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GLOBAL This is a special edition of an established title widely used by colleges and
universities throughout the world. Pearson published this exclusive edition
GLOBAL
EDITION for the benefit of students outside the United States and Canada. If you EDITION
EDITION
GLOBAL
purchased this book within the United States or Canada, you should be aware
that it has been imported without the approval of the Publisher or Author.
FOURTEENTH
a student as she reads, responds to, and writes about The Country of the
Pointed Firs, a novel by Sarah Orne Jewett.
EDITION
• Throughout the handbook, hundreds of new and revised examples
and exercises clarify grammar rules, highlight common errors, and test
important concepts.
Greer
Aaron
Fowler
Handbook
Fourteenth Edition
Global Edition
H. Ramsey Fowler
St. Edward’s University
Jane E. Aaron
Michael Greer
University of Arkansas at Little Rock
Harlow, England • London • New York • Boston • San Francisco • Toronto • Sydney • Dubai • Singapore • Hong Kong
Tokyo • Seoul • Taipei • New Delhi • Cape Town • São Paulo • Mexico City • Madrid • Amsterdam • Munich • Paris • Milan
The rights of H. Ramsey Fowler, Jane E. Aaron, and Michael Greer to be identified as
the authors of this work have been asserted by them in accordance with the
Copyright, Designs and Patents Act 1988.
Authorized adaptation from the United States edition, entitled The Little, Brown
Handbook, 14th Edition, ISBN 978-0-134-75972-2 by H. Ramsey Fowler, Jane E.
Aaron, and Michael Greer, published by Pearson Education © 2019.
All rights reserved. No part of this publication may be reproduced, stored in a
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EC1N 8TS. For information regarding permissions, request forms, and the
appropriate contacts within the Pearson Education Global Rights and Permissions
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affiliation with or endorsement of this book by such owners.
This eBook is a standalone product and may or may not include all assets that were
part of the print version. It also does not provide access to other Pearson digital
products like Revel. The publisher reserves the right to remove any material in this
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British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
ISBN 10: 1-292-44119-4
ISBN 13: 978-1-292-44119-1
eBook ISBN 13: 978-1-292-44123-8
Supplements
Make more time for your students with instructor resources that offer
effective learning assessments and classroom engagement. Pearson’s
partnership with educators does not end with the delivery of course
materials; Pearson is there with you on the first day of class and
beyond. A dedicated team of local Pearson representatives will work
with you to not only choose course materials but also integrate them
into your class and assess their effectiveness. Our goal is your goal—
to improve instruction with each semester.
Pearson is pleased to offer the following resources to qualified
adopters of The Little, Brown Handbook. These supplements are
available to download from the Instructor Resource Center (IRC);
please visit the IRC at www.pearsonglobaleditions.com to register
for access.
• Instructor’s Resource Manual Create a comprehensive roadmap
for teaching classroom, online, or hybrid courses. Designed
for new and experienced instructors, the Instructor’s Resource
Manual includes learning objectives, lecture and discussion
suggestions, activities for in or out of class, research activities,
participation activities, and suggested readings, series, and
films.
Acknowledgments
Instructors around the country have provided valuable feedback and
suggestions. For the 14th edition, many thanks to the following for
their time and insight: Keith Huneycutt, Florida Southern College;
Beth Bradford, Florida Southern College; Anita Nordbrock, Embry
Riddle Aeronautical University; Jeneen Surrency, Florida A&M Uni-
versity; Tom Perrin, Huntingdon College; David Kaloustian, Bowie
State University; Robin Gunther, Huntingdon College; and Karoline
Szatek, Curry College.
My first and most important debt of gratitude is to Jane E.
Aaron, whose work through many editions of this handbook leaves
me with some very large shoes to fill. I can only hope to carry on her
legacy of quality, accuracy, and usefulness. Having pored over every
page of this handbook many times now, I continue to be awed by its
gentle, guiding awareness of the needs of student writers.
Karon Bowers at Pearson and Carolyn Merrill and Aron Kees-
bury at Ohlinger Publishing Services have guided the project
throughout this revision cycle. Cynthia Cox, Rachel Harbour, and
Stephanie Laird at Ohlinger have been there every step and every
page of the way through the editorial and production processes,
working on four books (two print, two digital) at the same time.
Susan McIntyre has been an incredible copy editor, helping to make
sure that the new material is seamlessly woven into the text and
smoothing out many awkward sentences. Heather Tolliver at the
University of Arkansas at Little Rock contributed a number of exam-
ples and sources as an adept research assistant. David Kear has been
a wonderful contributor of ideas, energy, clarity, and creativity as
development editor, keeping both sanity and humor intact through a
long and challenging publishing journey.
The Process of
Writing
1 Assessing the Writing Situation
2 Discovering and Shaping Ideas
3 Drafting, Revising, and Editing
4 Writing and Revising Paragraphs
5 Presenting Writing
11
Drafting
1.1
1.2
Revising
Purpose Subject
Genre and
medium
• Why are you writing? What do you need to achieve in your writ-
ing? Are you writing to fulfill an assignment, to express yourself,
to provide information, to argue a case, or to propose a solution? dev
• What do you want your work to accomplish? What effect do you 1.2
intend it to have on readers?
Subject
• What does your writing assignment require you to write about? If
you don’t have a specific assignment, what subjects might be
appropriate for the situation?
• What interests you about the subject? What do you already know
about it? What questions do you have about it?
• What kinds of evidence will best suit your subject, purpose, audi-
ence, and genre? What combination of facts, examples, and
expert opinions will support your ideas?
• Does your assignment require research? Will you need to consult
sources or conduct interviews, surveys, or experiments?
• Even if research is not required, what information do you need to
develop your subject? How will you obtain it?
1.3 Audience
1.3 Define and analyze your audience.
Your audience will often be specified or implied in a writing assign-
ment. When you write an editorial for the student newspaper, your
audience consists of other students at your school. When you write
a report on a physics experiment, your audience consists of your
physics instructor and perhaps your classmates. Considering the
needs and expectations of your readers can help you form or focus
a question about your subject, gather answers to the question, and
ultimately decide what to say and how to say it.
To management
In my four months here, I have observed that all Voice: a subordinate who is
thoughtful, responsible, and
of us throw out baskets of potentially recyclable serious
paper every day. Considering the drain on our Information: specific rea-
forest resources and the pressure on landfills that sons; view of company as a
paper causes, we could make a valuable contri- whole; reference to another
company; problem of cost
bution to the environmental movement by help-
Role: employee
ing to recycle the paper we use. At the company
where I worked before, employees separate clean Tone: formal, serious
(Considering the drain; forest
wastepaper from other trash at their desks. The resources; valuable contribu-
maintenance staff collects trash in two receptacles, tion; no you)
and the trash hauler (the same one we use here)
makes separate pickups. I do not know what the
hauler charges for handling recyclable material. . . .
Exercise 1.4 C
onsidering your past work: Writing
for a specific audience
How did audience figure in a piece of writing you’ve done in the recent
past—perhaps an essay for an application or a paper for a course? Who
were your readers? How did your awareness of them influence your
voice? At what point in the writing process did you find it most produc-
tive to consider your readers consciously?
1.4 Purpose
1.4 Define your purpose.
When you write, your purpose is your chief reason for communicating
something about a topic to a particular audience. Purpose connects
the specific situation in which you are working to the goal you hope to
achieve. It is your answer to a potential reader’s question, “So what?”
Don’t worry if you feel uncertain of your purpose at the start. Some-
times you may not discover your purpose until you begin drafting,
or you may find that your initial sense of purpose changes as you dev
move through the writing process. 1.5
Exercise 1.7 C
onsidering your past work: Defining
a purpose
Look over two or three things you’ve written in the past year or so. What
was your specific purpose in each one? How did the purpose influence
your writing? Did you achieve your purpose?
1.5 Subject
1.5 Choose and narrow a subject.
For most college writing, you will write in response to an assign-
ment. The assignment may specify your subject, or it may leave the
choice to you. Whether the subject is assigned or not, it will prob-
ably need thought if it is to achieve these aims:
• The subject should be suitable for the assignment.
• It should be neither too general nor too limited for the length of
the project and the deadline assigned.
• It should be something that interests you and that you are willing to
learn more about.
your specific interests, before you hit on the best question. And the
question you select may require further narrowing or may shift sub-
dev tly or even dramatically as you move through the writing process.
1.6
Exercise 1.10 C
onsidering your past work: Choosing
and narrowing a subject
Think of something you’ve recently written—perhaps an application
essay, a business report, or a term paper. How did your subject evolve
from beginning to end? In retrospect, was it appropriate for your writ-
ing situation? How, if at all, might it have been modified?
Exercise 1.11 C
hoosing and narrowing a subject
for your essay
As the first step in developing a three- to four-page essay for the instruc-
tor and the other students in your writing course, choose a subject and
narrow it. Use the guidelines in the previous section to come up with a
question that is suitably interesting, appropriate, and specific.
writing situations often call for genres like reports, memos, and
proposals.
A genre is the conventional form that writing takes in a cer- dev
tain context. In academic writing, genre conventions help to further 1.6
the aims of the disciplines; for instance, the features of a lab report
emphasize the procedures, results, and conclusion that are impor-
tant in scientific investigation. The conventions also help to improve
communication because the writer knows what readers expect and
readers can predict what they will encounter in the writing. Sup-
pose your instructor assigns an argument essay and asks classmates
to read one another’s drafts. As you approach one paper titled “Ani-
mal Rights,” you expect the essay to contain the conventional ele-
ments of argument: an introduction, a main claim or thesis about
animal rights, paragraphs that develop that claim with evidence,
and a conclusion. When the draft meets your expectations in these
respects, you can settle into its substance. However, if instead of an
argument you find a funny narrative about the writer’s dog, your
thwarted expectations will throw off your response. Searching for
the argument, you might even miss the humor in the story.
When you receive a writing assignment, be sure to understand
any requirements relating to genre:
• Is a specific genre being assigned? An assignment that asks you
to write an analysis, an argument, or a report has specified the
genre for you to use. In contrast, an assignment that asks you
to write for the purpose of recruiting new members to a club
leaves the choice of genre up to you—perhaps a flyer to post on
campus, a brochure to hand out in the cafeteria, an e-mail mes-
sage, or a Facebook post.
• What are the conventions of the genre? Your instructor and/or
your textbook will probably outline the requirements for you.
You can also learn about a genre by reading samples of it.
• What flexibility do you have? Within their conventions, most
genres still allow room for your own approach and voice. Again,
reading samples will show you much about your options.
Closely related to genre is the concept of medium. Medium
refers to the technology or platform you might use to present a spe-
cific genre. For example, a proposal (genre) might be presented in
the form of a written essay, a slide presentation, or an online video.
Your choice of medium should be determined by the needs of the
audience and by the other elements in the writing situation.
• Is a medium being assigned? Sometimes an assignment will
specify that you deliver a project in a medium. You may be
asked, for example, to deliver a proposal in the medium of a
slide presentation.
• What does your audience expect? If your audience expects a for-
mal written report, you may not want to deliver your project in
Exercise 1.13 C
onsidering your past work:
Analyzing genre
Look over two or three things you’ve recently written, such as an appli-
cation essay, a report, an essay for class, or a letter of complaint. Can
you identify the genre of each piece? How does what you wrote meet
your readers’ expectations for the genre? How does your writing change
from one genre to another?
Exercise 1.14 D
etermining the medium for
your project
Exercise 1.2 includes an assignment for an informative report with three
options for the choice of medium (memo report, slide presentation,
or infographic). Use your thinking so far about the audience, purpose,
and subject of your report to make a decision about which medium you
would choose. Why did you make that choice? What expectations do
readers have for a project in that medium?
2.1 Invention
2.1 Use invention strategies to discover ideas.
Many college writing projects ask you to address a significant ques-
tion related to your subject. For some projects, you may have little
difficulty finding something substantial to say. But when you’re
stuck for ideas, you’ll have to get your mind working to coax out
serious and interesting thoughts.
The following pages describe strategies for discovering ideas.
These methods are to be selected from, not followed in sequence:
some may help you during early stages of the writing process, even
before you’re sure of your topic; others may help you later on; and
one or two may not help at all. Give yourself ample time with the
strategies, experimenting to discover which ones work best for you.
Whatever discovery techniques you use, do your work in writ-
ing, not just in your head. Your work will then be retrievable, and
the act of writing will help you concentrate and lead you to fresh,
sometimes surprising, insights.
Drafting Revising
27
2.1.1 Reading
Many assignments require you to respond to reading or to con-
sult texts as sources for your writing. But even when reading is not
required, it can help you locate or develop a subject by introducing
you to new ideas or by expanding on what you already know.
For example, say you were writing in favor of amateur athlet-
ics, a subject to which you had given a lot of thought. You might
be inclined to proceed entirely on your own, drawing on facts,
examples, and opinions already in your head. But a little digging in
sources might suggest new ideas. For instance, an article in Sports
Illustrated could explain recent lawsuits about payment of college
athletes, or a comment on a blog could suggest an argument in
favor of amateurism that hadn’t occurred to you. Remember: when-
ever you use the information or ideas of others in your writing, you
must acknowledge your sources in order to avoid the serious offense
of plagiarism.
Often you will be given an assignment that asks you to use a text
or texts in your writing. In a composition course, Erica Vela’s instruc-
tor distributed “Is Google Making Us Stupid?” in which Nicholas Carr
analyzes the effects of the Internet on reading and the human mind.
The instructor’s assignment calls for a response to reading.
Instructor’s assignment
Nicholas Carr poses a question: “Is Google Making Us Stupid?” Carr
argues that the Internet is changing the way we read and process infor- dev
mation. He describes his own experience as a reader using a colorful
metaphor: “Once I was a scuba diver in the sea of words. Now I zip along
2.1
the surface like a guy on a Jet Ski.” The Internet, in short, is turning us
into superficial readers who lack the capacity for sustained, deep engage-
ment. As a college student, how do you respond to Carr’s argument?
How does the Internet affect the way you read? How does the Internet
also affect your learning process and your interactions with other people?
When you read for ideas, you need to be active, probing the text
and illustrations with your mind, nurturing any sparks they ignite.
Always write while you read, taking notes on content and—just as
important—on what the content makes you think.
Advantages of a journal
When you write in a journal, you are writing to yourself. That means
you don’t have to worry about main ideas, organization, correct
Uses of a journal
The writing you produce in your journal will help you learn and
grow. Even the personal and seemingly nonacademic entries can
supply ideas when you are seeking a subject to write about or you
are developing an essay.
In 2.1.1, you read Erica Vela’s journal response to an essay. The
next two student samples give a taste of journal writing for different
purposes. In the first, Chris Eller tries to work out a personal prob-
lem about communication with his spouse.
Student’s journal entry
It seems like Elizabeth and I fight all the time. Marriage is more difficult than I
expected. We argue about everything—money, housework, our extended fami-
lies. We even argue about breakfast cereal. I don’t doubt our relationship; we’ve
just lost the ability to communicate with each other. How do we stop arguing and
start talking again?
2.1.4 Freewriting
Writing into a subject
Many writers find subjects or discover ideas by freewriting: writing
without stopping for a certain amount of time (five or ten minutes) or
to a certain length (one page). The goal of freewriting is to generate
ideas and information from within yourself by going around the self-
critical part of your mind. The physical act of freewriting may give
you access to ideas you were unaware of. You let words themselves
suggest other words. What you write is not important; that you keep
writing is. Don’t stop, even if that means repeating the same words
until new words come. Don’t go back to reread, don’t censor ideas that
seem off-track or repetitious, and above all don’t stop to edit: gram-
mar, punctuation, vocabulary, and spelling are irrelevant at this stage.
If you can dim your screen, try invisible writing to keep moving
forward while freewriting. As you type on a dark screen, the computer
will record what you type but keep it from you and thus prevent you
from tinkering with your prose. Invisible writing may feel uncomfort-
able at first, but it can free your mind and allow very creative results.
Focused freewriting
Focused freewriting is more concentrated: you start with your ques-
tion about your subject and answer it without stopping for, say, fif-
teen minutes or one full page. As in all freewriting, you push to bypass
mental blocks and self-consciousness, not debating what to say or
editing what you’ve written. With focused freewriting, though, you let
the physical act of writing take you into and around your subject.
An example of focused freewriting can be found in Erica Vela’s
journal response to Nicholas Carr’s “Is Google Making Us Stupid?”
(2.1.1). Because she already had an idea about Carr’s essay, Vela was
able to start there and expand on the idea.
2.1.5 Brainstorming
In brainstorming, you focus intently on your subject for a fixed
amount of time (ten or fifteen minutes), pushing yourself to list
every idea and detail that comes to mind. Like freewriting, brain-
storming requires turning off your internal editor so that you keep
moving ahead instead of going back over what you have already
When you have exhausted your ideas on a topic, you can edit and
shape the list into a preliminary outline of your paper.
Money in college
sports
TV networks Voice?
Advertisers Input
Alumni groups Who profits? Students Build awareness
dev
Exercise 2.1 C
onsidering your past work: Discovering
ideas
2.2 In the past how have you generated ideas for writing? Have you used
any of the techniques described above? Have you found the process
especially enjoyable or difficult? If some writing tasks were easier than
others, what do you think made the difference?
Exercise 2.3 U
sing freewriting, brainstorming,
or mind mapping
If you haven’t tried any of them before, experiment with freewrit-
ing, brainstorming, or mind mapping. Continue with the subject you
selected in Exercise 1.11, or begin with a new subject. Write or map for
at least ten minutes without stopping to reread and edit. When you fin-
ish your experiment, examine what you have written for ideas and rela-
tionships that could help you develop the subject. What do you think of
the technique you tried? Did you have any difficulties with it? Did it help
you loosen up and generate ideas?
2.2 Thesis
2.2 Develop a thesis.
Your readers will expect your essay to be focused on a central idea,
or thesis, to which all the essay’s paragraphs, all its general state-
ments and specific information, relate. The thesis is the controlling
idea, the main point, the conclusion you draw from your evidence.
In answering your question about your subject, the thesis is the
intellectual position you are taking. dev
Often the thesis is expressed in a one- or two-sentence thesis 2.2
statement toward the beginning of an essay. As an expression of the
thesis, the thesis statement serves five important functions.
Then Vela reread Carr’s essay to clarify the disagreement she first
expressed in her journal writing and to begin applying this response
to her own experiences as an online reader and student. The result
was a single question that would guide her thinking:
How does my positive educational experience counter Carr’s argument that the
Internet is negatively changing the way that we process information?
Mies päätti:
Mies virkkoi:
Tähdet lentelevät.
Klaara vaikeni. Mies nyt kääntyi häneen päin ja istui niin lähellä,
että Klaara selvästi huomasi silmien ilmeen.
— Minä olen hyvin itsekäs. Jos uskoisin, että lentävä tähti voisi
täyttää ihmisten toivomukset, niin aina rukoilisin siltä tuota samaa
asiata: että isäni tulisi terveeksi, että lapset lukisivat ahkerasti ja että
heistä tulisi hyviä ihmisiä.
Przyjemski vastasi:
— Äidin kuoltua — hänen oli tapa soitella isälle iltaisin — vain pari
kolme kertaa tuttavien luona.
— Onko tuo mahdollista? huudahti Przyjemski. — Neljään vuoteen
kuullut soittoa ainoastaan pari, kolme kertaa! Kuinka voitte elää
ilman musiikkia?
Klaara myhäili.
Mitä oikeastaan oli tapahtunut? Voi kuinka hän oli onnellinen. Hän
ei koskaan ennen ollut aavistanut, että sydän kykeni sellaista
autuutta tuntemaan… Minä ja ystäväni soitamme Teille…» He olivat
kauvan soittaneet ja he olivat kauvan kuunnelleet. Mikä yö! Ja
hänelle olivat soittaneet — — — hänelle. Ei koskaan ennen ollut
kukaan hänelle soittanut! — — — Przyjemski oli hänelle soittanut!
Voi kuinka hän oli hyvä!
— Tarpeeksi!
Sitten Klaara ajattelisi, mitä hänen oli tehtävä, nyt oli kori
mahdollisimman pian piilotettava, ettei kukaan sitä näkisi. Klaara
pisti sen kiireessä ruokakaappiin ja avaimen taskuunsa. Olipa onni,
että kaikki vielä nukkuivat. Nyt piti hänen herättää Frania ja kiiruhtaa
torille —
Tuntien kuluessa, jotka nyt seurasi, tunsi hän itsensä milloin täysin
tyyneksi ja välinpitämättömäksi, milloin niin syvästi suruiseksi, että
tuskin saattoi kyyneliään pidättää. Hän päätti ottaa hedelmäkorin
mukaansa lehtimajaan ja pyytää, että Przyjemski, jos hän sattuisi
tulemaan, lähettäisi jonkun sitä noutamaan. Toisinaan hän tunsi
olevansa aivan varma siitä, että mies tulisi, toisinaan taas hän sitä
epäili. Jollei hän tulisi, asettaisi Klaara korin aitauksen toiselle
puolelle. Siellä Przyjemski tai joku muu sen huomaisi ja niin asia oli
lopussa. Varmaankin mies loukkautuisi eikä tahtoisi Klaaraa enää
tavata ja sitte, sitte olisi kaikki lopussa. Oli hetkiä, jolloin Klaara ei
tuntenut vähintäkään tuskaa tätä ajatellessaan. Jos Przyjemski luuli,
että Klaara piti hänen seurastaan lahjojen tähden, niin oli paljo
parempi, ettei ollenkaan lähestynyt. Asiat jälleen muuttuisivat
ennalleen, sellaisiksi kuin ne olivat kolme päivää sitten, jolloin Klaara
ei häntä vielä tuntenut.
Eihän siitä ollut mitään vahinkoa hänen isälleen eikä Franialle eikä
Stasille tahi kelle hyvänsä maailmassa. Mistä hän siis olisi
suutuksissaan? Ja mitä se häntä oikeastaan liikutti?
— Sellaista täytyy tehdä, sillä jos ei niin tekisi, näyttäisi siltä kuin
ystäviään pitäisi vieraina!
Wygrycz virnisti.
Ja sitte vieraalle:
— Minun isäni…
Asian laita oli sellainen, että Przyjemski oli alkanut tehdä vanhalle
kanslistille muutamia kysymyksiä siitä kaupungista, missä tässä oli
ikänsä elänyt, ja tällä tavoin kosketellut ainetta, josta Wygrycz oli
huvitettu. Kanslisti laajasti selitteli kaupungin väestöä, sen
yhteiskuntakerroksia ja taloudellista asemaa.