CLASSICS AND COMPOSITION I

FRESHMAN WRITING HANDBOOK 2018-19

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TABLE OF CONTENTS

Essay Do’s and Don’ts 3

Academic Tone 4

Ingredient List for Claims, Data, and Warrants 5

Claim Data Warrant -- A Couple of Good Sample Paragraphs 6

Effective Claim/Data/Warrant Sentences (CDW Breakdown) 7 – 8

Arguable Claims 9

Embedding/Framing Quotes 10 – 11

In-text Citations for Poetry 12

How to Make Your Warrant Analytical 12 – 13

Transitions 13

Good Thesis Statements 14

Intros and Conclusions 15

Making Annotations: A User’s Guide 16

Literary Devices 17

Transition Words 18 – 19

MLA Style Citations (8th ed.) 20 – 24

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Essay Do’s and Don’ts

1. Be specific with the text whenever possible – avoid using the words “it”, ‘things”, “people”, “stuff”, etc.

2. In your warrant, delete “This quote shows that” or “This explains that”….the rest of your sentence will explain your analysis.

3. Be specific with names of characters – do not use ambiguous pronouns.

4. Do not ask questions in your essay.

5. Use apostrophes to show possession.

6. Do not make general statements about society: “In today’s society, people say that…”

7. Make sure to put a space between your last name and page number in your header.

8. Use descriptive words – avoid using words such as “good”, “bad”, “sad”, “a lot”, etc.

9. Use the words “short story” instead of “book” when writing about a short story.

10. Spell the author’s and character’s names correctly.

11. Do not state an opinion: ”Normal people would not do this…”.

12. Introduce quote with plot summary instead of “It says…” or “He says…”

13. Do not compliment the author. Avoid phrases such as,” Hurst uses symbolism in an amazing way to show…”

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THE FOUR ELEMENTS OF ACADEMIC TONE

DO DO NOTUse formal language Use contractions (isn’t, can’t)Use present tense verbs

Use past tense verbs (was, did, went)

Use 3rd person pronouns

Use 1st or 2nd person pronouns (I, you, we, us) except in quotations

Use appropriate language

Use slang or colloquial phrases

Other Tips for Formal Writing Use full spelling of words - NO abbreviations (ex. Do not substitute “+” or “&” for the word and )

Use analytical/critical thinking – DO NOT summarize or paraphrase

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Ingredient List for the C/D/W Paragraph

A Good Claim

- Is arguable, because it states the literary theme.- States the literary device which supports the theme.- States the title and author.

A Good Datum (Data)

- Before getting to the quote, context is built, so that someone who has not read the story in three years will know exactly what part of the story the quote comes in.

- Incorporates a direct quote from the text which is embedded with proper MLA in-text citation rules.

- Uses a quote which is relevant to the claim, without the reader saying, “Okay, but it is really a stretch to make that quote fit.”

- Contains no unnecessary details. Basically, if you don’t intend to address a part of the quote in your warrant, you should trim that part out.

- Can be analyzed. If your quote is 1-4 random words taken out of context, it is probably not the type of thing you can analyze, because it is weak datum.

A Good Warrant

- Spends 0 to 1 sentences explaining what the quote says (hopefully, the context to your datum filled us in on most of that, and the quote is not overly confusing).

- Spends ~2 sentences explaining the significance/deeper meaning of the quote. This can look very different from one quote to the next. Again, do not let your reader have to ask, “So what? Why does that matter?” (All right, but do not say, “This matters because…” or “This is important because…” Find a better way to say it.)

- Explains the significance of the data and how it connects back to the paragraph’s claim.

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Claim Data Warrant -- A Couple of Good Sample Paragraphs

CLAIM--ARGUMENT: your statement of the theme [thesis] DATA--TEXT EVIDENCE: quotes, paraphrases from story and critical essay [cited as needed] WARRANTS—PROOF: analysis, explanations, connections that show the link between data and claim

[Note how each has a strong concluding sentence.]:

#1 “The Necklace” illustrates the shallowness of seeking happiness through material

possessions. Although Mathilde Loisel borrows the necklace in search of what she thinks will make her happy, in reality it accomplishes the opposite. The “shabby gentility and dreary routine” of Mathilde’s life is shattered when she is told the exciting news of her husband’s ball, which will make her lifelong dream of admiration a reality (Adamson 1). Her justified happiness at achieving her life dream is nonexistent, however, because of the clouds of sadness that cover her joy with fear of looking ridiculous. To be at peace with her appearance, Mathilde buys a dress and borrows “a superb diamond necklace” from her friend (Maupassant 821). The beauty she displays at the ball brings her great happiness, but after the necklace is lost, her superficial satisfaction is lost with it. With the huge debt of the necklace, the nice middle-class life Monsieur Loisel has built crumbles to the ground as he is forced to slide into poverty and work unrelentingly. Jason Pierce describes Mathilde’s greedy pilgrimage for happiness perfectly: “Madame Loisel is defined by what she lacks and what she is not rather than by what she has and is.” Madame Loisel’s journey towards happiness unnecessarily wastes ten years of both her and her husband’s life.

#2 “The Rocket Man” is an intensely dark story that speaks of man’s despair and desire for

self-destruction. Bradbury seems to suggest that man is a creature who can never be truly satisfied in life. The rocket man dies at the end, in what appears an accident, but his previous actions suggest that death is what he has most deeply desired all along. Granted, his life is full of passion; he has a deep love for both his family and his job. Even the things that he loves most deeply, however, are not enough to fulfill him, and what should be joy to him becomes torture. He knows that either earth alone or space alone would make him miserable. When his ship “accidentally” falls into the sun, it appears that has taken the only course of action that he thinks will quiet his turmoil: suicide. As one critic puts it, “he is caught between two worlds, unable to reconcile their opposing claims,” and so left with no alternative but death (Mogen). Despite his glamorous job, the “rocket man” is totally without hope and can find solace only in death. Bradbury’s story, likewise, seems to offer a bleak view of human nature.

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Effective Claim-Data-Warrant Sentences

A CDW Breakdown

The following examples of effective CLAIM sentences are based on the text “The Most Dangerous Game” by Richard Connell (1924):

BEST CLAIM: Richard Connell in his short story “The Most Dangerous Game” uses characterization to illustrate people’s descent into inhumanity occurs when they are forced, through extreme circumstances, into behaviors that are diametrically opposed to their own moral values.

BETTER CLAIM: Richard Connell, in his short story “The Most Dangerous Game” shows through characterization that people will do things they would not normally do because they are forced into it.

BAD CLAIM: Connell shows that people go against what they believe when things get tough.

______________________________________________________________________________

Using the best claim example above, the following are examples of bad/better/best DATA:

BEST DATA: Richard Connell in his short story “The Most Dangerous Game” uses characterization to illustrate people’s descent into inhumanity occurs when they are forced, through extreme circumstances, into behaviors that are diametrically opposed to their own moral values. Before the fated hunt begins, Rainsford’s character declares his high moral standard to his nemesis, Zaroff, “I am a hunter, not a murderer” (Connell 34).

BETTER DATA: Richard Connell in his short story “The Most Dangerous Game” uses characterization to illustrate people’s descent into inhumanity occurs when they are forced, through extreme circumstances, into behaviors that are diametrically opposed to their own moral values. Rainsford’s morals are shown when he says in the beginning of the story, “The world is made up of two classes – the hunters and the huntees. Luckily, you and I are hunters” (Connell 28).

BAD DATA: Richard Connell in his short story “The Most Dangerous Game” uses characterization to illustrate people’s descent into inhumanity occurs when they are forced, through extreme circumstances, into behaviors that are diametrically opposed to their own moral values. Rainsford says in the beginning of the story, “Where there are pistol shots, there are men. Where there are men, there is food” (Connell 30).

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Using the best claim/data example above, the following are examples of bad/better/best WARRANTS:

BEST WARRANT: Richard Connell in his short story “The Most Dangerous Game” uses characterization to illustrate people’s descent into inhumanity occurs when they are forced, through extreme circumstances, into behaviors that are diametrically opposed to their own moral values. Before the fated hunt begins, Rainsford declares his high moral standard to his nemesis, Zaroff, “I am a hunter, not a murderer” (Connell 34). Rainsford, at this junction in the story, firmly professes that the value of taking a man’s life is considered inhumane, murderous, and against his own moral, steadfast conviction. Rainsford also intimates that a being a hunter of animals is not only justifiable and acceptable, but that animals are the lesser species when compared to humans and are not to be given the same moral consideration with respect to killing. Yet as the extreme nature of the hunt progresses, Rainsford’s character transforms from that of an upright, moral citizen to become that which he despises: a murderer of humans, and a morally depraved, lesser “beast”.

Better Warrant: Richard Connell in his short story “The Most Dangerous Game” uses characterization to illustrate people’s descent into inhumanity occurs when they are forced, through extreme circumstances, into behaviors that are diametrically opposed to own moral values. Before the fated hunt begins, Rainsford declares his high moral standard to his nemesis, Zaroff, “I am a hunter, not a murderer” (Connell 34). In the beginning, Rainsford’s character believes killing people to be wrong; that is his moral and is something that he refuses to change. He also believes that killing animals is acceptable. Yet through the hunt, Rainsford’s character becomes what he despises - a beast.

Bad Warrant: Richard Connell in his short story “The Most Dangerous Game” uses characterization to illustrate people’s descent into inhumanity occurs when they are forced, through extreme circumstances, into behaviors that are diametrically opposed to their own moral values. Before the fated hunt begins, Rainsford declares his high moral standard to his nemesis, Zaroff, “I am a hunter, not a murderer” (Connell 34). This quote shows that Rainsford thinks killing is wrong.

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Arguable Claims

Thesis, just so the claims on this page have a purpose: In Homer’s Iliad, individuals hold minimal influence over their lives, implying that the greatness one earns is merely the product of a chaotic existence.

Arguable Claim

Hector’s decision to return to battle is not his own, but rather the outcome of a culture that offers him no alternative.

It focuses on an idea to think about rather than just an event from the story. It explains why (particularly in the second half of the sentence). Someone could technically disagree with it.

Not Arguable

Claim What goes wrongIn Book 6 of The Iliad, Hector returns to battle.

It just states what happens in the plot.

Hector returns to battle even though his wife, Andromache, begs him not to.

It is a little more specific, but this has the same basic problem as the one above.

There are many examples of people not controlling their lives in Book 6 of The Iliad.

It mentions a thematic idea, but it makes no attempt at being specific. We don’t want to hear about “many examples” of something for no interesting reason! (This writer probably will not address “many examples” anyway.)

One character who has a limited amount of free will is Hector.

This is not the worst, but it leaves me scratching my head as to what unique development of the thesis Hector will bring to the table.

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Embedding/Framing Quotes (Data)

GREAT: The pretense of a civilized man’s scruples quickly dissipates when Connell places Rainsford into the narrative’s life-or-death scenario. Before the fated hunt begins, Rainsford declares to Zaroff that he is “a hunter, not a murderer,” which establishes Rainsford’s initial position of high moral standing (Connell 34).

The quote weaves itself in smoothly. No comma or colon is necessary, because the quote is not a complete sentence and the

quote makes sense as a part of the overall sentence. Only the part of the quote that matters is used. For the sentence as a whole, there is already a start of a connection to the claim. No one

has to be confused about why this quote suddenly popped up. Additionally, there is a bit of context for the plot to indicate approximately where this

takes place in the story itself. There is even a start to the warrant. If needed, the writer could then go on to explain why

Rainsford’s high moral standing matters.

PRETTY GOOD: The pretense of a civilized man’s scruples quickly dissipates when Connell places Rainsford into the narrative’s life-or-death scenario. Before the fated hunt begins, Rainsford declares to Zaroff, “I am a hunter, not a murderer,” which establishes Rainsford’s initial position of high moral standing (Connell 34).

This is pretty good, but the commas make it sound a tiny bit more broken-up and rigid. Sometimes, you want this, but the first example just sounds smoother when read aloud.

Also, it doesn’t trim the quote as much as the first one.

OKAY: The pretense of a civilized man’s scruples quickly dissipates when Connell places Rainsford into the narrative’s life-or-death scenario. Before the fated hunt begins, Rainsford declares his high moral standards to Zaroff: “I am a hunter, not a murderer” (Connell 34).

The colon CAN be used well in other cases, but it does feel a bit awkward to have a full stop before the quote. Use the colon only when you want your reader to make a full stop.

The colon exists because the “frame” (everything bold before the quote) can stand alone as a complete sentence that makes sense on its own.

NOT QUITE AS GOOD: The pretense of a civilized man’s scruples quickly dissipates when Connell places Rainsford into the narrative’s life-or-death scenario. Before the fated hunt begins, Rainsford declares to Zaroff, “I am a hunter, not a murderer” (Connell 34).

The context of the story is presented, but it leaves the reader confused as to the thematic relevance to the claim.

(continued on next page)

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NOT SO GOOD: The pretense of a civilized man’s scruples quickly dissipates when Connell places Rainsford into the narrative’s life-or-death scenario. Rainsford says, “I am a hunter, not a murderer” (Connell 34).

Not only do we have no clear idea why this is relevant to the claim, we also cannot place it in the context of the story.

BAD: The pretense of a civilized man’s scruples quickly dissipates when Connell places Rainsford into the narrative’s life-or-death scenario. “I am a hunter, not a murderer” (Connell 34).

The quote is not framed at all. We call this a “floating quote.”

In-Text Citations for Poetry

Let’s say you have this poem, and you wish to cite the bolded lines:

Shall I compare thee to a summer’s day?Thou art more lovely and more temperate.Rough winds do shake the darling buds of May,And summer’s lease hath all too short a date.Sometime too hot the eye of heaven shines,And often is his gold complexion dimmed;And every fair from fair sometime declines,By chance, or nature’s changing course, untrimmed;But thy eternal summer shall not fade,Nor lose possession of that fair thou ow’st,Nor shall death brag thou wand’rest in his shade,When in eternal lines to Time thou grow’st. So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee.

In your essay you should cite it like this:

“By chance, or nature’s changing course, untrimmed; / But thy eternal summer shall not fade” (Shakespeare 412).

Use slashes to indicate line breaks. “Pad” the slash mark with a space on both sides. All capitalization and punctuation needs to be the same, except for at the end of the

quote, because of the in-text citation. In this case, the comma was moved to the end of the (Shakespeare 412) and transformed into a period, because the sentence as a whole has ended.

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How to Make your Warrant Analytical

GOOD EXAMPLE

Richard Connell, in his short story “The Most Dangerous Game,” uses characterization to illustrate that people’s descent into inhumanity occurs when they are forced, through extreme circumstances, into behaviors that are diametrically opposed to their own moral values. Before the fated hunt begins, Rainsford declares his high moral standard to his nemesis, Zaroff, “I am a hunter, not a murderer” (Connell 34). (1) Rainsford, at this junction in the story, firmly professes that the value of taking a man’s life is considered inhumane, murderous, and against his own moral, steadfast conviction. (2) Rainsford also intimates that being a hunter of animals is not only justifiable and acceptable, but that animals are the lesser species when compared to humans and are not to be given the same moral consideration with respect to killing. (3) Yet as the extreme nature of Zaroff’s hunt progresses, Rainsford’s character transforms from that of an upright, moral citizen to become that which he despises: a murderer of humans, and a morally depraved, lesser “beast.”

Sentences (1) and (2) “unpack” the quote by elaborating on what this short quote means in the context of the story. Notice that the focus is on exploring the meaning of the text: in this case, the value of a human life over an animal’s, and that not all types of killing are the same.

Sentence (3) connects back to the claim of the paragraph. It establishes the relevance of Rainsford’s characterization before the hunt begins, i. e. that establishing him as morally good creates space for his downfall.

EXAMPLES OF THINGS TO AVOID IN A WARRANT

In this quote, Rainsford explains that he is a hunter and not a murderer.

This warrant merely repeats the quote, adding nothing.

Rainsford continues to refuse playing Zaroff’s game, but eventually, Rainsford realizes he has no choice. Armed with only a knife and his wits, the first day of the hunt begins, and Rainsford hides in a tree. That evening, the General comes seeking him.

This is plot summary. Sometimes, we finish with the quote and then instinctively fall into telling what happens next in the story. Avoid doing this. Your goal is to analyze, not to summarize.

Killing people is wrong, and Zaroff should not make Rainsford play the game.

First, this statement is obvious. (It is unbecoming to assume your reader thinks killing is good.)

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Second, even if it were not obvious, avoid making personal value judgments about what people “should” or “should not” do. Instead, spell out the implications of what the text means. Any viewpoints about moral judgments should logically follow without getting personally invested.

This quote shows that…

It is great to focus on what the quote shows in terms of thematic significance, but this phrase is overused.

Transitions

Transition words and phrases link sentences and paragraphs together smoothly so that there are no abrupt jumps or breaks between ideas.

GOOD TRANSITION (at beginning of 2nd body paragraph): “Another way in which Connell illustrates the dehumanization of both Zaroff and Rainsford is through the use of metaphors.” (transition phrase: Another way)

BAD TRANSITION (at beginning of 2nd body paragraph): “But metaphors are not the only literary device used in “The Most Dangerous Game.” (The transition word But is used, however no new ideas are introduced.)

MISSING TRANSITION (in a conclusion paragraph): “Zaroff and Rainsford are dehumanized by the end of the story.” (No transition word or phrase is used here.)

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Good Thesis Statements

- A thesis statement is a big claim. Your regular-sized claims (for your CDW paragraphs) should all have ideas that can “plug into” it and explore different avenues of the thesis.

- A thesis statement is a direct response to the essay prompt.- It is arguable and argues one central point. (All of your regular-sized claims should help

support this one central argument.)- It must be specific.- It is about an idea presented within the story (i. e. the literary theme), not about the

characters themselves.- It does not leave room for the reader to say, “So what?” out of disinterest.- References the three “prongs,” that is, the basic subject of each claim throughout the

essay. (In sophomore year and beyond, this must disappear.)

Let’s pretend that this is your essay prompt: In [insert name of short story], what theme is expressed through the use of several (three) literary devices?Problematic ThesesA theme of violence is shown in “The Most Dangerous Game.”

This is not an argument. It is just a topic. It needs to state something about violence or some other topic. It is also not specific. Also, “so what?” Why does it matter that there is violence in a story?

The theme of “The Most Dangerous Game” is that Rainsford has to awaken his animalistic side to survive.

This is about the character himself, not about an idea. Think more universally and make a statement about humanity, nature, etc.

Violence is usually wrong as supported by “The Most Dangerous Game” through imagery, structure, and symbolism.

This is another “so what?” thesis statement. It is boring to talk about how violence is usually wrong in the same way it is boring to argue that the sky is blue.

“The Most Dangerous Game” suggests that people have a hidden violent side and that those who reach perfection in life begin to lose their morals as shown through imagery, structure, and symbolism.

This is pretty good, but the theme is too wordy. (The theme is underlined.) When in doubt, try to remove the word “and” from your theme, which splits it in two

and makes it sound like you are arguing two separate ideas. We only want one.

Good Thesis Example“The Most Dangerous Game” suggests that the stress of basic survival causes people to turn away from their innate morality, as supported by the author’s imagery, structure, and symbolism.

This is a strong thesis statement. After you complete freshman year, you will be asked to remove everything from “as supported by…” onward.

Intros and Conclusions

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Intro Paragraph (4-6 sentences)

• Start with a modest hook.

• Introduce the title and the author.

• Explain the basic premise of the story as it relates to your thesis. Pretend like your reader read the story three years ago and simply needs a refresher on the parts of the story that are to be addressed.

• Transition into writing about the general subject of your thesis.

• State the thesis.

SAMPLE: When looking in a mirror, one sees more than just a reflection of the physical light bouncing off a smooth surface. It is a time to pause and think deeply about how one fits into existence. Ray Bradbury’s Fahrenheit 451 depicts a bleak future, in which the practice of deep thinking is cast aside in favor of amusing—yet often meaningless—distractions. The rise of technology-based entertainment leaves its mark in Bradbury’s world: neighbors care little for one another, families cannot relate to one another, and basic empathy appears to be missing altogether. Yet, it is in the silence between distractions that people rediscover the basics of meaningful human connection. Fahrenheit 451 suggests that it is everyone’s responsibility to engage in self-reflection, lest society itself may fall into literal ruin.

Conclusion Paragraph (3-5 sentences)

• Restate the thesis with new language.

• Review/restate the different points of your paragraphs. Keep your language fresh, but introduce no new ideas.

• Leave the reader thinking. Again, though, NO NEW IDEAS! If you add in a really, really interesting point that “leaves the reader thinking,” and it is brand new, THAT is what your paper should have been about!

SAMPLE: A meaningless human existence can only be saved through self-reflection; the alternative is destruction. Amidst Bradbury’s bleak world, Clarisse pauses enough to think and finds a contagious joy within the beauty of existence. Faber, too, finds worth and meaning in the study of books that can be absorbed slowly, at a more natural pace of the human brain. Meanwhile, Granger discovers hope in the metaphor of his mirror factory, in which he sees hope in learning from humanity’s mistakes. These characters influence Montag to escape from a meaningless world that tears itself apart, exchanging it instead for the meaning that comes with a long, careful look in the mirror.

Making Annotations: A User’s Guide15

As you work with your text, consider all of the ways that you can connect with what you are reading. Here are some suggestions that will help you with your annotations:

Define words or slang; make the words real with examples from your experiences; explore why the author would have used a particular word or phrase.

Make connections to other parts of the book. Feel free to use direct quotes from the book.

Make connections to other texts you have read or seen, including:

o Movieso Comic books/graphic novels o News eventso Other books, stories, plays, songs, or poems

Draw a picture when a visual connection is appropriate.

Re-write, paraphrase, or summarize a particularly difficult passage or moment.

Make meaningful connections to your own life experiences.

Describe a new perspective you may now have.

Explain the historical context or traditions/social customs that are used in the passage.

Offer an analysis or interpretation of what is happening in the text.

Point out and discuss literary techniques that the author is using.

Literary Devices Used in Short Stories

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Classics I

* Style—A writer's characteristic way of writing, determined by the choice of words, arrangement of words, and relationship of sentences. It is easier to gain an understanding of style when two or more texts are compared side by side.

* Structure—There are two types of structure: 1. Plot structure, which is the long-term pacing of the story, the speed-ups, slow-downs and undulations of a typical plot diagram (exposition, rising action, climax, resolution/denouement). Foreshadowing can play a role here. 2. Sentence structure, which involves the rhythms of the words, short sentences, long sentences, parallelism, etc.

* Characterization—Various means by which an author describes and develops his characters.Examine the kind of characters the author creates. Are they realistic or not? Are their motivations explained or ambiguous? Are they likeable or unlikeable? What small details are used to suggest the reader is meant to take a specific attitude toward a character?

* Symbolism—An object, person, place, or action that has a meaning in itself and that also stands for something larger than itself, such as a quality, an attitude, a belief, or a value. Identify anything in the story that might have a meaning beyond itself. Do characters, objects, or situations stand for others? If one object stands for a character or an idea, how does it enhance the character or idea?

* Allusion—An indirect reference to the past. Examples are mythology, the Bible, Shakespeare, and other literature. Does the story recall another story, or something in history, to mind?

* Imagery—Language which provides the reader with a vivid mental “picture” through words. The “picture” is not limited to just images; it can also be an image of taste, smell, sound, or touch.

* Figurative Language—Simile—comparison of two dissimilar things using like or asMetaphor—a figure of speech that makes a comparison between two dissimilar thingsPersonification—a figure of speech in which something nonhuman is given human qualitiesHyperbole—a gross overstatement

These literary devices matter because they help the author accomplish a variety of things:1. Build up a theme: As for what kind of theme the author goes for, this could be an endless list

within this one.2. Create suspense3. Make a character more lifelike4. Draw attention to or away important plot details5. Create a funny or deeply emotional moment6. This list is endless…

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Transition Words and PhrasesA

gree

men

t / A

dditi

on /

Sim

ilari

ty in the first place again moreover

Eff

ect/

Res

ult

Con

sequ

ence as a result for consequently

not only…but also to as well as under those circumstances thus thereforeas a matter of fact and together with in that case because the thereuponin like manner also of course for this reason then forthwithin addition then likewise henceforth hence accordinglycoupled with equally comparativelyin the same way/fashion identically correspondinglyfirst, second, third uniquely similarly

Opp

ositi

on /

Lim

itatio

n / C

ontr

adic

tion although this may be true but although

in the light of like furthermore in contrast (and) still insteadnot to mention as additionally different from unlike whereasto say nothing of too of course…, but or despiteequally important on the other hand (and) yet converselyby the same token on the contrary while otherwise

at the same time albeit howeverin spite of besides rather

Exa

mpl

es /

Supp

ort /

Em

phas

is

in other words notably in fact even so / though as much as neverthelessto put it differently including in general be that as it may even though nonethelessfor one thing like in particular then again regardlessas an illustration to be sure in detail above all notwithstandingin this case namely to demonstrate in realityfor this reason chiefly to emphasize after allto put it another way truly to repeatthat is to say indeed to clarifywith attention to certainly to explain

Cau

se /

Con

ditio

n / P

urpo

se

in the event that if in caseby all means surely to enumerate granted (that) if….then provided that

as / so long as unless given thatimportant to realize markedly such as on (the) condition (that) only / even itanother key point especially for example for the purpose of when so thatfirst thing to remember specifically for instance with this intention whenever so as tomost compelling evidence expressively to point out with this in mind since owing tomust be remembered surprisingly with this in mind in the hope that while due topoint often overlooked frequently to the end thaton the negative side significantly for fear that because of inasmuch ason the positive side in order to as

seeing / being that sincein view of lest

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Transition Words and Phrases (continued)Sp

ace

/ Loc

atio

n / P

lace

in the middle here further

Con

clus

ion

/ Sum

mar

y R

esta

tem

ent

as can be seen after all overallto the left / right there beyond generally speaking in fact ordinarilyin front of next nearby in the final analysis in summary usuallyon this side where wherever all things

consideredin conclusion by and large

in the distance from around as shown above in short to sum uphere and there over before in the long run in brief on the wholein the foreground near alongside given these points in essence in any eventin the background above amid as has been noted to summarize in either casein the center of below among in a word on balance all in all

down beneath for the most part altogetheradjacent to up besideopposite to under behind Conjunctions

between across Comparison Time

Subo

rdin

atin

g

than that afterrather than what as long as

Tim

e / C

hron

olog

y / S

eque

nce

at the present time

after henceforth whether whatever before

from time to time later whenever as much as which by the timesooner or later last eventually whereas whichever now thatat the same time until meanwhile onceup to the present time

till further Concession who / whom since

to begin with since during though whoever / whomever

till

in due time then first, second although whose untiluntil now before in time even though whenas soon as hence prior to while Place wheneveras long as forthwith where / wherever whilein the meantime when straightaway Conditionin a moment once if / only if Reasonwithout delay about by the time unless Manner becausein the first place next whenever until how sinceall of a sudden now provided that as though so thatat this instant now that assuming that as if in order (that)

even if whyimmediately formerly instantly in case (that)quickly suddenly presently lestfinally shortly occasionally

Cor

rela

tive as…as either…or what with…and

just as…so neither…nor whether…orboth…and not only…but alsohardly…when if…then no sooner…thanscarcely…when not…but rather…than

CC FANBOYS

for and nor but or yet so

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MLA 8th-Edition

Book With Author

Citing a book with one author: Citing a book with two authors:

Citing a book with 3 or more authors:

Citing a book with a corporate author:

One Author:

Houck, Max M. Science Versus Crime. Facts on File, 2009.

Two Authors:

McDowell, Julie, and Michael Windelspecht. The Lymphatic System. Greenwood Press, 2004.

Three or more Authors:

Haslam, Andrew, et al. Japan. Two-Can, 2001.

Corporate:

Time. Great People of the 20th Century. Time Books, 1996.

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Author’s last name, first name.

Title of the source.

Publisher,

Publication date.

Author’s last name, first name, and 2nd author’s first name last name.

Title of the source.

Publisher,

Publication date.

First author’s last name, first name, et al.

Title of the source.

Publisher,

Publication date.

Organization’s name. If author & publisher are the same, start with title. (Drop The, A or An if part of name)

Title of the source.

Publisher,

Publication date.

MLA 8th-Edition

Book With Editor/Translator/No Author

Citing a book with an editor: Citing a book with 2 or more editors:

Citing a book with a translator*: Citing a book with no author:

Editor/Editors:

Weiss, Jerry, editor. From One Experience to Another. Prentice-Hall, 2002.

Unwin, Liam P., et al., editors. Peace in Ireland. Stronghope Press, 1990.

Translator:

Tolstoy, Leo. War and Peace. Translated by Constance Garnett, The Modern Library, 1994.

*If your focus is more on the translation, list the translator as your first element. Howard, Richard, translator. Madness and Civilization: A History of Insanity in the Age of Reason. By

Michel Foucault, Vintage-Random House, 1988.

No author:

Sir Gawain and the Green Knight. Translated by Neil D. Isaacs, Signet Classics, 1970.

21

Editor’s last name, first name, editor.

Title of the source.

Publisher,

Publication date.

First editor’s last name, first name, et al., editors.

Title of the source.

Publisher,

Publication date.

Author’s last name, first name.

Title of the source.

Publisher,

Publication date.

Title of the source.

Publisher,

Publication date.

Translated by translator’s first name last name,

Translated by translator’s first name last name, (If applicable)

MLA 8th-Edition

Section Within a Book

Citing an Introduction: Citing a Preface:

Citing a Foreword: Citing an Afterword:

Greene, Constance C. Afterword. Rose in Bloom, by Louisa May Alcott, Dell Publishing Co., 1986,

pp. 309-11.

22

Author’s last name, first name.

Title of the source,

Publisher,

Publication date,

Title of the source,

Publisher,

Publication date,

Title of the source,

Publisher,

Publication date,

Title of the source,

Publisher,

Publication date,

by source author’s first name last name,

Location. (Pages)

Introduction.

by source author’s first name last name,

Author’s last name, first name.

Preface.

by source author’s first name last name,

Location. (Pages)

Author’s last name, first name. Author’s last name, first name.

Foreword.

Location. (Pages)

Afterword.

by source author’s first name last name,

Location. (Pages)

MLA 8th-Edition

Online Database

Citing a journal/newspaper/magazine article:

PPLD Database:

Jaffa, Harry V. "Macbeth and the Moral Universe." Claremont Review of Books, Winter 2007, pp. 27+.

Literature Resource Center, go.galegroup.com/ps/i.do?id=GALE%7CA237734772&v=2.1&u=pike

&it=r&p=LitRC&sw=w&asid=abcbba12fc4eddc91 b16f53567b2325b. Accessed 2 Feb. 2016.

JSTOR:

Sullivan, Anita T. “Ray Bradbury and Fantasy.” The English Journal, vol. 61, no. 9, Dec. 1972, pp. 1309-14.

JSTOR, www.jstor.org/stable/813228. Accessed 30 May 2015.

Magazine in a Database:

“We Have Depression.” Scholastic Choices, vol., 30, no. 3, Nov./Dec. 2014, pp. 12-14. MAS Ultra- School

Edition, ezproxy.ppld.org:2052/login.aspx?=true&db=98905245=ehost-live. Accessed 5 Oct. 2016.

23

Publication date,

Location. (Pages)

Title of the database,

Author’s last name, first name.

Title of the journal, magazine or newspaper,

Location. (URL; omit “http://” & use stable URL if provided. Also called “doi” or “Permalink”)

Date of access. (day month year)

“Title of the article.”

Volume and/or Number, (If applicable)

MLA 8th-Edition

Website

Article with an author:

Main, Douglas. “Man Breaks World Record for Longest Hoverboard Flight.” Newsweek. 3 May 2016,

www.newsweek.com/video-french-man-breaks-world-record-455228. Accessed 11 June 2016.

Article with print publication info:

Kooser, Ted. “Abandoned Farmhouse.” Sure Signs: New and Selected Poems, 1980. Poetry Out Loud, 2016,

www.poetryoutloud.org/poem/237648. Accessed 15 May 2016.

Article with no author:

"Alexander Hamilton Biography." The Biography.com, A&E Television Networks, 2016, www.biography.

com/people/alexanderhamilton-9326481. Accessed 22 Apr. 2016.

Online Encyclopedia:

Cracraft, James. “Peter I, the Great.” World Book Advanced, World Book, 2015, www.worldbookonline.com

/advanced/article?id=ar424880. Accessed 2 Oct. 2016.

24

Author’s last name, first name. (If provided)

Title of the website,

Publication date,

“Title of the posting/article.” (If untitled, provide a short, general description without italics or quotation marks.)

Location. (URL, omit http:// & use stable URL if provided)

Publisher/Organization, (Can be omitted if same as website title or if site hosts content- e.g. YouTube, WordPress)

Date of access. (day month year)