Style Sheet for all
classes
| Email Format/Style I have begun to see some issues of style in emails from students that I would like to remind you to avoid. (1) I know you text your friends and loved ones and write things like C for see and U for you, but this is not appropriate when communicating with instructors or in on-line discussions with other students. (2) PLEASE DON'T WRITE EMAILS IN ALL CAPITAL LETTERS -- it sounds like you're yelling! (3) In business/corporate settings the phrase "please advise" is becoming popular as a way to end emails or ask questions. It's fine at work, I suppose, but not appropriate for speaking to a professor. Please is a good way to start, and of course thank you is a great way to end. But I'm not advising...if you're asking a question, I'm clarifying or helping, perhaps; this is just one of my pet peeves, but it's all about caring about how you write. (3) Always identify yourself and your class/section number in emails -- it's difficult sometimes to keep track (especially in the beginning of the term) (4) Especially for online students: I do not read emails at 3am or even much later than 10pm most nights. "Please write back asap" may not be a good way to end a message at those times...I will always get back to you as soon as I can in the morning, but keep in mind that I'm not online all night (and I hope you're not, either!). |
I. Basic Grammar and Usage
I
have urged you to purchase either Diana Hacker’s A Pocket Style Manual
or Rules for Writers, either of which will always help you
with grammar, but here are some mistakes I have noticed a lot of people make:
PLEASE NOTE: Periods and commas go inside quotation marks when there is no citation after the quotation and outside when there is a citation:
In his article, “Corn-Pone Opinions,” Mark Twain discusses social pressure to conform.
In
“Corn-Pone Opinions,” Twain writes,
“You
tell me whar a man gits his corn pone, en I’ll tell you what his ‘pinions
is” (Twain 1).
(1)
PROOFREAD!! This means more
than just hitting the spell-check button.
(2) The Oxford Comma: In American English, it is correct to include a comma (what is known as a serial comma) following each item in a series, including the second to last item (ie, preceding and in a list). For example: “I enjoy listening to Beethoven, the Beatles and Eminem.” Unless you are implying that the Beatles ever did a duet with Eminem, you must include a comma here to avoid ambiguity: “I enjoy listening to Beethoven, the Beatles, and Eminem.” This is sometimes called the Oxford Comma (or the Harvard Comma): consider it the UCC Comma in this class.
(3)
Avoid use of you, I, me, and we, in your
writing if at all possible.
(4)
When you discuss a work of literature or an essay, discuss the author’s
act of writing and the action of the text in the present tense: “Woolf
writes in ‘Professions for Women.’” Discuss
past events in the author’s life in the past – “Virginia Stephen married
Leonard Woolf in 1912.” This is
called the historic present and is a convention of writing about
literature and authors.
(5)
Women
means more than one woman; woman means only one.
Please do not confuse the two words.
(6)
Female
and male are generally used as an adjective: female author.
Man and woman are nouns: the man dated the woman.
(7)
Could
is a conditional verb form – it means maybe, in the future, not definitely,
and probably not now. Used with
“if” statements – “If I wanted to, I could fly to the moon” – it
doesn’t mean you will fly to the moon, it means you might -- you are
able to, but it’s just a possibility. Many
times when people use could they mean can.
Can is not necessarily more definite; it refers to ability.
“Can I go to the bathroom” means am I able to.
In an “if” statement, it means NOW, not in the future, and the verb
changes as result: “If I want to I can fly to the moon.”
-- I have the ability to do it now.
Be aware of this – it’s a common error, but one that can
be easily avoided.
(8)
Even though
is two words.
(9)
Mother,
Aunt, Grandfather, and other such names are only capitalized when
they are names: I called out to my mom, “Mother!”
Do not capitalize them if they are nouns: I called out to my mother.
(10)
Put into quotation marks the titles of short poems, songs, chapter
titles, and short stories:
(11)
Put into italics or underline the titles of longer poems, novels, plays,
book titles,
movies, works of art, software programs, and album titles:
(12)
Abbreviate only very well-known names that are known by their abbreviations, like the
(13)
Spell out numbers that are one or two words, such as three hundred or
five million or twenty-
(14)
Numbers are acceptable for dates, addresses, fractions, and the time of
day: July 4, 1776; 500
(15)
Underline or italicize foreign words in English sentences: The French
word for blue is bleu.
(16) Underline a word that is used as a word or defined:
Love is
defined in many ways.
(17)
Affect
is a verb; Effect is a noun: The effect of a drought .
The drought affected the crops.
(19) Any time you add anything to a quotation, always bracket the added information “To be or not to be, that is the [important] question.”
(20)
Its
is the possessive pronoun, meaning belonging to It.
It’s is a contraction meaning it is, and should
be avoided in formal writing.
(21)
As above, avoid contractions. This
will clear up the confusion between their and they’re; you’re and your.
(22)
Their
is a pronoun (their book). There is an adverb (Sit down over there).
(23)
In A Pocket Style Manual there is a whole section on spelling and
homophones which should
help you with avoiding confusion with accept and except, then
and than, loose and lose and others.
(24)
Who
is a subject; Whom is an object (usually accompanying a preposition).
With whom are
(25)
When including a quotation within a quotation, use single quotation
marks:
(26) The correct meaning of thing is an assembly or meeting of counselors (after the Anglo-Saxon word, Þing) If you use thing in that context, it’s fine. Otherwise, do not use this word -- it is much too vague!!
(27)
(28) I know you spend most of your life sending and receiving text messages. Even so, you should not allow the spelling of text messages to spill over into your academic work. C U L8R may be cute on a cell phone; it is not appropriate for a paper, even an informal one, or a form of communication with an instructor. If you send me an email and use U for you or R for are I will probably not reply.
(29) In A Pocket Style Manual there is a section on Conjunctions.
Please read this over. Each
type
Coordinating
Conjunctions: and, but, or, nor, for, yet, so. Sometimes they require
Correlative
Conjunctions: either/or, neither/nor, not only/but also.
If you use the first
Subordinating
Conjunctions: after, because, even though, unless (and others).
These generally do not require commas, but check with Hacker if you are not
sure.
Conjunctive
Adverbs: however, besides, otherwise, therefore (and others).
Generally
Format and Documentation
(1) When you quote a text,
cite it by using the author’s name and page number from which the
“You
tell me whar a man gits his corn pone, en I’ll tell you what his ‘pinions
is” (Twain 1).
(2) With works of
literature, sometimes you will use line number, act numbers, etc. No commas, no abbreviations, no titles. Here are some examples:
A
poem with line numbers: “You do not do” (Plath 1) --line 1 of the poem--
A
short story or essay with page numbers: “There’s no real pleasure in life”
(O’Connor 43)
Shakespeare
(act, scene, line): “Friends, Romans, countrymen, lend me your ears”
(Shakespeare III.ii.75) -- Act III, Scene ii, line 75 of the play--
(3) When you cite the same
author using two works, either use the date (when it is a newspaper or magazine
article or some kind of critical review or reading) or part of the title (for a
literary work) to distinguish between the two.
“You do not do” (Plath
“Daddy” 1) “Stasis
in darkness” (Plath “Ariel,” 1)
“Sure, I shall never marry like my sisters, / To love my father all” (Shakespeare Lear, I.i.103-4)
“Friends, Romans, countrymen, lend me your ears”
(Shakespeare Caesar, III.ii.75)
(4) When you cite lines of
poetry within a paragraph, separate lines using slash marks (/):
Shakespeare
writes, “Let me not to the marriage of true minds / Admit impediments”
(5) When you cite a work of
literature of three lines or more or fifty words or more, use block format
In his poem, Shakespeare comments on the fact that his lady is beautiful on the inside, in contrast to the beautiful (but artificial) women described in the works of other poets:
My mistress’ eyes are nothing like the sun
Coral is far more red than her lips’ red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
(Shakespeare 1-4)
(6) Remember to document
paraphrases (when you use someone’s ideas but do not use the exact words or
quotation marks) just as you would a quotation: Example: Shakespeare
refers to his mistress’ breasts as grey and dull and her hair as wiry and ugly
(3-4). (7) Cite the book, chapter,
and verse of a Bible quotation: Consider
the words of Solomon: "If your enemy is hungry, give him bread to eat; and
if he is thirsty, give him water to drink" (Prov. 25.21).
Do not include the Bible on your list of Works Cited.
If you want to include the version of the Bible that you used, put it
into your parenthetical reference (Prov. 25.21, RSV) -- that refers to the
Revised Standard Version of the Bible. (8) Cite a dictionary
definition parenthetically by citing the word you looked up in parentheses: The
definition of love is “an emotion denoting affection” (“Love”).
On the Works Cited page, begin the citation with the word you looked up
(see sample below)--you do not have to include the page number. (9) When you cite an electronic database in your
paper, identify the author (if you know it) in the parentheses, but not the page
number, unless you are looking at a PDF of the original document. For
example, in Literature Resource Center, the author's name is not always
given. So you would have to give the title of the article in parentheses:
Article titled "Virginia Woolf" in LRC with no author would be cited as follows:
"Virginia Woolf was one of the most innovative and influential literary figures of the twentieth century" ("Virginia Woolf").
Article titled "J.R.R. Tolkien" in LRC with an author given (Michael W. George) would be cited as follows:
"The place in fantasy literature earned by J. R. R. Tolkien is indisputable" (George).
Citing an online database on your Works Cited page is tricky, too. See Hacker, pp. 141-145 and see examples on the sample Works Cited page below.
Sample Works Cited
entries: See
the following website for additional help: http://www.bedfordstmartins.com/resdoc.
You can also go to http://www.easybib.com
-- but only as a last resort. In print,
Diana Hacker's A Pocket Style Manual is the handbook that I recommend to
my students. Below
is an example of a citation from your textbook and almost all the other
resources you will use. If you run
across a problem with one of your sources, please let me know.
|
“Love.”
The American Heritage College Dictionary.
4th edition. Boston, MA: Houghton |
|
|
McCracken.Timothy. “Struggling with Gender: A Male in Literary Feminism.” Changing English: Studies in Reading and Culture 9.2 (October 2002). |
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|
EBSCO Host. Academic Search Premier. MacKay Library, Union County College. Cranford, NJ. 13 Nov. 2002 <http://web15.epnet.com>. |
|
| Heydt, Colin. “Mill, John Stuart.” Internet Encyclopedia of Philosophy. Ed. James Fieser and Bradley Dowden.2001. University of Tennessee at | |
|
Martin Webpage. 11 February
2003 <http://www.utm.edu/research/iep/m/milljs.htm>. |
|
| Plath,
Sylvia. “Daddy.” The Collected Poems. Ed. Ted Hughes. New York:
Harper and Row, 1981. |
|
| ---. “Edge.” The Collected Poems. Ed. Ted Hughes. New York: Harper and Row, 1981. 272-273. | |
| “plough, n.” Oxford English Dictionary. Ed. J. A. Simpson and E. S. C. Weiner. 2nd ed. Oxford: Clarendon Press, 1989. OED Online. Oxford | |
|
U P. 24 August 2003. |
|
|
Poe,
Edgar Allen. “The Black Cat.” Great Horror Stories.
Mineola, NY: Dover, 1991. 196-210. |
|
|
“Poe
in Baltimore.” The Edgar Allen
Poe Society of Baltimore. 1
August 1998. The Edgar Allen |
|
| <http://www.eapoe.org/balt/poebalt.htm>. | |
| “Real Estate Brokers and Sales Agents.” Bureau of Labor Statistics, U.S. Department of Labor. 4 August 2006. Occupational Outlook Handbook. 23 | |
|
April 2007 |
|
|
Rees-Jones,
Deryn. “Consorting with Angels: Anne Sexton and the Art of
Confession.” Women
|
|
|
Premier.
MacKay Library, Union County College. |
|
| Rousseau, Jean-Jacques. “The Origin of Civil Society.” A World of Ideas: Essential Readings for College Writers. Seventh Edition. Ed. Lee A. | |
| Jacobus. Boston, MA: Bedford/St. Martin's, 2006. 56-72. | |
|
Shakespeare,
William. Much Ado About Nothing. Mineola,
NY: Dover, 1994. |
|
|
Shelley,
Mary. Frankenstein. Ed. D.L. Macdonald and Kathleen Scherf. Orchard Park, NY: |
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Sir Gawain and the Green Knight. Trans. Marie Boroff. Norton Anthology of English Literature, Vol. 1. Ed. Stephen Greenblatt, et. al. New |
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| York: W. W Norton, 2006. 162-213. | |
|
Star
Wars: Episode 1, The Phantom Menace.
Dir. George Lucas. Perf. Liam
Neeson, Ewan |
|
|
2000. DVD. Twentieth Century Fox |
|
| “Sylvia Plath.” Voices and Visions. PBS. South Carolina ETV Network and the New York Center for Visual History. 1988. | |
|
Youngber,
Quentin. “The Red Wheelbarrow.” Explicator 58.3 (Spring 2000). The
Gale Group. |
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|
County College.
Cranford, NJ. 29 December 2003 |
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| Yousef,
Nancy. “The monster in a dark
room: Frankenstein, feminism, and philosophy.” Modern |
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|
Group.
Literature Resource Center. MacKay Library, Union County College.
Cranford, NJ. 27 Dec. 2002 <http://galenet.galegroup.com>. |
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Ed.
Bobby Ellen Kimbel. Gale, |
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