens had seen around his ne#*. 9h



authorities

in+or"ed the >arsdens that the $ear (as a young, re#ently (eaned "ale that theyDd $een *eep

eye on.

9he next "orning, the >arsdens heard heli#opters #ir#ling over the "ountain a$ove the" a

(ondered

i+ it "ight have so"ething to do (ith the $ear. A+ter spending the night in the pu$li# #a"pground

drove

$a#* to their site. Bandering the area in sear#h o+ #lues, >arie #a"e to a halt $elo( the tallest spru#e. &h

slapped

her head and shouted, G;h noH

GBhat is itH =ene as*ed.

>arie pointed at the ground (here &pi*eDs dog +ood $o(l lay upside do(n.

A (ee* a+ter their return ho"e, the >arsdens read the headline in their lo#al paper. Gear Euthanied

Bind

ivers.H A##ording to the arti#le, the :ish and =a"e epart"ent had shot the young $ear $e#ause

having $een

re(arded +or invading a hu"an #a"psite, it (ould li*ely do so again.

9he >arsdens *ne( they had $een lu#*y in the en#ounter, yet "u#h to their sha"e and sad

they also

*ne( that the $ear had not.

160



– POSTTEST–

27.Bhi#h o+ the +ollo(ing state"ents is truea. 9he >arsdens (ent #a"ping in the

Bind

iver >ountains o+ Byo"ing.

b. 9he pa"phlet on #a"ping in $ear#ountry

(as sent to the >arsdens $y the :ish

and

=a"e epart"ent.

c. 9he >arsdens (ent #a"ping in the

=reen

iver La*es area near their ho"eto(n.

31. 9his story is arrangeda. li*e a ne(s story, (ith the "ost i"porta

event told ?rst.

b. in reverse #hronologi#al order, (ith the

event ?rst.c. in standard #hronologi#al order, (ith ev

told in the order they o##urred.

d. in "ixed, rando" order.

d. all o+ the a$ove

32.Bhat (as the Gre(ardH re+erred to in the n

28.Bho does the author i"ply is "ostly to $la"ein

the $earDs death

a. the >arsdens, $e#ause they (ere not

#are+ul

enough

b. the $ear, $e#ause he invaded a hu"an

#a"p

c. the :ish and =a"e authorities, $e#ause

o+

poor #o""uni#ation (ith #a"persd. the :orest &ervi#e, +or putting out

in#o"plete

in+or"ation

29.In paragraph 2, it #an $e deter"ined +ro" the

#ontext that the (ord GperusedH "eans

a. negle#ted.

b. #leaned.

c. studied.

d. hid.

last paragrapha. the $ear seeing the >arsdens run +ro"

b. the $ear re#eiving no punish"ent +or d

ing hu"ans

c. the $ear $eing a$le to stand o &pi*e

d. the $ear getting the dog +ood

33. 9he tone and style o+ this pie#e "a*e itappropriate +or (hi#h o+ the +ollo(ing type

pu$li#ations

a. a s#ienti?# report on hu"an!$ear interab. a pa"phlet on $ear sa+ety su#h as the o

the

>arsdens read

c. a statisti#al study on $ear +atalities in th

Bestern "ountains

d. a hu"an interest arti#le in the &unday "

ine o+ a ne(spaper

30.In paragraph 3, it #an $e deter"ined +ro" the

#ontext that the (ord GdauntlessH "eans

a. stupid.

b. +earless.

c. #lu"sy.

d. spineless.



161



–POSTTEST–

,A 8lains Cildood/

Bhen I thin* o+ "y +a"ilyDs history on the land, I experien#e a pang o+ regret. %nli*e "u#h o+ the arid Bes(here

the land has gone virtually un#hanged +or #enturies, "y pla#e o+ origin, (estern Qansas, has $een torn up agri!

#ulture. 9he Pat plains, ex#ellent soil, and sparse $ut Just adeFuate rain+all per"itted +ar"ingK the

+ar"ing

prevailed, and a good 60[ o+ the original sod prairie is gone. 9he #onseFuen#e, in hu"an ter"s, is

our rela!

tionship to our pla#e has al(ays +elt pri"arily "er#antile. Be used the land and denied, or held at

its ee#t

on us. )et +ro" "y earliest #hildhood, (hen "ost o+ the Qansas prairie (as still inta#t, IDve *no(n

the land

also had a ro"anti# Fuality. IDve +elt "oved $y the expanse o+ it, enthralled $y its sie. I ta*e prid

"y identity

as a plains daughter.

34.Bhi#h o+ the +ollo(ing is the "osta##urate

restate"ent o+ the authorDs position

a. 9he presen#e o+ people has enri#hed the

plains

ha$itat.

b. :ar"ing has i"proved the soil o+ the plains.

c. :ar"ing has eroded the natural $eauty o+the

36.:ro" #ontext, it #an $e deter"ined that the (G"er#antileH has so"ething to do (ith

a. pra#ti#ality.

b. danger.

c. A"eri#a.

d. spirituality.

plains.

d. :ar"ing has #he"i#ally polluted the plains.

35. 9he argu"ent in this paragraph is $asedpri"arily on

a. +a#ts o+ history and statisti#al studies.

b. +a#ts derived +ro" the authorDs personal

o$servations.

c. +eelings the author has pi#*ed up +ro"personal experien#e.

d. +eelings passed do(n to the author $y

an#estors.



162



"ain!

land or out over the Atlanti# ;#ean and #onte"plate the $eauty #reated $y a retreating gla

163



– POSTTEST–

37.Bhi#h o+ the +ollo(ing lists o+ topi#s $est

outlines the in+or"ation in the sele#tion

a. / I#e!Age gla#ial a#tivity

/ 9he Islands o+ Cas#o ay

/ :or"ation o+ Cadilla# >ountain/ &u""er residents o+ >t. esert Island

b. / :or"ation o+ a dro(ned

#oastline

/ 9he topography o+ >t. esert

Island

/ 9he environ"ent o+ >t. esert Island

/ 9ourist attra#tions on >t. esert

Island

c. / >apping the >aine #oastline

/ 9he arts #o""unity at ar<ar$or

/ <istory o+ the 'ational ar*

syste"

/ Cli"$ing Cadilla# >ountain

d. / 9he ee#t o+ gla#iers on s"all islands

/ &tone!Age d(ellers on >t. esert

Island

/ 9he i"portan#e o+ $iodiversity

/ <i*ing in A#adia 'ational ar*

38.Bhi#h o+ the +ollo(ing state"ents $estexpresses

the "ain idea o+ paragraph o+ the

sele#tion

a. 9he (ealthy residents o+ >t. esert

Island

sel?shly *ept it to the"selves.

b. A#adia 'ational ar* is one o+ the s"allest

o+

the national par*s.

c. ;n >t. esert Island, there is greattension

$et(een the year!round residents and

the

su""er tourists.

d. ue to its lo#ation and environ"ent, >t.

esert Island supports an in#redi$ly

diverse

ani"al and plant li+e.

39.A##ording to the sele#tion, the large nu"$er o+islands along the #oast o+ >aine are the result

a. gla#iers +or#ing a "ountain range into the

b. >aineDs lo#ation $et(een the te"perate an

su$ar#ti# ones.c. the irregularity o+ the >aine #oast.

d. the need +or su""er #o""unities +or (ea

tourists and artists.

40. 9he #ontent o+ paragraph 5 indi#ates that the(riter $elieves that

a. the #ontinued existen#e o+ national par*s i

threatened $y $udget #uts.

b. the $est (ay to preserve the environ"ent

>t. esert Island is to li"it the nu"$er o+ visitors.

c. national par*s allo( large nu"$ers o+ peop

to visit and learn a$out interesting (ilderne

areas.

d. >t. esert Island is the "ost interesting

tourist attra#tion in >aine.

41.A##ording to the sele#tion, the #oast o+ >ainea. 2,500 "iles long.

b. 3,500 "iles long.c. 225 "iles long.

d. 235 "iles long.

42.Bhat is the "eaning o+ the underlined phrasePora and +auna in paragraph o+ this passage

a. inse#ts and plants

b. plants and ani"als

c. deer and #oyote

d. $irds and $ea#hes

164



– POSTTEST–

9he i""une syste" is eFual in #o"plexity to the #o"$ined intri#a#ies o+ the $rain and nervous syste"su#!

#ess o+ the i""une syste" in de+ending the $ody relies on a dyna"i# regulatory #o""uni#ations net(

#on!

sisting o+ "illions and "illions o+ #ells. ;rganied into sets and su$sets, these #ells pass in+or"ation $a+orth

li*e #louds o+ $ees s(ar"ing around a hive. 9he result is a sensitive syste" o+ #he#*s and $alan#es th

produ#es

an i""une response that is pro"pt, appropriate, ee#tive, and sel+!li"iting.

At the heart o+ the i""une syste" is the a$ility to distinguish $et(een sel+ and nonsel+. B

i""une

de+enders en#ounter #ells or organis"s #arrying +oreign or nonsel+ "ole#ules, the i""une troops "ov

Fui#*ly

to eli"inate the intruders. @irtually every $ody #ell #arries distin#tive "ole#ules that identi+

sel+. 9he

$odyDs i""une de+enses do not nor"ally atta#* tissues that #arry a sel+!"ar*er. ather, i""une #ells

other

$ody #ells #oexist pea#ea$ly in a state *no(n as sel+!toleran#e. Bhen a nor"ally +un#tioning i""une s

atta#*s

a nonsel+ "ole#ule, the syste" has the a$ility to Gre"e"$erH the spe#i?#s o+ the +oreign $ody. %pon

su$seFuent

en#ounters (ith the sa"e spe#ies o+ "ole#ules, the i""une syste" rea#ts a##ordingly. Bith the possi

ex#ep!

tion o+ anti$odies passed during la#tation, this so #alled i""une syste" "e"ory is not inherite

espite the

o##urren#e o+ a virus in your +a"ily, your i""une syste" "ust GlearnH +ro" experien#e (ith t"any "illions

o+ distin#tive nonsel+ "ole#ules in the sea o+ "i#ro$es in (hi#h (e live. Learning entails produ#ing the

priate "ole#ules and #ells to "at#h up (ith and #ountera#t ea#h nonsel+ invader.

Any su$stan#e #apa$le o+ triggering an i""une response is #alled an antigen. Antigens are not to

#on!

+used (ith allergens, (hi#h are "ost o+ten har"less su$stan#es 7su#h as rag(eed pollen or #at hair8 th

provo*e

the i""une syste" to set o the inappropriate and har"+ul response *no(n as allergy. An antigen #an

virus,

a $a#teriu", a +ungus, a parasite, or even a portion or produ#t o+ one o+ these organis"s. 9issues or #e+ro"

another individual 7ex#ept an identi#al t(in, (hose #ells #arry identi#al sel+!"ar*ers8 also a#t as antige

$e#ause

the i""une syste" re#ognies transplanted tissues as +oreign, it reJe#ts the". 9he $ody (ill even reJe

nourish!

ing proteins unless they are ?rst $ro*en do(n $y the digestive syste" into their pri"ary, nonantigeni#

$uilding

$lo#*s. An antigen announ#es its +oreignness $y "eans o+ intri#ate and #hara#teristi# shapes #alled ep

(hi#h

protrude +ro" its sur+a#e. >ost antigens, even the si"plest "i#ro$es, #arry several dierent *inds o+ eon



their sur+a#eK so"e "ay even #arry several hundred. &o"e epitopes (ill $e "ore ee#tive than others

sti"u!

lating an i""une response. ;nly in a$nor"al situations does the i""une syste" (rongly identi+y sel+

non!

sel+ and exe#ute a "isdire#ted i""une atta#*. 9he result #an $e a so!#alled autoi""une d

su#h as

rheu"atoid arthritis or syste"i# lupus erythe"atosis. 9he pain+ul side ee#ts o+ these diseases are #a

a per!

sonDs i""une syste" a#tually atta#*ing itsel+.

43.Bhat is the analogy used to des#ri$e the#o""uni#ations net(or* a"ong the #ells

in

the i""une syste"

a. the i""une syste"Ds "e"ory

b. i""une troops eli"inating intruders

c. $ees s(ar"ing around a hive

44. 9he i""une #ells and other #ells in the $o#oexist pea#ea$ly in a state *no(n as

a. eFuili$riu".

b. sel+!toleran#e.

c. har"ony.

d. toleran#e.

d. a sea o+ "i#ro$es

165



– POSTTEST–

45.Bhat is the spe#i?# ter" +or thesu$stan#e

#apa$le o+ triggering an inappropriate or

har"+ul i""une response to a har"less

su$stan#e su#h as rag(eed pollena. antigen

b. "i#ro$e

c. allergen

d. autoi""une disease

46.<o( do the #ells in the i""une syste"re#ognie an antigen as G+oreignH or Gnonsel+H

a. through an allergi# response

b. through $lood type

c. through ?ne hairs protruding +ro" theantigen sur+a#e

d. through #hara#teristi# shapes on the

antigen

sur+a#e

47.A+ter you have had the #hi#*en pox, youri""une syste" (ill $e a$le to do all o+

the

+ollo(ing E`CE9

a. prevent your ospring +ro" in+e#tion $y the

#hi#*en pox virus.

b. distinguish $et(een your $ody #ells and

that

o+ the #hi#*en pox virus.

c. Gre"e"$erH previous experien#es (ith

the

#hi#*en pox virus.

d. "at#h up and #ountera#t nonsel+ "ole#ules

in

the +or" o+ the #hi#*en pox virus.

48.Bhi#h o+ the +ollo(ing $est expresses the "aidea o+ this passage

a. An antigen is any su$stan#e that triggers a

i""une response.

b. 9he $asi# +un#tion o+ the i""une syste" idistinguish $et(een sel+ and nonsel+.

c. ;ne o+ the i""une syste"Ds pri"ary

+un#tions is the allergi# response.

d. 9he hu"an $ody presents an opportune

ha$itat +or "i#ro$es.

49.Bhy (ould tissue transplanted +ro" +ather todaughter have a greater ris* o+ $eing dete#te

+oreign than a tissue transplanted $et(een

identi#al t(insa. 9he age o+ the t(insD tissue (ould $e the s

and there+ore less li*ely to $e reJe#ted.

b. 9he identi#al t(inDs tissue (ould #arry the

sa"e sel+!"ar*ers and (ould there+ore $e l

li*ely to $e reJe#ted.

c. 9he dieren#e in the sex o+ the +ather and

daughter (ould #ause the tissue to $e reJe#

$y the daughterDs i""une syste".

d. 9he t(insD i""une syste"s (ould Gre"e"

$erH the sa"e en#ounters (ith #hildhoodillnesses.

50.Bhat is the "eaning o+ the underlined (ordintri#a#ies as it is used in the ?rst senten#e o+

passagea. ela$orate inter#onne#tions

b. #on+usion o+ path(ays

c. inherent perplexity

d. #o"prehensive #overage



166



$oo*store

169

M



–APPENDIX A: PREPARING FOR A STANDARDIZED TEST–

or the li$rary +or a study guide that sho(s you (hatasa"ple test loo*s li*e. ;r "ay$e the agen#y thatDs

test!

ing you +or a Jo$ oers a study guide or #ondu#tsstudy

sessions. 9he +e(er surprises you have on test day,

the

$etter you (ill per+or". And the "ore you *no(

(hat

to expe#t, the "ore #on?dent you (ill $e to handle

the

Fuestions.

Balanced Diet

Li*e your $ody, your $rain needs proper nutrient

+un#tion (ell. Eat plenty o+ +ruits and vegeta$les

days $e+ore the test. :oods high in le#ithin, su#h

and $eans, are espe#ially good #hoi#es. Le#ithin pro!

tein your $rain needs +or pea* per+or"an#e. )ou

even #onsider a visit to your lo#al phar"a#y to $

$ottle o+ le#ithin ta$lets several (ee*s $e+ore yo

test.

Review the Material and Skills

You’ll Be Tested On

9he +a#t that you are reading this $oo* "eans that

youDve already ta*en this step. 'o(, are there

other

steps you #an ta*e Are there other su$Je#t areas

you

need to revie( Can you "a*e "ore i"prove"ent

in

this or other areas I+ you are really nervous or i+ it

has

$een a long ti"e sin#e you revie(ed these su$Je#ts

and

s*ills, you "ay (ant to $uy another study guide, sign

up

+or a #lass in your neigh$orhood, or (or* (ith a

tutor.

9he "ore you *no( a$out (hat to expe#t on

test

day and the "ore #o"+orta$le you are (ith the

"ate!rial and s*ills to $e tested, the less anxious you (ill

$e

and the $etter you (ill do on the test itsel+.

The Days before the Test

Rest

=et plenty o+ sleep the nights $e+ore the test. o

overdo it, though, or youDll "a*e yoursel+ as grog

as i+ you (ere overtired. =o to $ed at a reasona$

ti"e, early enough to get the hours o+ rest you n

to +un#tion e?ectivel!. )ouDll +eel relaxed and re

i+ youDve gotten plenty o+ sleep in the days $e+or

ta*e the test.

Trial Run

At so"e point $e+ore the test, "a*e a trial run to

testing #enter to see ho( long it ta*es to get the

ushing raises your e"otional energy and lo(ers

intelle#tual #apa#ity, so you (ant to allo( plenty

ti"e on test day to get to the testing #enter. Arri

ten

or ?+teen "inutes early gives you ti"e to relax a

situated.

Review, Don’t Cram

I+ you have $een preparing and revie(ing in the

(ee*s$e+ore the exa", thereDs no need to #ra" a +e(

days

$e+orehand. Cra""ing is li*ely to #on+use y"a*e you nervous. Instead, s#hedule a relax



revie(

o+ all you have learned.

Physical Activity

=et so"e exer#ise in the days pre#eding the test.

)ouDll

send so"e extra oxygen to your $rain and allo(

your

thin*ing per+or"an#e to pea* on the day you ta*e

the

test. >oderation is the *ey here. onDt exer#ise so

"u#h

that you +eel exhausted, $ut a little physi#al

a#tivity

(ill invigorate your $ody and $rain. Bal*ing is a

ter!

ri?#, lo(!i"pa#t, energy!$uilding +or" o+ exer#ise.

Motivation

lan so"e sort o+ #ele$ration/(ith +a"ily or +rie

or Just $y yoursel+/+or a+ter the test. >a*e sure

so"ething youDll really loo* +or(ard to and enJoy

you have so"ething planned +or a+ter the test, y

"ay ?nd it easier to prepare and *eep "oving du

the test.

Test Day

ItDs ?nally here, the day o+ the $ig test. &et your aearly enough to allo( plenty o+ ti"e to get to the

ing #enter. Eat a good $rea*+ast. Avoid anything

170




really high in sugar, su#h as donuts. A sugar highturnsinto a sugar lo( a+ter an hour or so. Cereal and

toast,

or anything (ith #o"plex #ar$ohydrates is a good#hoi#e. Eat only "oderate a"ounts. )ou donDt (ant

to

ta*e a test +eeling stued )our $ody (ill #hannel

its

energy to your digestive syste" instead o+ your

$rain.

a#* a high!energy sna#* to ta*e (ith you.

)ou

"ay have a $rea* so"eti"e during the test (hen

you#an gra$ a Fui#* sna#*. ananas are great. 9hey

have

a "oderate a"ount o+ sugar and plenty o+

$rain

nutrients, su#h as potassiu". >ost pro#tors (onDt

allo( you to eat a sna#* (hile youDre testing, $ut a

pepper"int shouldnDt pose a pro$le".

epper"ints

are li*e s"elling salts +or your $rain. I+ you lose

your

#on#entration or suer +ro" a "o"entary "ental

$lo#*, a pepper"int #an get you $a#* on tra#*.

onDt

+orget the earlier advi#e a$out relaxing and ta*ing

a

+e( deep $reaths.

Take the Test One Question at

a Time

:o#us all your attention on the one Fuestion y

ans(ering. Avoid thoughts a$out Fuestions yo

already read or #on#erns a$out (hatDs #o"ingCon#entrate your thin*ing (here it (ill do the

good/on the Fuestion youDre ans(ering no(.

Develop a Positive Attitude

Qeep re"inding yoursel+ that youDre prepared

+a#t, i+

youDve read this $oo* or any other in the

LearningEx!

press &*ill uilders series, youDre pro$a$ly $et

pre!pared than "ost other test ta*ers. e"e"$er

only a

test, and you (ill do your best. 9hatDs all any

#an as*

o+ you. I+ that nagging drill sergeant voi#e insi

your

head starts sending negative "essages, #o"

the"

(ith positive ones o+ your o(n. 9ell yoursel+-

Leave early enough so you have plenty o+ ti"e

to

get to the test #enter. Allo( a +e( "inutes +or

unex!

pe#ted tra+?#. Bhen you arrive, lo#ate the restroo"and

use it. :e( things inter+ere (ith #on#entration as

"u#h

as a +ull $ladder. 9hen ?nd your seat and "a*e sure

itDs

I

I

I

I

GID" doing Just ?ne.H

GIDve prepared +or this test.H

GI *no( exa#tly (hat to do.H

GI *no( I #an get the s#ore ID" shooting +or

#o"+orta$le. I+ it isnDt, tell the pro#tor and as* to

"ove

to so"ething "ore suita$le.

'o( relax and thin* positively e+ore you

*no(it, the test (ill $e over, and youDll (al* a(ay

*no(ing

youDve done as (ell as you #an.

Combating Test Anxiety



;*ay/you *no( (hat the test (ill $e on. )ouDverevie(ed the su$Je#ts and pra#ti#ed the s*ills on

(hi#h

you (ill $e tested. &o (hy do you still have that

sin*ing

+eeling in your sto"a#h Bhy are your pal"s

s(eaty

and your hands sha*ing

Even the $rightest, "ost (ell!prepared test

ta*ersso"eti"es suer $outs o+ test anxiety. ut donDt

(orryK

you #an over#o"e it. <ere are so"e spe#i?#

strategies

to help you.

171

)ou get the idea. e"e"$er to dro(n ou

tive "essages (ith positive ones o+ your o(n

If You Lose Your Concentration

onDt (orry a$out it ItDs nor"al. uring a lon

it

happens to everyone. Bhen your "ind is stre

or

overexerted, it ta*es a $rea* (hether you (a

or

not. ItDs easy to get your #on#entration $a#* i

si"!

ply a#*no(ledge the +a#t that youDve lost it an

ta*e a

Fui#* $rea*. )ou $rain needs very little ti"e

7se#onds,

really8 to rest.

ut your pen#il do(n and #lose your eyes

a

deep $reath, hold it +or a "o"ent, and let it o

slo(ly.Listen to the sound o+ your $reathing as you r

this

t(o "ore ti"es. 9he +e( se#onds this ta*es is

all

the ti"e your $rain needs to relax and re+o#u

exer#ise also helps you #ontrol your heart rate

you

#an *eep anxiety at $ay.



p Moving

e you $egin the test, 5eep moving. I+ you (or*

(ly in an atte"pt to "a*e +e(er "ista*es, your

d (ill $e#o"e $ored and $egin to (ander. )ouDll

up "a*ing +ar "ore "ista*es i+ youDre not #on!

trating. Borse, i+ you ta*e too long to ans(er Fues!

s that stu"p you, you "ay end up running out o+

e $e+ore you ?nish.

&o donDt stop +or di+?#ult Fuestions. &*ip the""ove on. )ou #an #o"e $a#* to the" later i+ you

e ti"e. A Fuestion that ta*es you ?ve se#onds to

(er #ounts as "u#h as one that ta*es you several

utes, so pi#* up the easy points ?rst. esides,

(ering the easier Fuestions ?rst helps $uild your

?den#e and gets you in the testing groove. Bho

(s As you go through the test, you "ay even

"!

a#ross so"e relevant in+or"ation to help you

(er those tough Fuestions.

t Rush

p "oving, $ut don$t rus. 9hin* o+ your "ind as

a seesa(. ;n one side is your e"otional energyK

other side, your intelle#tual energy. Bhen your e

tional energy is high, your intelle#tual #apa#ity is

e"e"$er ho( di+?#ult it is to reason (ith so"e

(hen youDre angry ;n the other hand, (hen you

intelle#tual energy is high, your e"otional energy

lo(. ushing raises your e"otional energy and re

your intelle#tual #apa#ity. e"e"$er the last ti"

(ere late +or (or* All that rushing around pro$a

#aused you to +orget i"portant things/li*e your

lun#h. >ove Fui#*ly to *eep your "ind +ro" (an

ing, $ut donDt rush and get yoursel+ Pustered.

Check Yourself

Che#* yoursel+ at the hal+(ay "ar*. I+ youDre a li

ahead, you *no( youDre on tra#* and "ay even h

little ti"e le+t to #he#* your (or*. I+ youDre a little

$ehind, you have several #hoi#es. )ou #an pi#* u

pa#e a little, $ut do this only i+ you #an do it #o"

a$ly. e"e"$er/don$t rusG )ou #an also s*ip

aroundin the re"aining portion o+ the test to pi#* up as

easy points as possi$le. 9his strategy has one dr

172




$a#*, ho(ever. I+ you are "ar*ing a $u$$le!styleans(er sheet, and you put the right ans(ers in the

(rong $u$$les/theyDre (rong. &o pay #lose

attentionto the Fuestion nu"$ers i+ you de#ide to do this.

Avoiding Errors

Bhen you ta*e the test, you (ant to "a*e as +e(errorsas possi$le in the Fuestions you ans(er. <ere are a

+e(

ta#ti#s to *eep in "ind.

Control Yourself

e"e"$er that #o"parison $et(een your "ind and

a

seesa( Qeeping your e"otional energy lo( and

your

intelle#tual energy high is the $est (ay to avoid

"is!

ta*es. I+ you +eel stressed or (orried, stop +or a +e(

se#onds. A#*no(ledge the +eeling 7<""" ID"

+eelinga little pressure here8, ta*e a +e( deep $reaths, and

send

yoursel+ a +e( positive "essages. 9his relieves

your

Choosing the Right Answers by

Process of Elimination

>a*e sure you understand (hat the Fuestion

as*ing.

I+ youDre not sure o+ (hatDs $eing as*ed, youDlnever

*no( (hether youDve #hosen the right ans(e

deter"ine (hat the Fuestion is as*ing. I+ the

ans(er

isnDt readily apparent, loo* +or #lues in the an

#hoi#es. 'oti#e the si"ilarities and dieren#e

the

ans(er #hoi#es. &o"eti"es, this helps to put

Fues!

tion in a ne( perspe#tive, "a*ing it easier toans(er.

I+ youDre still not sure o+ the ans(er, use the

pro#ess o+

eli"ination. :irst, eli"inate any ans(er #hoi#e

are o$viously (rong. 9hen, reason your (ay

through

the re"aining #hoi#es. )ou "ay $e a$le to us

relevant

in+or"ation +ro" other parts o+ the test. I+ you

eli"inate any o+ the ans(er #hoi#es, you "ig$etter o to s*ip the Fuestion and #o"e $a#*

later. I+ you #anDt eli"inate any ans(er #hoi#e

i"prove your odds (hen you return, "a*e a g

and "ove on.

e"otional anxiety and $oosts your intelle#tual #apa#ity.

If You’re Penalized for Wrong

Directions

In "any standardied testing situations, a pro#tor

reads

the instru#tions aloud. >a*e #ertain youunderstand

(hat is expe#ted. I+ you donDt, as5 . Listen #are+ully

+or

instru#tions a$out ho( to ans(er the Fuestions and

"a*e #ertain you *no( ho( "u#h ti"e you have

to

#o"plete the tas*. Brite the ti"e on your test i+

you

donDt already *no( ho( long you have to ta*e the

test.I+ you "iss this vital in+or"ation, as5 for it. )ou

need

it to do (ell on your test.

Answers 9his "ay see" li*e a silly (arning, $u

i"portant.

la#e your ans(ers in the right $lan*

the #orre!

sponding ovals on the ans(er sheet.

ans(ers in

the (rong pla#e earn no points/you

even lose

points. ItDs a good idea to #he#* every

ten Fues!tions to "a*e sure youDre in the right



9hat (ay,

you (onDt need "u#h ti"e to #orre#t your ans(er

sheet

i+ you have "ade an error.

Answers

)ou must 5no (hether thereDs a penalty +o

(rong

ans(ers $e+ore you $egin the test. I+ you don

the

pro#tor $e+ore the test $egins. Bhether you "

guess depends on the penalty. &o"e standard

tests

are s#ored in su#h a (ay that every (rong an

redu#es your s#ore $y one!+ourth or one!hal+

point. Bhatever the penalty, i+ you #an eli"in

enough #hoi#es to "a*e the odds o+ ans(erin

Fuestion $etter than the penalty +or getting it

(rong,

"a*e a guess.

LetDs i"agine you are ta*ing a test in (hi

ea#h

ans(er has +our #hoi#es and you are penalie

+ourth o+ a point +or ea#h (rong ans(er. I+ you

no

#lue and #annot eli"inate any o+ the ans(er#hoi#es,

youDre $etter o leaving the Fuestion $lan*

$e#ause

the odds o+ ans(ering #orre#tly are one in +ou

"a*es the penalty and the odds eFual. <o(ev

you

#an eli"inate one o+ the #hoi#es, the odds are

in

your +avor. )ou have a one in three #han#e o+

ans(ering

173




the Fuestion #orre#tly. :ortunately, +e( tests ares#oredusing su#h ela$orate "eans, $ut i+ your test is one

o+

the", *no( the penalties and #al#ulate your odds$e+ore you ta*e a guess on a Fuestion.

If You Finish Early

%se any ti"e you have le+t at the end o+ the test or

test

se#tion to #he#* your (or*. :irst, "a*e #ertain

youDve

put the ans(ers in the right pla#es. As youDre

doing

this, "a*e sure youDve ans(ered ea#h Fuestiononly

on#e. >ost standardied tests are s#ored in su#h a

(ay

that Fuestions (ith "ore than one ans(er are

"ar*ed

(rong. I+ youDve erased an ans(er, "a*e sure

youDve

done a good Jo$. Che#* +or stray "ar*s on your

ans(er

A+ter youDve #he#*ed +or these o$vious errorta*e a se#ond loo* at the "ore diV#ult Fuestions

)ouDve pro$a$ly heard the +ol* (isdo" a$out nev

#hanging an ans(er. ItDs not al(ays good advi#e

have a good reason +or thin*ing a response is (r#hange it.

After the Test

;n#e youDve ?nished, congratulate yourself )ou(or*ed hard to prepareK no( itDs ti"e to enJoy yo

and relax. e"e"$er that #ele$ration you plann

$e+ore the test =o to it

sheet that #ould distort your s#ore.



174



A P P E N D I X

# Additionalesour#es

eading is li*e exer#ise- I+ you donDt *eep doing it, youDll get out o+ shape. Li*e "us#that gro(stronger and $igger (ith ea#h repetition, your reading s*ills gro( stronger and stronger (

every!

thing you read. ut i+ you stop (or*ing out, your reading #o"prehension "us#les (ill

deteriorate,

and you "ay ?nd yoursel+ struggling (ith "aterial you #ould have easily understood several

"onths ago.

&o donDt stop no( )ouDve really Just $egun. eading #o"prehension is a s*ill to $uild throughout (hole

li+eti"e.

Tips for Continuing to Improve Your Reading

9he +ollo(ing are so"e (ays you #an #ontinue to strengthen your reading #o"prehension s

I eadG ead anything/$oo*s, ne(spapers, "againes, novels, poe"s. 9he "ore you read,$etter. &etyoursel+ a reading goal- one $oo* a "onth, t(o $oo*s (hile youDre on va#ation, a hal+ hour o+ readin



t $e+ore

9hereDs a

o+

suggested $oo*s at the end o+ this se#tionK try so"e.

175

R



–APPENDIX B: ADDITIONAL RESOURCES–

I

I

I

I

6iscover ne autors. Che#* out the $est!seller

list and try the $oo*s on that list. I+ itDs a

$est!

seller, itDs pro$a$ly a $oo* that appeals to a(ide

variety o+ readers, and #han#es are, youDll li*e it.

*pend time in boo5stores and libraries.

9here are

$ound to $e $oo*s and authors out there that

appeal to so"e o+ your interests. onDt $e a+raid

to

as* a salesperson or li$rarian to help you-

es#ri$e

your interests and your pre+eren#es in style, andhe

or she #an help you ?nd $oo*s youDll enJoy

reading.

Hoin a reading group. >ost #ities and to(ns

have a

#lu$ that "eets every t(o (ee*s or ea#h "onth

to

dis#uss a sele#ted $oo*. In these groups, youDll

$e

a$le to dis#uss your ideas and Fuestions (ith a

group o+ +riends and asso#iates in an in+or"al

set!

ting. I+ your area doesnDt have a reading group,

start your o(n. )ou and your +riends #an

ta*e

turns #hoosing (hi#h $oo* youDll read and

dis#uss.

evie tis boo5 periodicall! to refres

!ourself

about te basics. 9ry so"e o+ the s*ill

$uildingexer#ises at the end o+ ea#h lesson on a regular

$asis.

Suggested Reading List

Coming of Age

4atcher in the &ye $y O.. &alinger

2reat >=pectations $y Charles i#*ens

Little !omen $y Louisa >ay Al#ott

Peace Like a &iver $y Lei+ Engler

Historical/Social Issues

;ne 0lew ;ver the 4uckoo’s Jest $y Qen Qes

Pride and PreAudice $y Oane Austen

&aisin in the +un $y Lorraine <ans$erry

%he .luest >ye $y 9oni >orrison

%he 2rapes of !rath $y Oohn &tein$e#*

Inspirational/Spiritual

6wake -y +oul8 +pirituality for .usy People 9i"othy Q. Oones

Da @inci 4ode $y an ro(n

+imple Path $y >other 9heresa

%he 0ive People ?ou -eet in Heaven $y >it#

Al$o"

%he Prayer of 3abe58 .reaking %hrough to the

.lessed Life $y ru#e Bil*inson

%he Purpose*Drive Life8 !hat on >arth 6m /

Here 0or $y i#* Barren

Mystery/Thriller

<nd 4hance $y Oa"es atterson

;n the +ollo(ing pages is a list o+ great reads.

9hese

suggestions is Just the tip o+ the i#e$erg It is

$ro*en

do(n into dierent su$Je#ts, so try reading so"e o+ the$oo*s in the #ategories that interest you.

6merican Psycho $y ret Easton Ellis

;n the +treet !here ?ou Live $y >ary <iggin

Clar*

+tate of 0ear $y >i#hael Cri#hton



%he 2odfather $y >ario uo

Autobiography

6 -oveable 0east $y Ernest

<e"ing(ay

/ Mnow !hy the 4aged .ird +ings $y >aya

Angelou

-y Life $y ill Clinton

Jarrative of the Life of 0rederick Douglass,

an

6merican +lave $y :rederi#*

ouglass

Jight $y Elie Biesel

%he +tory of -y Life $y <elen Qeller

Poetry

4ollected Poems of Langston Hughes $y Lan

<ughes

%he 4ollected Poems of >mily Dickinson $y

E"ily i#*inson

%he +onnets $y Billia" &ha*espeare

%he @intage .ook of 4ontemporary 6merican

Poetry $y O.. >#Clat#hy

!alt !hitman8 Poetry and Prose $y Balt

Bhit"an

176



–APPENDIX B: ADDITIONAL RESOURCES–

Science Fiction/Fantasy

.rave Jew !orld $y Aldous <uxley

0rankenstein $y >ary &helley

Harry Potter 7series8 $y O.Q. o(ling

Lord of the &ings 7trilogy8 $y O... 9ol*ien

+trange 4ase of Dr 3ekyll and -r Hyde

$y

o$ert Louis &tevenson

Short Stories

Demonology8 +tories $y i#* >oody

Drinking 4oee >lsewhere $y W.W.

a#*er

>verything’s >ventual8 1 Dark %ales $y&tephen

Qing

%he 4omplete %ales and Poems of >dgar 6llan

Science/Health

.ioterrorism and Public Health $y Oohn =.

artlett

.lack Death8 6/D+ in 6frica $y &usan <un

.lood >vidence $y <enry C. Lee4ognitive Jeuroscience8 %he .iology of th

-ind

$y >i#hael &. =aaniga

War

6l*Naeda8 4asting a +hadow of %error $y

ur*e

.lack Hawk Down8 6 +tory of -odern !ar

>ar* o(den

.orn on the 0ourth of 3uly $y on Qovi#

Poe $y Edgar Allan oe



177

Buku Reading Comprehension Success In20minute

Documents

Transcript of Buku Reading Comprehension Success In20minute