Cobb County Public Schools

High School Language Arts

Revised, Summer 2006
Foreword
Students and teachers, welcome to the sixth edition of the Guide to the Research
Paper published by Cobb County Public Schools. This uide is based on the !odern
"anuae #ssociation$s %andboo& for 'riters of Research Papers, Sixth (dition, the
accepted standard for documentation style in scholarly compositions in lanuaes and
literature. #s with pre)ious editions of this publication, this re)ision results from the
study and the collaboration of classroom teachers who assert that all students benefit
from the research process and the riors of extended writin.
The uide was oriinally prepared by Pat "amb and Sara !oore in *+,,. -t was
re)ised by Ruth .aris and /athy 0ichols in *++1. The *++2 re)ision, which was done
by Pat 3arras and 4ane .ra5er, incorporates re)isions and additions to facilitate the use
of online sources. The *+++ edition and this, the 6778 edition, represent further efforts
to ensure that the uide is accurate and up9to9date. This uide is intended as a
supplement and in no way supersedes the direction of the teacher who uses it, and it is
intended for all rades and le)els. The 6778 edition includes many new features and
examples, includin a list of websites that classroom teachers ha)e found useful in
teachin the research process. The students and teachers who use this uide should
a)ail themsel)es of this list, as well as other, lenthier wor&s on research and
biblioraphy, includin the source for this compilation, the !"# %andboo& for 'riters of
Research Papers, Sixth (dition.
Mary Hagan, McEachern High School
Alfred Carson, Campbell High School
Sandy Case, Sprayberry High School
Gale Lyons, Wheeler High School
Elisabeth Manguno, Walton High School
Allison Paul, McEachern High School
Table of Contents
Part One: Preparation and Research
Selecting the Topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
Reading and Limiting the Topic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
Formulating a Thesis Statement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Preparing the Working Outline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Preparing the Working Bibliography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . :
()aluatin 'eb Paes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ;
#nnotated 3iblioraphy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ;
Taking Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
<sin =irect >uotations and Paraphrasin . . . . . . . . . . . . . . . . . . . . . . . . . 2
0ote Cards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Plagiarism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +
Assembling Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +
Part Two: Writing the Paper
Writing the Formal Outline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . **
Writing the First ra!t. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *6
-nteration of >uoted !aterials. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *6
#lteration of >uoted !aterial. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *:
Special Cases for "iterary 'or&s. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *1
Parenthetical =ocumentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .*2
.ormat for Parenthetical =ocumentation. . . . . . . . . . . . . . . . . . . . . . . . . . . .*,
Preparing the Works "ited Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
Sample #ntries !or the Works "ited Page and Bibliography. . . . . . . . . . . . . . . 67
3oo&s. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
?ther Sources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:
Periodicals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6;
-nternet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
Writing the Final "opy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Craftin a Title. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
.ormat for the Research Paper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6,
.inal Chec&list. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6+
Online Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .:7
Sample Paper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . :*
Part One: Preparation and Research
The research paper is a uni@ue type of writin that ta&es s&ill, careful thouht, and creati)ity. -t
in)ol)es identi!ying a problem or asking a $uestion on a specific topic and then collecting
and in%estigating !acts and opinions about the topic from numerous sources. # research
paper is different from a report in that the research paper writer must go one step beyond the
mere summary o! !acts and in&ect analytical or interpreti%e commentary on the subAect,
relying on the thoughts o! others to support or clarify conclusions.
(iht steps uide the writer throuh the research paper processB
*. Selectin the topic
6. Readin and limitin the topic
:. .ormulatin a thesis statement and wor&in outline
;. Preparin a wor&in biblioraphy
1. Ta&in notes
8. #ssemblin notes and writin the formal outline
2. 'ritin the first draft and preparin the 'or&s Cited pae
,. 'ritin the final copy
Selecting the Topic
The teacher may suest possible topics, or the student may be allowed to choose a topic of
interest. -n either case, use these uidelines to choose the topic.
Select a topic
*. that is suitable for serious research.
6. with ample reference material.
:. that can be presented obAecti)ely.
;. that is more than a bioraphical treatment.
1. that will allow interpretationCsD.
-f the paper is based on literature, the student must ha%e a thorough understanding of the
poem, play, no)el, or short story. Students may choose an analytical' thematic' critical, or
comparati%e approach to writin the paper. Students should distinuish between primary and
secondary sources.
# primary source is the wor& itself, such as Thanatopsis, !artin "uther /in, 4r.$s -
%a)e a =ream, The Red 3ade of Courae, or !acbeth.
# secondary source is a wor& written about a primary source. (xamples include critical
commentaries such as Thomas =e>uincey$s essay ?n the /noc&in at the Gate of
!acbeth or critical essays in Contemporary "iterary Criticism.
Reading and Limiting the Topic
(ntroductory reading helps narrow the topic.
=o introductory readin on the subAect. -ntroductory readin pro)ides a framewor& for
the topic, allows the writer to set boundaries, and enables the researcher to focus on the
important points of the topic.
-ntroductory readin can span a )ariety of sources, includin articles in encyclopedias,
chapters in textboo&s, histories, or speciali5ed reference boo&s such as Contemporary
"iterary Criticism.
Note: General encyclopedias may be used only for introductory reading, not as sources for the paper
itself.
.ollowin are examples that show the proression in narrowin a topic usin introductory
readin as a uide.
Social (ssues Topic
General TopicB )iolence
0arrowed TopicB )iolence in the media
0arrowed !oreB )iolence on tele)ision
#ppropriate TopicB the implications of )iolence on tele)ision
Literature Topic
General TopicB The Scarlet "etter
0arrowed TopicB one aspect of The Scarlet "etterB literary de)ices
0arrowed !oreB one literary de)iceB symbolism
#ppropriate TopicB the scaffold as a symbolic element in The Scarlet "etter
The student may disco)er that further restriction is needed after readin and ta&in notes.
Formulating a Thesis Statement
# preliminary thesis statement, which is the main idea or arument of the paper, will help to limit
the scope of the research. 3efore beinnin in9depth research, it is necessary to write a
sentence that expresses the central focus of the paperE howe)er, the thesis may continue to
e)ol)e as wor& continues.
A good thesis should
state the main idea in a declarati%e sentence)
limit the sub&ect)
establish an in%estigati%e edge)
point to the conclusion)
con!orm to the e%idence)
#*ample +,
#s an epic hero, 3eowulf exhibits physical courae, demonstrates mental aility, and
reflects the ideals of his culture.
#*ample -,
(dar #llan Poe$s characteri5ation of !ontresor in The Cas& of #montillado suests
the theme that humanity is inherently e)il.
Preparing the Working Outline
The wor&in outline is an initial method of orani5ation and a startin point for note ta&in. The
purpose of the preliminary outline is to pre)ent the researcher from ta&in unnecessary notes
and to &eep the writer focused and on9tas&. -n order to de)elop a wor&in outline, it is
necessary to brea& down the elements of the preliminary thesis and to analy5e the specific
areas the research will address. This analysis should result in a list of three to six ideas or
topics will constitute the di)isions of the research.
A .orking outline should
relate directly to the thesis.
be brie! and clear.
list the main topics usin Roman numerals) These headins will later be the slus on
the note cards.
not be subdi%ided, unli&e the .ormal ?utline, which is discussed later.
not contain the words Introduction or Conclusion.
not contain articles or any repeated, unnecessary words.
#*ample +,
ThesisB #s an epic hero, 3eowulf exhibits physical courae, demonstrates mental aility,
and reflects the ideals of his culture.
-. Physical Courae
--. !ental #ility
---. -deals of #nlo9Saxon culture
#*ample -,
ThesisB 3ecause of increasin concern o)er tele)ision$s influence on )iolence and crime,
the tele)ision industry should assume responsibility for reulatin the extent and nature
of )iolent acts in tele)ision prorammin.
-. #mount of )iolence on tele)ision
--. Connection between TF and street )iolence
---. Ratins race amon networ&s
-F. Censorship in the media
Preparing the Working ibliograph!
The wor&in biblioraphy is a list of sources related to the research topic. 3ein to locate
sources by chec&in the media center cataloue, )isitin other libraries, searchin databases
and on9line sources, and expandin the preliminary readin. .or each li&ely resource, write a
biblioraphic entry on an index card usin correct !"# format. # )ariety of sample entries
appears under the headin Preparing the Works "ited Page on pae 67. 3ecause these
biblioraphy cards will e)entually become the source of information for compilin the 'or&s
Cited pae, it is essential to record information correctly and thorouhly.
(n preparing bibliography cards'
use one inde* card per source)
.rite on only one side o! the card)
use e*act punctuation)
use hanging indents Csee examples belowD.
/eneric #*ample,

*. 'rite the media center call number of printed materials in the top riht corner to ma&e
later relocation easier.
6. <se hanging indents Cthe re)erse of reular pararaph indentationD to ma&e the
author$s last name more )isible.
Actual Bibliography "ard #*ample,
Call G
#uthor$s last name, #uthor$s first name.
Title of 'or&. Place of publicationB
Publisher, Copyriht date.
2
1
,7,.7;
Tur
Turabian, /ate. Student$s Guide for
'ritin Collee Papers. ChicaoB <
of Chicao P, *+28.
3
1
2
*. <se the first city listed on the title pae. Gi)e only the city if it is well &nown Ce.., 0ew
Hor&, "ondonDE i)e both city and state otherwise.
6. <se a correct, shortened name for the publisher. Refer to pae 67 for uidelines.
:. <se the most recent date that appears on the title pae or on the bac& of the title pae.
"#aluating Web Pages
0ot all web paes are )alid and reliable sources. <se these @uestions as a uide to determine
)alidity.
*. 'hat can the <R" tell youI
#. -s it somebody$s personal paeI
CSince personal paes are not necessarily reliable, in)estiate the author )ery carefully.D
3. .rom what type of domain does it comeI
(ducational 9 .edu
Go)ernment 9 .o)
0onprofit orani5ations 9 .or
Commercial 9 .com
0etwor& 9 .net
Note: If the word essay appears anywhere in the URL, eercise caution because it may be an
unacceptable resource.
6. 'hat can the home pae tell youI
#. 'ho published or sponsored the paeI
C"oo& for lin&s that say #bout us, Philosophy, 3ac&round, 3ioraphy.D
3. 'hy was the site createdB to arue a positionI to sell a productI to inform readersI
C. 'hat are the author$s credentialsI
=. 'hen was the pae last updatedI The information may be outdated or irrele)ant.
:. #re there lin&s to other resources on the topicI =o they wor&I
$nnotated ibliograph!
#n annotated biblioraphy is a brief summary and e)aluation of sources. -t informs the reader
of the location, accuracy, @uality, and rele)ance of sources.
The purposes of compilin an annotated biblioraphy are to enable the writer to
learn about the topic.
focus more critically on secondary sources.
refine the thesis.
uide other researchers.
There are four parts to the annotated biblioraphy. These parts may be chaned or modified
accordin to the teacher$s preferences.
*. 3iblioraphy
'rite the biblioraphic entry accordin to !"# uidelines.
=o not annotate primary sourceCsDE only annotate secondary sources.
6. Summary
Pro)ide a brief yet thorouh summary of the main points, particularly the ones
relatin to your topic.
:. #ssessment
State why the source is reliable. Consider the followinB
*. -s the author a reconi5ed expertI
6. -s the author unbiasedI
:. =oes it appear in a credible sourceI C(9library, Galileo, GalenetD
;. -s it in a reputable collection of criticisms, such as Contemporary "iterary
Criticism or ?pposin FiewpointsI
1. -s it found in the reference section of the school or public libraryI
8. %as it been recommended by the teacherI
2. -s the source current or out9of9date for your topicI
,. -s the information well9documented or referencedI
;. Reflection
%ow does the boo& or article fit into this researchI
'as the source helpful to youI =oes the source relate to your topicI
%ow and where can you use this source in your research proAectI
Sample /raphic Organi0er o! an Annotated Bibliography
S
o
u
r
c
e

J

3
i
b
l
i
o

r
a
p
h
y
Ciccarelli, Sheryl, and !arie Rose 0apier&ows&i, eds. # Tale of Two Cities.
0o)els for Students. Fol. *1. =etroitB Gale, *+++.
S
u
m
m
a
r
y
The boo& contains different discussions of )arious no)els. The section on # Tale
of Two Cities focuses on historical bac&round, themes, characters, and settins.
#t the end of each section, )arious critics discuss the no)el.
#
s
s
e
s
s
m
e
n
t
C
'
h
y

i
s

i
t

c
r
e
d
i
b
l
e
I
D
The boo& is published by Gale Research Group, a company with a reputation for
usin professors and academic writers. The collection of boo&s is also credible
because my teacher recommended it, and it is found in the reference section of
the school library.

R
e
f
l
e
c
t
i
o
n

C
%
o
w

w
i
l
l

y
o
u

u
s
e

i
t
I
D
- will use the explanations and examples of the themes of death and resurrection
in my research paperE howe)er, - will support this information by usin @uotes
from my primary source. - also found one critic at the end of the section who
a)e ood information for my introductory pararaph.
Jane Doe
Mrs. Waters
World Literature
August 31, 2006
Annotated Biliogra!"#
S#molism in Lord o$ t"e %lies
Use !imes New Roman, "# point font
!itle is N$! bold, underlined, or a different font or type si%e. It
is the same as the rest of the bibliography.
!itle: &ouble'(paced and Centered
3iblioraphic
-nformation
)eading: &ouble'spaced
Sample Annotated Bibliography
&ri$$it", &eorge '. (William &olding.) *ovels $or Students. +ds. S"er#l ,i--arelli and Marie
Rose *a!ier.o/s.i. 'ol. 13. Detroit0 &ale, 1111.
2"is arti-le dis-usses t"e man# s#mols o$ Lord o$ t"e %lies. 3t names t"e -on-" s"ell as
/ell as t"e east as t/o evident s#mols. 2"e arti-le also dis-usses t"emes o$ t"e novel
and gives a-.ground in$ormation regarding "o/ t"e aut"or develo!ed t"e idea o$ t"e
novel. 2"e arti-le is $rom *ovels $or Students, a -redile sour-e sin-e &ale, a re!utale
!ulis"er, !ulis"es it. 2"e oo. is also $ound in t"e s-"ool lirar# and is re-ommended
# m# tea-"er. 2"e arti-le /as originall# !rinted in an a-ademi- 4ournal /"i-" also
s"o/s its -rediilit#. 2"e dis-ussion o$ s#mols in t"e novel !ertains to m# general to!i-,
ut t"e dis-ussion -entered on demo-ra-# and t"e -on-". 2"ere$ore, 3 need more
in$ormation on t"e s!e-i$i- s#mol o$ t"e e#eglasses.
2elgen, Diane. (S#molism in Lord o$ t"e %lies.) 2/entiet" ,entur# 3nter!retations o$ Lord o$
t"e %lies. +d. 5arold Bloom. *e/ 6or.0 5ar!er, 1117. 389:2.
Taking %otes
0ow that a preliminary outline has been prepared and specific areas of consideration ha)e been
established, read intensi)ely those sources that contain information relati)e to the wor&in
outline and bein ta&in notes.
3e selecti)e.
3e accurate
Read critically. =o not assume that e)erythin you read is truthful or )alid.
There are se)eral ways to record and compile notes when conductin research, includin
handwritten note cards, photocopyin, hihlihtin, downloadin, and cuttin and pastin. #n
explanation of note ta&in usin note cards is pro)ided in this uide. 1se the note taking
system prescribed by the teacher.
1sing irect 2uotations and Paraphrasing
irect 2uotationsB #ccordin to the !"#, 'hen you belie)e that some sentence or passae
in its oriinal wordin miht ma&e an effecti)e addition to your paper, transcribe that material
exactly as it appears, word for word, comma for comma C;8D.
(nclose all direct @uotations in @uotation mar&s, e)en on your note cards.
Copy the @uotation exactly as it appears in the oriinal source, includin spellin,
internal punctuation, and capitali5ation.
<
s
e

h
a
n

i
n

i
n
d
e
n
t
s
B


*
s
t

l
i
n
e

o
f

e
n
t
r
y

i
s

l
e
f
t

A
u
s
t
i
f
i
e
d
E

a
l
l

o
t
h
e
r
s

a
r
e

i
n
d
e
n
t
e
d

f
i
)
e

s
p
a
c
e
s
s
u
m
m
a
r
y
a
s
s
e
s
s
m
e
n
t
r
e
f
l
e
c
t
i
o
n
=ouble9space between entries and within entry
6
n
d

(
n
t
r
y
3ein your second annotation here.
To identify a normally underlined title when it appears within an underlined title, the title within is
neither underlined nor enclosed in @uotation mar&s.
-f you are certain the oriinal contains an error, use the word sic Cfrom the "atin for thus
or soD to let the reader &now that the error is accurately reproduced. Refer to the section
on Alteration o! 2uoted 3aterial on pae *: for information on how to use sic.
ParaphrasingB To paraphrase a passae, restate the material in your own words. Read the
material carefully, absorb the idea, close the boo&, and write the idea in your own words. Chec&
your )ersion aainst the oriinal to ma&e sure you ha)e accurately and completely con)eyed
the author$s ideas.
=o not use more than three .ords in succession from the oriinal source.
=o not follow the identical structureJsentence patternCsD of the oriinal passae or simply
chane the order of the words in the sentence.
=o not distort the meanin of the oriinal passae.
o use @uotation mar&s to identify any uni@ue term or phraseoloy retained in the
paraphrase.
Note "ards
'hile writin note cards from sources, &eep these uidelines in mindB
'rite only on the front of cards.
#ddress only one idea per card.
'rite the appropriate slu from the wor&in outline at the top of the index card to
indicate the subAect.
'rite the first item i)en on your biblioraphy card Cauthor$s name, editor$s name, or
article titleD on the bottom of the card.
<se @uotation mar&s for exact @uotations.
Gi)e e*act pae numberCsD for print sources.
Note: !he teacher may re*uire you to write n. pag. to indicate +no pagination, for sources that do not
ha-e pages .e.g., the Internet/.
/eneric #*ample o! a Note "ard,
Actual Note "ard #*ample +, irect 2uotations
*. <se a slu from the preliminary outline to describe the content of the note card.
Slug $rom Wor.ing ;utline
<Main idea o$ t"e -ard=
>uote or !ara!"rase $rom t"e sour-e is /ritten on t"e od#
o$ t"e -ard. Be sure to use ?uotation mar.s $or dire-t
?uotations, and ?uote t"e original exactly as it a!!ears,
using e@a-t s!elling and !un-tuation.
Aut"orAs last name and !age numer
<no -omma=
Anglo4Sa*on Li!e
-llness and disease remained in constant
residence. Tuberculosis was endemic, and so
were scabrous s&in diseases of e)ery &indB
abscesses, can&ers, and scrofula. . . . "epers. . .
Kli)edL on the outs&irts of )illaes and cities.
Chua9(oan ;2
1
3
:
B
2
6. <se @uotation mar&s to indicate a direct @uotation.
:. <se ellipsis pointsM to indicate that words ha)e been omitted.
;. <se s@uare brac&ets or interpolationM to indicate that a word has been chaned from the
oriinal.
1. 'rite the author$s last name and the exact pae with no comma. -f there is no author,
use the first item on your biblioraphy card Ceditor, article title, boo& titleD.
0Note: (ee the section on the Alteration of Quoted Material on page "1.
Actual Note "ard #*ample -, Paraphrasing
Read the oriinal passae that follows. The source of this passae is the essay N-s TF
3rutali5in Hour ChildIN by (liot #. =aley in 2reedom of &ilemma. 0otice how the information
contained in the passae is transferred to the note card.
Original Passage,
Throuh tele)ision, our childrenOs li)es are inundated with death and disaster one moment, tri)ia
and banality the next, cemented toether with the sixty9second mortar of manipulation and
materialism. -n the matter of )iolence alone, their formati)e years are bathed in blood. 'riters
ha)e amply documented the depressin statisticsB The TF stations of one city carried in one
wee& 2,,,2 acts of )iolence. ?ne episode of a western series arnished Christmas niht with :
homicides. 3etween the aes of 1 and *;, your children and mine may, if they are a)erae
)iewers, witness the annihilation of *6,777 human beins.
Note card .ith a paraphrase and a direct $uotation,
Plagiarism
'riters$ facts, ideas, uni@ue phraseoloy, and sentence structure should be rearded as their
property. Any person .ho uses a .riter5s ideas .ithout gi%ing due credit through
documentation is guilty o! plagiarism)
*. =ocument both paraphrases and direct @uotations.
6. <se @uotation mar&s for directly @uoted material.
:. =o not use more than three .ords in succession from the oriinal source.
-n decidin whether or not to document, as& this @uestionB
(s this in!ormation common kno.ledge that a mature reader .ould most likely kno.6
-f the answer to this @uestion is yes, do not document it.
-f the answer to this @uestion is no, document it.
$ssembling %otes
Amount o! %iolence on T7
Children row up seein too much )iolence on
TF. Statistics depressin re the pre)alence of
TF )iolence. 3etween the aes of 1 and *;,
your children and mine may, if they are a)erae
)iewers, witness the annihilation of *6,777
human beins.
=aley 17
#fter you ha)e followed e)ery lead from your wor&in biblioraphy and ha)e ta&en ade@uate
notes, you are ready to bein the final phase of your wor&in outline.
*. Put all cards with the same slug in the same stac&. .or example, all cards with the
headin #mount of )iolence on TF should be placed in one stac&. Hou should ha)e as
many stac&s as you ha)e sections in your wor&in outline.
6. Read each stac& of cards and arrane them in loical order. Hou may disco)er you ha)e
some information that is irrele)ant or a section that has too little information. =o more
research, combine the content with another related stac& or section, or omit the
irrele)ant or wea& information.
:. ?rani5e the note cards in each stac& to form subtopics. #rrane these subtopics in
loical order and number each note card accordinly.
<sin your note cards, bein writin the formal outline. The maAor di)isions of your wor&in
outline will be the maAor headins of the formal outline. The subtopics you identified within each
stac& of cards will become the subheadins of your formal outline.
/eneric #*ample o! a Note "ard,
Actual Note "ard #*ample +, irect 2uotations
8. <se a slu from the preliminary outline to describe the content of the note card.
2. <se @uotation mar&s to indicate a direct @uotation.
,. <se ellipsis pointsM to indicate that words ha)e been omitted.
+. <se s@uare brac&ets or interpolationM to indicate that a word has been chaned from the
oriinal.
*7. 'rite the author$s last name and the exact pae with no comma. -f there is no author,
use the first item on your biblioraphy card Ceditor, article title, boo& titleD.
0Note: (ee the section on the Alteration of Quoted Material on page "1.
Actual Note "ard #*ample -, Paraphrasing
Slug $rom Wor.ing ;utline
<Main idea o$ t"e -ard=
>uote or !ara!"rase $rom t"e sour-e is /ritten on t"e od#
o$ t"e -ard. Be sure to use ?uotation mar.s $or dire-t
?uotations, and ?uote t"e original exactly as it a!!ears,
using e@a-t s!elling and !un-tuation.
Aut"orAs last name and !age numer
<no -omma=
Anglo4Sa*on Li!e
-llness and disease remained in constant
residence. Tuberculosis was endemic, and so
were scabrous s&in diseases of e)ery &indB
abscesses, can&ers, and scrofula. . . . "epers. . .
Kli)edL on the outs&irts of )illaes and cities.
Chua9(oan ;2
1
3
:
B
2
Read the oriinal passae that follows. The source of this passae is the essay N-s TF
3rutali5in Hour ChildIN by (liot #. =aley in 2reedom of &ilemma. 0otice how the information
contained in the passae is transferred to the note card.
Original Passage,
Throuh tele)ision, our childrenOs li)es are inundated with death and disaster one moment, tri)ia
and banality the next, cemented toether with the sixty9second mortar of manipulation and
materialism. -n the matter of )iolence alone, their formati)e years are bathed in blood. 'riters
ha)e amply documented the depressin statisticsB The TF stations of one city carried in one
wee& 2,,,2 acts of )iolence. ?ne episode of a western series arnished Christmas niht with :
homicides. 3etween the aes of 1 and *;, your children and mine may, if they are a)erae
)iewers, witness the annihilation of *6,777 human beins.
Note card .ith a paraphrase and a direct $uotation,
Plagiarism
'riters$ facts, ideas, uni@ue phraseoloy, and sentence structure should be rearded as their
property. Any person .ho uses a .riter5s ideas .ithout gi%ing due credit through
documentation is guilty o! plagiarism)
;. =ocument both paraphrases and direct @uotations.
1. <se @uotation mar&s for directly @uoted material.
8. =o not use more than three .ords in succession from the oriinal source.
-n decidin whether or not to document, as& this @uestionB
(s this in!ormation common kno.ledge that a mature reader .ould most likely kno.6
-f the answer to this @uestion is yes, do not document it.
-f the answer to this @uestion is no, document it.
$ssembling %otes
#fter you ha)e followed e)ery lead from your wor&in biblioraphy and ha)e ta&en ade@uate
notes, you are ready to bein the final phase of your wor&in outline.
;. Put all cards with the same slug in the same stac&. .or example, all cards with the
headin #mount of )iolence on TF should be placed in one stac&. Hou should ha)e as
many stac&s as you ha)e sections in your wor&in outline.
1. Read each stac& of cards and arrane them in loical order. Hou may disco)er you ha)e
some information that is irrele)ant or a section that has too little information. =o more
research, combine the content with another related stac& or section, or omit the
irrele)ant or wea& information.
8. ?rani5e the note cards in each stac& to form subtopics. #rrane these subtopics in
loical order and number each note card accordinly.
Amount o! %iolence on T7
Children row up seein too much )iolence on
TF. Statistics depressin re the pre)alence of
TF )iolence. 3etween the aes of 1 and *;,
your children and mine may, if they are a)erae
)iewers, witness the annihilation of *6,777
human beins.
=aley 17
<sin your note cards, bein writin the formal outline. The maAor di)isions of your wor&in
outline will be the maAor headins of the formal outline. The subtopics you identified within each
stac& of cards will become the subheadins of your formal outline.
$ssembling %otes for the %ote Card &ethod:

Part Two: Writing the Paper
Writing the Formal Outline
.ollow these steps in de)elopin the formal outlineB
ibliograph!
Cards
,7:.1*
?us
?usby, -an. The Cambride Guide to
"iterature in (nlish. CambrideB
Cambride <P, *++:.
,6:.+6
3lo
Gilbert, Sandra !., and Susan Gubar.
The Genesis of %uner #ccordin
to Shirley. !odern Critical FiewsB
The 3rontes. (d. %arold 3loom.
0ew Hor&B Chelsea, *+,2. *7+9
*:7.
,*6.7;
Tuc
Smith, -an. Thomas %ardy. The Critical
Temper. (d. !artin Tuc&er. Fol. 1.
0ew Hor&B Continuum, *+,+.
11
#fter readin the selected
sources and ta&in careful
notes, bein to sort the
note cards by the slus or
di)isions from the wor&in
or preliminary outline. Put
all li&e ideas in one stac&.
Read and re9readE sort and
sub9sort. #fter studyin
the notes from the
sources, bein to
incorporate these ideas
into the plan of the
research paper.
Note "ards
Feminine Roles

interestin info. interestin info interestin info.
interestin info interestin info. interestin info
interestin info. interestin info
Smith :16
#nglish li!e
interestin info. interestin info interestin info.
interestin info interestin info. interestin info
interestin info. interestin info
Smith :;+
7ictorian (deals
>uote oes here >uote oes here >uote oes
here >uote oes here >uote oes here >uote
oes here >uote oes here >uote oes here
>uote oes here
interestin info
Gilbert and Gubar :,
Lucy5s Attitude
>uote oes here >uote oes here >uote oes
here >uote oes here >uote oes here >uote
oes here >uote oes here >uote oes
here>uote oes here
?usby ;82
Feminine Roles
>uote oes here >uote oes here >uote oes
here >uote oes here >uote oes here >uote
oes here >uote oes here >uote oes here
>uote oes here
?usby 6,*
egin the formal outline for the
paper
+) 3ein with the proper headin on the top left.
-) Create a wor&in title and use it as the title o! the outline.
8) 'rite the thesis statement under the title.
9) =o not outline the introduction or conclusion.
:) <se maAor di)isions from the notes as the maAor di)isions in the outline.
;) (ndent subtopics one9half inch Cor tab onceD so all letters or numbers of the same &ind
line up directly under one another.
<) Capitali5e only the first letter of the first word in a main topic or subtopic, with the
exceptions of proper nouns and proper adAecti)es.
=) =o not use a period at the end of e)ery line unless .riting a sentence outline.
>) <se a minimum o! t.o parts when it is necessary to subdi)ide. .or example, an A
subtopic must be followed by a B subtopic, and a + subtopic must be followed by a -
subtopic.
+?) 3e consistent in maintainin rammatical parallel structure.
++) ouble4space the entire outline)
The followin outline illustrates a detailed scheme, consistent in its use of short phrases in
parallel structure.
4ane =oe
!r. 'aters
(nlish *7*
!ay 6*, 6778
The -mplications of Fiolence in Tele)ision
ThesisB The tele)ision industry, the o)ernment, and the public should monitor prorammin
and appeal to the .ederal Trade Commission C.CCD for reater controls because of the
correlation between tele)ision )iolence and crime statistics)
-. #mount of )iolence on tele)ision
#. Physical altercations
*. .ihts as a solution
6. =ata on number of murders
3. Ferbal altercations
*. Profanity instiatin conflict
6. Threats to do harm
--. -mplications of tele)ision )iolence
#. Psycholoical influences
3. !oral dilemmas
C. Statistics on )iolence
*. Crime rates
6. Case histories
Sample ?utline
0o header on
outline paeCsD
---. Ratins race amon networ&s
#. >uest for audience
*. !ore )iolence
6. !ore spectacular crime
a. Graphic murders
b. Grotes@ues situations
3. =isreard for traditional human )alues
-F. 0eed for controls
#. Self9reulation, a first choice
3. Censorship, a second choice
Writing the First 'raft
'ith the outline and note cards at hand, write the first draft. -t is important to arrane the
information in loical order. The openin pararaph is important because it introduces the
subAect, sets the tone, states the thesis, and pro)ides the reader with ade@uate bac&round
information.
As you .rite the !irst dra!t' document all direct $uotations and paraphrasing)
(ntegration of )uoted &aterial
()en thouh ood @uotations are essential to a successful research paper, do not rely too
hea)ily on the direct @uotation. Some student papers are little more than a series of
disconnected direct @uotations. (xcessi)e @uotin indicates that the writer has not assimilated
the material and interated it into a readable, distinct, indi)idual wor&. To a)oid this problem, be
selecti)e in the use of direct @uotationsE instead, use paraphrasin when appropriate.
Lead4ins
Always use correct lead4ins for direct @uotations. The lead9in lin&s the @uotation to the text
that surrounds it in the paper.
There are three types o! lead4ins,
Somebody
says'
Sentence,
3lended
Punctuate as
dialoue.
<se synonyms of
the )erb to say when
possible.
Remember the
@uotation must be a
complete sentence.
1se a comma)
!a&e sure both the
lead9in and the @uotation
are complete, correct
sentences.
Begin the $uotation
.ith a capital letter)
1se a colon)
!a&e the @uotation a
rammatical part of your
sentence.
o not use a comma
or a capital letter unless it
.ould be called !or by the
structure o! your sentence)
o not use ellipses at
the beginning or end)
Ne%er drop a $uotation into a sentence or a paragraph .ithout a proper lead4in)
Do this:
#ee points out that many teachers belie)e rules stifle spontaneity, resultin in a de9emphasis in the
instruction of rammar in the modern classroom C*7D.
Never Do This: There has been a de9emphasis of rammar instruction in the modern classroom) !any
teachers belie)e rules stifle spontaneity C#ee *7D.
()ery A has a BE e)ery + has a -.
#*amples,
Note: &o not use the author3s name as a possessi-e and then ma4e reference with a personal
pronoun.
Do this:
-n The Grapes of 'rath Steinbec& comments, There rew up o)ernments in the world, with
leaders, with elders C68+D.
Never do this:
-n Steinbec&$s no)el, he says, There rew up o)ernments in the world, with leaders, with
elders C68+D.
$lteration of )uoted &aterial
-t is sometimes necessary to chane a @uotation to fit it into the text of the paper. The correct
way to alter @uoted material is to use ellipses andJor interpolation.
"orrect 1se o! #llipses
<se ellipsis points to indicate that somethin has been omitted from the oriinal source.
Rules for usin ellipsesB
*. The resultin sentence must still be a complete sentence, e)en with the omission.
#*ample,
$riginal 5assageB Robert .rost created somethin li&e an academic clichP when he
once said that writin free )erse is li&e playin tennis with the net down.
6uotation with ellipsis: #ccordin to 4ane 'illiams, Robert .rost . . . once said that
writin free )erse is li&e playin tennis with the net down C61*D.
6. -f the ellipsis falls at the end of the sentence Cin other words, the @uotation ends before
the end of the oriinal writer$s sentenceD, use three periods Cor ellipsis pointsD with a
space before each, and place a period after the final parenthesis of the parenthetical
documentation.
#*ample,
$riginal 5assageB Robert .rost is rearded as a poet of 0ew (nland, e)en thouh he
was born in San .rancisco.
6uote with ellipsis at the end:
4ones notes, Robert .rost is rearded as a poet of 0ew (nland . . . C6*:D.
:. -n a loner @uotation with an omission from the middle of one sentence to the end of
another, use four periods Cor ellipsis pointsD, three to indicate the omission and one to
indicate the sentence end.
#*ample,
4ac& becomes more of an animal as the no)el proressesB 4ac& was bent double. %e
was down li&e a sprinter. . . . Then do9li&e, uncomfortably on all fours . . . he stole
forward and stopped. . . . %e closed his eyes, raised his head and breathed in ently
with flared nostrils CGoldin :1D.
Jane Agee -omments, (Man#
students /"o /ould not "ave
attem!ted -ollege seven #ears
ago are no/ -oming into state
universities t"roug" 4unior
-olleges) <10=.
Agee insists t"at +nglis"
instru-tion on t"e -ollege
level /ill not im!rove until
edu-ators e-ome realisti-0
(Culi- s-"ool tea-"ers need
to sit do/n and evaluate t"e
situation) <12=.
State universities are no/
!roviding (s!e-ial remedial
!rograms) in /"i-" students
/"o do not meet t"e (entran-e
re?uirements are admitted on
!roation) <Agee 13=.
Note: 2or poetry, see Special Cases for iterary !or"s on page "7.
N#7#R 0e)er use ellipsis points at the beinnin or endin of a blended @uotation.
0e)er use ellipsis points at the beinnin of a @uotation.
ALWA@S #lways use ellipsis points when you remo)e words from within the oriinal
writer$s sentence.
FOR3AT <se ellipsis points with a space before and after each.
"orrect 1se o! (nterpolation
<se interpolation, indicated by s@uare brac&ets K L, when a chane of the @uoted material is
necessary.
Four situations re$uire interpolationB
+) "apitali0ation, <se interpolation to chane a lower case letter in the oriinal to an
uppercase letter in the research paper or to chane an upper case letter to lower case.
#*ample,
Shelley wrote, K<Lnless )irtue be nursed by liberty, it will ne)er attain due strenth . . .
C*+*D.
C-n the oriinal @uotation, the word unless is the sixth word in the sentence.D
-) Tense shi!t, <se interpolation to chane the tense of a )erb when necessary.
#*ample,
4ac& becomes more of an animal as the no)el proressesB Then do9li&e,
uncomfortably on all fours, . . . he KstealsL forward and KstopsL . . . CGoldin :1D.
8) Pronoun antecedent, <se interpolation to supply a proper name for a pronoun.
#*ample,
!ore than any other Romantic, he K3yronL belie)ed in freedom Cde>uincy :7,D.
9) 1nclear pronoun re!erence, <se interpolation to clarify )aue pronoun references and to
supply necessary information.
#*ample,
#ccordin to economists Robert %ahn and Paul Tetloc&, Some studies say they Khands9
free phonesL would ha)e no impact on students C6D.
1se o! the term Sic
<se the word sic Cfrom the "atin meanin thus or soD to let the reader &now that an error in
spellin or rammar in a direct @uotation is accurately reproduced.
Place the word KsicL in brac&ets immediately followin the error
#*ample,
#ccordin to 'illiams, %e K%eminwayL was referred to as %eminway KsicL in the
speech C;6:D.
=o not use this term for 3ritish spellin, such as colour, theatre, rey.
Special Cases for Literar! Works
Block 2uotations
<se bloc& @uotations to set off a lare portion of @uoted material.
Rules !or using block $uotationsB
*. <se bloc& format when there are more than four typewritten lines of prose, three lines of
poetry, or three lines of a )erse drama Csuch as Sha&espeare$s playsD.
6. -ndent ten spaces from the left Ctab twiceD.
:. #dd no @uotation mar&s that do not appear in the oriinal text.
;. Place end punctuation #efore parenthetical documentation.
#*ample,
(ducators express reat concern reardin the academic @uality of students who are
raduatin from #merica$s hih schoolsB
Perhaps the first reality that should be examined is the decline of literacy. #re
collee9bound students less literate todayI -f one accepts declinin S#T scores
as )alid indicators, the answer seems to be yes. -n 6777 the a)erae national
)erbal score on the S#T was 121. -n 6771 it was 187) CSmith *62D
Poetry and ramatic 7erse Asuch as Shakespearean dramaB
-ncorporate one to three consecuti)e lines of poetry or dramatic )erse into the text.
<se a slash J with a space before and after the slash to indicate a line chane.
Retain the oriinal capitali5ation and punctuation.
Gi)e the line numberCsD for poetry. The first parenthetical reference should use the word
line or lines, but subse@uent references re@uire only line numbers.
#*ample,
-n #c@uainted with the 0iht, nature often appears as somethin apart from man, an
adAunct to his en)ironment. .rost comments, ?ne luminary cloc& aainst the s&y J
Proclaimed the time was neither wron nor riht Clines *69*:D. Similarly, nature stands
apart from the spea&er in Stoppin by 'oods on a Snowy ()enin as he obser)es
KtLhe dar&est e)enin of the year C,D.
Note: If the indi-idual poem is not identified within the tet, it is necessary to include the poem title in the
parenthetical reference.
.or dramatic )erse, i)e the act, scene, and line numberCsD in the parenthetical
documentation.
*. <se #rabic numerals unless instructed otherwise. C:.1.*189*1+D.
6. .our or more lines should be bloc& @uoted.
#*ample Athree or !e.er linesB,
-n Sha&espeare$s !acbeth, "ady !acbeth says of her husband, Het - do fear thy
natureE J -t is too full o$ the mil& of human &indness J To catch the nearest way C*.1.*;9*8D.
#*ample A!our or more linesB,
(arly in the play, -ao characteri5es ?thello as a beastB
The !oor is of a free and open nature,
That thin&s men honest that but seem to be so,
#nd will as tenderly be led by the nose
#s asses are. CSha&espeare, ?thello *.:.;7197,D
#ct
Scene
"ineCsD
T
a
b

t
w
i
c
e

C
*
7

s
p
a
c
e
s
D
3e sure to retain the
oriinal capitali5ation
and punctuation
Note the placement of the
period
Note: 2urther references to this play, pro-ided it is the only play being *uoted, would omit #oth author$s
name and title and use only the numerical designations for act, scene, and lines.
For dialogue' !ormat as !ollo.s,
"ear loses the final symbol of his former power, his soldiersB
G?0(R-") %ear me, my lord.
'hat need you fi)e9and9twenty, ten or fi)e,
To follow in a house where twice so many
%a)e a command to tend youI
R(G#0) 'hat need oneI
"(#R) ?, reason not the needQ C6.;.61;9,D
Note: 8ll dialogue, regardless of line length, is bloc4 *uoted.
Block 2uotation #llipsis
The omission of a line or more within a poetry or dramatic )erse @uotation that is set off from the
text is indicated by a line of spaced periods approximately the lenth of a complete line of the
@uoted poemB
#*ample,
"anston %uhes$s !other to Son reflects contemporary dialectB
So, boy, don$t you turn bac&.
. . . . . . . . . . . . . . . . . . . . . . . .
.or -$se still oin$, honey,
-$se still climbin$
#nd life for me ain$t been no crystal stair. Clines *;, *,967D
Work di%ided into cantos
#*ample,
The ominous inscription on the ate to the underworld, #bandon e)ery hope, you who
enter here C=ante :.+D, foreshadows the sufferin souls which the two are about to
encounter in hell.
.Note: !he % is the canto& and the ' is the line num#er/
2uotation .ithin a $uotation
<se sinle @uotation mar&s to enclose a @uotation within a @uotation.
#*ample,
3ronte writes, She felt small trouble reardin any subAect, sa)e her own concerns.
R?h, dearQ$ she cried at last. R-$m )ery unhappy$ C2+D.
Punctuation Reminders
Place commas and periods inside @uotation mar&s.
Place semicolons and colons outside @uotation mar&s.
Place @uestion mar&s and exclamation mar&s inside @uotation mar&s when they are part of the
@uoteE place them outside the @uotation mar&s if they are part of your sentence.
I
n
d
e
n
t

s
u
b
s
e
q
u
e
n
t

l
i
n
e
s

3

s
p
a
c
e
s
Parenthetical *or (nternal+ 'ocumentation ,uidelines
!aterial ta&en from an outside source is referenced in parentheses in the text of the paper.
These references are called parenthetical documentation.
Whene%er paraphrasing or $uoting' identi!y in parentheses the author and page
numberAsB o! the source)
#*ample +B
This comedy has been hihly acclaimed by literary criticsB Twelfth 0iht is the most nearly
perfect festi)e comedy that Sha&espeare wrote CSchwart5 17+D.
(! no author or editor is gi%en' use the title and page numberAsB)
#*ample -,
Twelfth 0iht has more playfulness than any other of Sha&espeare$s comedies C#naly5in
%umorous Plays 8D.
The author5s name 31ST be either in the lead4in or in the parenthetical
documentation' but ne%er in both)
#*ample 8B
Schwart5 contends, Twelfth 0iht is the most nearly perfect festi)e comedy that
Sha&espeare wrote C17+D.
or
?ne critic contends that Twelfth 0iht is the most nearly perfect festi)e comedy that
Sha&espeare wrote CSchwart5 17+D.
Adhere to these guidelines in preparing parenthetical documentation,
+) <se parenthetical documentation to lead the reader to the e*act page cited.
-) Match e(actly the documented sources in the research paper to the sources listed on
the Works "ited pae.
8) Place the parenthetical documentation as close as possible to the information it
documents, usually at the end o! a sentence)
9) Place parenthetical documentation be!ore the comma or period.
:) <se transitional expressions to lin& se)eral paraphrased sentences from the same
source so the flow of the pararaph is not interrupted by excessi)e parenthetical
documentation.
;) Place the parenthetical documentation between the closin @uotation mar&s and the end
punctuation if a direct @uotation occurs at the end of a sentence.
#*ample,
G. /. %unter reards the son as an extended comment on the central ideas of the play C*77D.
Note: 2or three'digit page numbers in parenthetical documentation, gi-e only the last two digits of the
second number unless more are necessary, for eample #"9'"" or 1:7';9".
Format for Parenthetical 'ocumentation
). *oo" with one author: C3urns ;,D.
+. *oo" with two or three authors or editors: C#shby and #nderson 1;D.
C%aan, Case, and Carson +8D.
%. *oo" with four or more authors or editors: <se the last name of the first author or editor
listed followed by et al. C#ppleate, et al. ,89,,D.
,. Source without an author-s name: The title of the wor& or article replaces the authorOs name
in parenthetical documentation. C3eowulf line 1D. C#rtful #rtlessness *:6D.
Note: <ou may use an abbre-iated form of the title for longer titles.
.. !or" of more than one volume:
a.D -f referrin to only one )olume of a multi9)olume wor&, i)e author and pae numberCsD
in parenthetical documentation. The )olume number will appear in the 'or&s Cited entryB
C3radley ;*89*,D.
b.D 'hen referrin to more than one )olume of a multi9)olume wor&, i)e author, )olume
number, and pae numberCsD in parenthetical documentationB
C#brams 6B 8:*D.
/. Two or more wor"s #y the same author: Place a comma after the authorOs name and i)e
the title of the source Cor an abbre)iated )ersionD and the pae numberCsDB
CRosenfeld, The Sherwood #nderson Reader ;1D.
CRosenfeld, #ndersonOs Secular Symbolism *78D.
0. Citing more than one source in a single parenthetical reference: -f you need to include two
sources in a sinle parenthetical reference, cite each wor& as you normally would and use a
semicolon to separate themB
CCraner ;6E !cRae *7*9::D.
1. 2ndirect source: ?riinal sources are preferred. Sometimes, howe)er, only an indirect source
is a)ailable99for example, someoneOs published account of anotherOs spo&en remar&s. -f the
material that is @uoted or paraphrased is itself a @uotation, use 3td. in C@uoted inD before the
indirect source cited in the parenthetical documentation.
4(ample:
'ells discusses with accuracy the distressin picture of his first marriae, callin it a
hopeless union C@td. in Fallentin +7D.
%ere, =ells is the indirect source, the person who actually made the comment, but the comment
was found in a wor& by Fallentin. >allentin?s name and his wor& will appear on the 'or&s Cited
pae.
Note: (ee number "@ on page #1 for an eample of an indirect *uotation with a wor4s cited entry.
'. !or" #y a corporate author: <se the corporate name either in parenthetical documentation
or in the lead9in. -f the corporate name is lon, refer to it in the lead9in.
4(ample:
The Commission on #boriinal Cultures has suested in its most recent publication that the
cultural e)olution of #ustraliaOs aboriinal inhabitants is still in proress C+6D.
)5. Citing electronic sources: <se the authorOs last name and pae number Aust as with printed
sources. -f no author is shown, use the article title. -f no pae number is a)ailable, omit the
pae number entry. See the section on (nternet Sources on pae 61 for more information.
Note: If you use a series of two or more consecuti-e references to the same source, the
author3s or editor3s name need appear only in the first documentation. (ubse*uent references
show only the page number.s/ until a new source is used.
Preparing the Works Cited Page
The wor&s cited section of a research paper is usually the last pae of the paper and is titled
'or&s Cited. This pae lists the sources that are actually used in the paper. &o not include
sources that do not appear in the parenthetical documentation in the paper.
Center the pae title, 'or&s Cited.
#lphabeti5e entries on the 'or&s Cited pae usin the author$s last name or the first
word of the title Cnot includin articles the, a, or anD.
Do not number the entries in the 'or&s Cited pae.
=ouble9space the entire 'or&s Cited paeCsD and number the paesCsD in se@uence with
the rest of the paper.
<se hanging indentationE that is, each entry on the pae beins at the left marin with
subse@uent lines of that entry indented fi)e spaces Ctab onceD.
<se shortened forms of publishers$ names. .or example, show %arcourt as the
publisher$s name, e)en thouh it may appear as %arcourt 3race on the title pae of the
source. ?mit articles Ca, an, theD, business abbre)iations CCo., Corp., Inc., Ltd.D, and
descripti)e words CAoo4s, )ouse, 5ress, 5ublishersD. 'hen citin a uni)ersity press,
use <P C%ar)ard <PD. 'hen citin the publisher, use the last name alone.
#*amples,
'. '. 0orton would be listed as 0orton
<ni)ersity of Chicao Press would be < of Chicao P
Note: Blectronic sources display an internet address called the +URL., Remo-e hyperlin"ing from the
URL by typing Ctrl67 or Command67 as soon as the hyperlin4 appears.
Sample "ntries for the Works Cited Page - ibliograph! Cards
(. ooks
This list shows the possible components of a boo& entry and the order in which they are
normally arranedB
+) #uthor$s name Cif i)enD
-) Title of a part of the boo& Cif applicableD
8) Title of the boo&
9) 0ame of the editor, translator, or compiler Cif applicableD
:) (dition used Cother than the first editionD
;) 0umberCsD of the )olumeCsD used Cif applicableD
<) 0ame of the series Cif applicableD
=) Place of publication. -f place is not shown, use N) p)
>) 0ame of publisher. -f publisher is not shown, use n) p)
+?) =ate of publication. -f date is not shown, use n )d)
++) Pae numbers Cif applicableD. -f the source has no pae numbers, end the citation with
N) pag)
). *oo" with one author
3urns, ?li)e #nn. Cold Sassy Tree. 0ew Hor&B Tric&nor, *+,;.
+. *oo" with two or three authors or editors
#shby, (ric, and !ary #nderson. The Rise of the Student in 3ritain. CambrideB %ar)ard <P,
*+27. Note: 8dd eds. when using editors, e g., Smith, 4ohn, and !ary 'inston, eds./
%. *oo" with four or more authors or editors
Sebrane&, Patric&, et al. 'rite for Collee. 'ilminton, !#B 'rite Source, *++2.
Sieel, !ar&, et al., eds. Gamblin. 'ylie, TexasB -nformation Plus, *++;.
,. 4ssay in a collection
Trillin, =iana. The -mae of 'omen in Contemporary "iterature. The 'oman in #merica.
(d. Robert 4ay "ifton. 3ostonB %ouhton, *+81. ;6917.
Note: 8n essay in a collection re*uires the eact page numbers on which the essay is found.
.. !or" in an anthology
%ansberry, "orraine. # Raisin in the Sun. 3lac& TheaterB # Twentieth9Century Collection of the
'or& of -ts 3est Playwrihts. (d. "indsay Patterson. 0ew Hor&B =odd, *+2*. 66*928.
%uhes, "anston. !other to Son. The Complete 'or&s of "anston %uhes. (d. 4ohn Smith.
#tlantaB Random, 677:. *;8.
/. 4dited literary wor"
Sha&espeare, 'illiam. %amlet. (d. Geore "yman /ittrede. CambrideB %ar)ard <P, *+:+.
0. 4dition other than the first
3ailey, Sydney =. 3ritish Parliamentary =emocracy. :
rd
ed. 3ostonB %ouhton, *+2*.
1. Translation
%esse, %ermann. 3eneath the 'heel. Trans. !ichael Roloff. 0ew Hor&B .arrar, *+8,.
'. 2ntroduction& preface& foreword& or afterword
%owe, -r)in. -ntroduction. ?li)er Twist. 3y Charles =ic&ens. 0ew Hor&B 3antam, *+,6. ix9xix.
Note: =hen the author of the boo4 and the author of the introduction, preface, or afterword are the
same person, write the entry this way:
3ores, 4ore "uis. .oreword. Selected Poems, *+:69*+82. 3y 3ores. (d. 0orman Thomas
=i Gio)anni. 0ew Hor&B =elta9=ell, *+2:. x)9x)i.
)5. *oo" in a series
'riht, Re, ed. 'omen 'riters. Great 'riters of the (nlish "anuae Series ,. 0ew Hor&B
Ca)endish, *+,+.
)). 4ssay in a #oo" that is a series 8such as Ta"ing Sides and 9pposing :iewpoints;
Centerwall, 3randon S. Tele)ision and Fiolent Crime. Ta&in SidesB Clashin Fiews on
Contro)ersial -ssues in Childhood and Society. (ds. Robert ". =elCampo and =iana S.
=elCampo. Guilford, CTB =us&in, 677:. *,79*,2.
)+. Signed article in a reference wor"
Trainen, -saac 0., et al. Reliious =irecti)es in !edical (thics. (ncyclopedia of 3ioethics.
(d. 'arren T. Reich. Fol. ;. 0ew Hor&B .ree, *+2,.
Note: If the article is unsigned, use the title of the article as the lead to the entry.
)%. <eprinted articles or essays in a reference #oo" 8for e(ample& /ale sources;
Gi)e the oriinal source information Cwhere did article or essay originally appearID as
stated in the )olume you are usin. This information is often at the end of the article or
essay.
#dd Rpt. in Cwhich stands for <eprinted inD
.ollow this with the biblioraphic information for the actual reference boo& you ha-e in
hand.
#*amples o! reprinted materials,
3odenheimer, Rosemarie. 4ane (yre in Search of %er Story. !odern Critical FiewsB The
3rontes. (d. %arold 3loom. 0ew Hor&B Chelsea, *+,2. *119*8,. Rpt. in 0ineteenth Century
"iterature Criticism. (d. "aurie "an5en %arris. Fol. 8. =etroitB Gale, *+,,. ;71978.
Chalmers, %unter. Thoreau$s 'laden. !odern "iterary Studies. *6.2 C677:DB *6962. Rpt. in
Contemporary "iterary Criticism. (d. =eborah #. Stanley. Fol. ++. =etroitB Gale, *++2.
*,:9,;.
),. !or" of more than one volume
A) 1sing one %olume o! a multi4%olume .orkB State the number of the )olumeE i)e
publication information for that )olume alone. Gi)e only pae numbers when you refer
to that wor& in the text. The parenthetical documentation i)es the author and pae.
#*ample,
=oyle, #rthur Conan. The ?xford Sherloc& %olmes. (d. ?wen =udley (dwards. Fol. ,. 0ew
Hor&B ?xford <P, *++:.
B) 1sing t.o or more %olumes o! a multi4%olume .orkB State the total number of
)olumes before the publication information. Specific references to )olume and pae
numbers belon in the text.
#*ample,
The parenthetical documentation should loo& li&e thisB C=oyle :B 6*69*:D.
=oyle, #rthur Conan. The ?xford Sherloc& %olmes. (d. ?wen =udley (dwards. + )ols. 0ew
Hor&B ?xford <P, *++:.
).. Two or more wor"s #y the same author
Gi)e the author$s name in the first entry onlyE thereafter, type three hyphens in place of the
name followed by a period.
"ehan, Richard =. .. Scott .it5erald and the Craft of .iction. 0ew Hor&B Fi&in, *+88.
999. ?f %eroic Proportions in "iterature of the Twentieth Century. 0ew Hor&B Fi&in, *+82.
)/. 2ndirect source
Cite the wor& that contains the indirect @uotation, not the oriinal spea&er.
#*ample,
Samuel 4ohnson admitted that (dmund 3ur&e was an extraordinary man C@td. in 3oswell ;17D.
The 'or& Cited entry is as followsB
3oswell, 4ames. The "ife of 4ohnson. (ds. Geore 3ir&bec& %ill and ". .. Powell. Fol. 8.
?xfordB Clarendon, *+17.
)0. !or" #y a corporate author
#merican !edical #ssociation. Hou and Hour %ealth. 'ashintonB 4ossey, *+,6.
)1. Source without an author$s name
# Guide to #ustralia. SydneyB #ustralian -nformation Ser)ice, *+,6.
)'. =amphlets and #ulletins
Chafee, Paul, 4r. .reedom of Speech and Press. 0ew Hor&B Carrie Chapman !emorial .und,
*+27.
"eaue of 'omen Foters of the <nited States. Choosin the President. Publication 0o :7*.
'ashinton, *++;.
+5. Sacred te(ts
The %oly 3ibleB 0ew "i)in Translation. 0ew Hor&B =oubleday, *++8.
Note: !he titles of sacred tets are not underlined in the tet of the paper, e-en though they
are underlined on the =or4s Cited page and in parenthetical documentation.
((. Other Sources
+). 2nterviews
3urns, ?li)e #nn. -nter)iew. 0ew Hor& Times 67 4an. *+,*, late ed.B =96.
Tremont, Su5anne. Personal -nter)iew. 6: 4une *++,.
++. ectures& speeches& and addresses
3ush, Geore '. State of the <nion #ddress. The <nited States Conress. 'ashinton. :* 4an.
6778.
+%. >ilm or :ideo
The ?dyssey. =ir. #ndrei /onchalo)s&y. Perf. #rmand #ssante, Greta Scacchi, Geraldine
Chaplin, and Christopher "ee. !iramax. *++2.
+,. !or"s of art and music
3eetho)en, "udwi )an. Symphony no. 2 in #, op. +6.
=ali, Sal)ador. The Persistence of !emory. !useum of !odern #rt, 0ew Hor&.
(((. Periodicals
This list shows the possible components of an entry for an article in a periodical and the order in
which they are normally arraned.
*. #uthor$s name
6. Title of the article, in @uotation mar&s
:. Title of the periodical, underlined
;. Series number or name Cif applicableD
1. Folume number Cfor a scholarly or literary AournalD
8. -ssue number Cif applicableD
2. =ate of publication
,. (dition Cfor newspaper, if i)enD
+. Pae numberCsD
Page numbers: .or articles appearin on consecuti)e pae numbers, i)e the rane of paes Ce..,
6*2968D. 'hen the paes are not consecuti)e, i)e the number of the first pae followed by a plus sin
Ce.., *6SD. 'hen i)in a rane of numbers, i)e the second number in full for numbers throuh ++
Ce.., 6*9;,D. .or larer numbers, i)e only the last two diits of the second number unless more are
necessary Ce.., *7:97;, :+19;7*D.
ates, <se abbre)iations for the names of all months except !ay, 4une, and 4uly. -f the maa5ine is
published monthly, i)e Aust the month and year.
Ne.spapers, .ollow the uidelines abo)e but also include the section letter when i)in pae
numbers. -f an edition is specified in the masthead, include that information after the date and before
the pae numberCsD.
Articles in maga?ines or newspapers
+.. Article in a monthly maga?ine
4ac&son, !ary. -n the CommunityB Streetscape Re)i)al in #lexandria. Southern "i)in 4une
*+28B 6*79**.
+/. Article in a wee"ly or #iwee"ly maga?ine
(lson, 4ohn T. !uch #do. Time *+ 4an. *+28B *2.
+0. Signed newspaper article that appears on a single page
Turner, Renee =. %abitat for %umanityB %omes 3uilt with "o)e. #tlanta 4ournal9Constitution *7
4une 6771, final home ed.B :#.
+1. @nsigned newspaper article that appears on non6consecutive pages
.No edition specified in masthead./
%ih Court <pholds Reional 3an&in. #tlanta 4ournal9Constitution ** !ar. 6778B 36S.
+'. 4ditorial in a newspaper
Signed:
3uc&ley, 'illiam .. "essons of the #rentineB 3eware %asty 4udment. (ditorial. #tlanta
4ournal9Constitution *7 4an. 677:, final home ed.B **#.
@nsigned:
.acin the .utureB #merica$s -mmiration Crisis. #ri5ona 0ew Republic *1 0o). 6771B #*2.
%5. *oo" review
4ohnson, Paul #. # "eap in Time. Re). of Centennial, by 4ames !ichener. 0ew Hor&er 6* ?ct.
*+,*B *6*966.
Articles in scholarly or literary Aournals
%). Articles in Aournals with pages num#ered continuously throughout the year
#ldride, #.?. The Sources of %amlet. 0ew (nland >uarterly 62 C*+1;DB :,,9+*.
Note: !he number B+0C refers to the volume num#erC )'., is the year the -olume was published.
%+. Articles in Aournals with pages num#ered separately for each issue
'illiams, Gary. %ow =o Hou !o)e the !ountain in the ClassroomI 0(# 4ournal 11.: C*+88DB
:;9:8.
Note: !he ...% refers to volume ..& issue num#er %.
(/. (nternet Sources
Note: =hen a web address in a wor4s cited entry must be di-ided at the end of a line, brea4 it after a
slash. &o not insert a hyphen.
2nternet Sources with N9 print information:
Simply record the followin and put it in correct biblioraphic format.
%%. An entire we#site
Peterson, Susan "ynn. The "ife of !artin "uther. *+++. + !ar. 677* ThttpBJJpweb.netcom.comJ
UsupetersJluther.htmV.
%,. Short wor" from a we#site
Shi)a, Fandana. 3ioethicsB # Third 'orld -ssue. 0ati)e'eb. *1 Sept. 677* ThttpBJJ
www.nati)eweb.orJpaesJlealJshi)a.htmlV.
%.. 9nline #oo"
Rawlins, Greory. !oths to the .lame. CambrideB !-T P, *++8. : #pr. 677*
ThttpBJJmitpress.mit.eduJe9boo&sJ!othsJcontents.htmlV.
%/. =art of an 2nternet #oo"
#dams, %enry. =iplomacy. The (ducation of %enry #dams. 3ostonB %ouhton,
3artleby.comB Great 3oo&s ?nline. *+++. *2 .eb. 677: ThttpBJJbartleby.comJ
*1+J,.htmlV.
2nternet sources with print pu#lication information:
Print Periodicals
*. #uthor$s name
6. Title of the article
:. 0ame of periodical
;. Series number or name Cif rele)antD
1. Folume number Cfor a scholarly AournalD
8. -ssue number Cif suppliedD
2. =ate of publication
,. (dition
+. Pae numbers
-f an item is not i)en or does not apply to the
source at hand, omit it and mo)e to the next
one.
Books
*. #uthor$s name Cif i)enD
6. Title of part of the boo& Cif applicableD
:. Title of the boo&
;. 0ame of the editor, translator, or compiler
1. (dition Cif other than the firstD
8. 0umberCsD of the )olumeCsD used Cif
applicableD
2. 0ame of the series Cif applicableD
,. Place of publication
Cif not i)en write 0.p.D
+. 0ame of the publisher
Cif not i)en write n.p.D
*7. =ate of publication
Cif not i)en write n.d.D
**. Pae numbers Cif applicableD Cfor a boo&
with no pae numbers, write 0. pa.D
*. Title of the site, underlined
6. 0ame of the editor of the scholarly
proAect or database
:. =ate of the electronic publication or last
update
;. 0ame of the institution or orani5ation
sponsorin or associated with the site
1. =ate you accessed the source
8. 0etwor& address or <R" Cin anle
brac&ets T VD
M -f information is not i)en, omit the item.
*. #uthor$s name
6. Title of the document
:. Title of the site, underlined
;. 0ame of the editor of the scholarly proAect or database
1. =ate of the electronic publication or last update
8. 0ame of the institution or orani5ation sponsorin or associated with the site
2. =ate you accessed the source
,. 0etwor& address or <R" Cin anle brac&ets T VD
M-f an item is not i)en, omit it and mo)e on.
Then supply the
followin information
.irst, write the appropriate biblioraphy for
the oriinal sourceB
%0. Article in an online periodical:
'hen citin an online article, follow the uidelines for printed articles, i)in whate)er
information is a)ailable in the online source. (nd the citation with your date of access and the
<R".
=ane, Gabrielle. Readin ?phelia$s !adness. (xemplaria *7.6 C*++,D. 66 4une 6776
ThttpBJJweb.enlish.ufl.eduJenlishJexemplariaJdanefram.htmV.
%1. !or" from a Service,
The followin citations are for articles retrie)ed throuh Cobb County School =istrict
subscription ser)ices, such as (lectric "ibrary, Gale, Galileo, (ncyclopedia 3ritannica, ?pposin
Fiewpoints, (3SC?host, and S-RS /nowlede Source.
Note: Gi-e the name and location of the library through which you retrie-ed the article. 5lace this
information between the name of the ser-ice and the date of access.
=arno)s&y, !arcy. (mbryo Clonin and 3eyond. Ti&&un 4uly9#u. 6776B 6+9:6.
#cademic Search Premier. (3SC?host. Pope %ih Scool "ib., !arietta, G#. * 0o).
6776 ThttpBJJsearch.epnet.comV.
4ohnson, /ir&. The !ountain "ions of !ichian. (ndanered Species <pdate *+.6
C6776DB 62S. (xpanded #cademic -ndex. -nfoTrac. Pebblebroo& %ih School "ib.,
!arietta, G#. 68 0o). 6776 ThttpBJJinfotrac.aleroup.comV.
3a&er, 4ames P. 'hy -t$s 0o Go. Critical (ssays on 'illiam Goldin. (d. %arold 3loom.
3ostonB %all, *+,,. 669:*. =isco)erin Collection. Gale. %arrison %ih School "ib.,
!arietta, G#. 61 !arch 6778 ThttpBJJalenet.aleroup.comJser)letJ=CJV.
Writing the Final Cop!
#s you bein your final copy, pay careful attention to editin, followin the rules of effecti)e
writin as you would in any essay. (mploy sentence )arietyE parallelismE effecti)e and )aried
dictionE clear, correct punctuationE acti)e, rather than passi)e, )oiceE proper spellinE and correct
sentence structure.
"ra!ting a Title
Gi)in the essay a title completes it and lends interest. #s any researcher tryin to locate and
assess sources by browsin titles will tell you, titles are extremely important. # ood title is
one that both informs and interests the reader.
#dd interest to the title with an especially )i)id and tellin word or a short phrase
from the literary wor&.
#*ample, ?ut, out brief candleQB Symbolism in !acbeth
<se a bit of word play
#*amples, Tintern #bbey and the #rt of #rtlessness
# Rose for # Rose for (mily
;t"er guidelines0
1. Be sure to !un-tuate t"e title -orre-tl#. ,a!italiDe t"e $irst and last /ords o$ t"e
title and all ot"er /ords e@-e!t $or arti-les <a, an, the=, !re!ositions <to,
bet!een, in, about=, and -oordinating -on4un-tions <and, but, or=.
-) o not put your title in @uotation mar&s.
8) o not underline or italici5e your title.
9) o use @uotation mar&s or underlinin if you include the title of a published wor&
in your title.
#*amples, Rhyme and Rhythm in Robert .rost$s !endin 'all
Symbolism in 1984
Format for the Research Paper
.(ee the sample paper at the end of this boo4let for correct formatting./
*. =ouble9space throuhout the formal outline, the research paper, and the 'or&s Cited
pae.
6. Type the research paper in standard *6 point Times 0ew Roman Cor the teacher$s
preferenceD.
:. <se marins of one inch at the top, bottom, and on both sides.
;. =o not prepare a title paeE use a headin with your name, teacher$s name, course
name, and date Cdouble9spacedD on separate lines of the first pae in the top left9hand corner of
the paper.
1. Center the title on the first pae. =o not underline, use @uotation mar&s, or type in all
caps.
8. -ndent the first word of each pararaph one9half inch or fi)e spaces Ctab onceD.
2. <se the )eader and 2ooter tool listed under >iew on the toolbar to type your last name
with a space at the endE then use the automatic paination in !S '?R=. Riht alin the
header.
,. =o not put a pae number on the outlineE it is not pae one of the paper.
+. =o not Austify the riht marin of the research paper.
*7. -ndent bloc& @uotations one inch or ten spaces Ctab twiceD.
**. =o not type the paper in 'ordPad. The paper will not be formatted correctly.
*6. Proofread, edit, and re)ise each pae se)eral times before printin and submittin the
final paper to the teacher. The final research paper should be free from )isible errors.
Final Checklist for a Formal Research Paper
WWWWPunctuate your title correctly by capitali5in the first and last words of the title and all other
words except for articles, prepositions, and coordinatin conAunctions. =o not underline,
italici5e, or place @uotation mar&s around the title. =o use appropriate punctuation for
the title of a published wor& if it is part of your title.
WWWW'rite an effecti)e openin with a stron thesis statement.
WWWW-n literary analysis, use present tenseB Romeo$s decision indicates. . . .
WWWW'hen discussin historical context, use past tenseB %eminway died in *+8*.
WWWWThe first time you name the author of a wor&, i)e the author$s first and last name. .or all
subse@uent references, use only the author$s last name. ?mit formal titles, such as !r.,
!rs., or !iss.
WWWW0e)er refer to an author by first name.
WWWW-n literary analysis, i)e the author$s name and the title of the wor&CsD in your introductory
pararaph.
WWWW'rite only in third person. <se he, she, they, it.
WWWW=o not use first or second person CI thin4, in my opinion, you, your, our, we, us/
WWWW=o not use contractions Ccan3tD or slan Ca lotD or )aue diction Cseems or thingD.
WWWW<se transitions to mo)e smoothly from one pararaph to another.
WWWW=o not ma&e self9conscious references to your paper, such as -n the followin
pararaphs, it will be shown or #s mentioned before.
WWWW'rite clear topic sentences for each pararaph.
WWWW#)oid plot summary in literary analysis, except when needed to support, explain, or clarify
an idea.
WWWW<se @uotations sparinly.
WWWWCorrectly interate and internally document all paraphrases and @uotations.
WWWW3e sure to ha)e a lead9in for all @uotations.
WWWWRemember to bloc& @uote where appropriate.
WWWW!a&e sure that all sources cited in the paper are listed alphabetically on the 'or&s Cited
pae and that all sources listed on the 'or&s Cited pae ha)e been used in the paper.
WWWW'rite an effecti)e conclusion that lends finality to the paper while reaffirmin its thesis.
WWWW<se proper format, includin one9inch marins and double9spacin.
WWWWChec& for correct usae, rammar, spellin, punctuation, and sentence structure errors.
WWWWRe)ise when necessary so that the final draft contains polished, insihtful, and well9
phrased sentences.
WWWWProofread your research paper one last time before you turn it in.
?nline Resources
!"# C!odern "anuae #ssociationD
=iana %ac&er$s Research and &ocumentation in the Blectronic 8ge
o httpBJJwww.dianahac&er.comJresdocJ
'riter$s %andboo&B !"# Style =ocumentation
o httpBJJwww.wise.eduJwritinJ%andboo&J=oc!"#.html
The =ocumentation Style of the !odern "anuae #ssociation
o httpBJJwww.netward.ohio9state.eduJUosuwriteJmla.htm
!"# Citation Style
o httpBJJcampusw.library.cornell.eduJnewhelpJresWstrateyJcitinJmlaJhtml
?nlineQ Guide to !"# Style
o httpBJJwww.bedfordstmartins.comJonlineJcite1.html
<seful Guide to Parenthetical =ocumentation
o httpBJJwww.eocities.comJ#thensJ#cropolisJ*86:Jdocument.html
Chicao
'riter$s %andboo&B Chicao Style =ocumentation
o httpBJJwww.wisc.eduJwritinJ%andboo&J=ocChicao.html
#P# C#merican Psycholoical #ssociationD
'riter$s %andboo&B #P# Style =ocumentation
o httpBJJwww.wisc.eduJwritinJ%andboo&J=oc#P#.html
#P# Style Guide
o httpBJJwww.lib.usm.eduJUinstructJuidesJapa.html
General 'riter$s References
Cambride Rinde and "atin School Research Guide offers a clear,
understandable o)er)iew of the whole process.
o httpBJJwww.crlsresearchuide.orJ77W-ntroduction.asp
Purdue$s ?nline 'ritin "ab C?'"D offers outreach internet ser)ices to writers
around the world.
o httpBJJowl.enlish.purdue.eduJlabJindex.html
httpBJJowl.enlish.purdue.eduJowlJresourceJ112J7*J
Princeton 'ritin Center i)es an excellent o)er)iew of writin expectations and
uidelines for collee students.
o httpBJJweb.princeton.eduJsitesJwritinJ'ritinWCenterJ'C'ritinResources
.htm
Jane Smit"
Mrs. Jones
Britis" Lit. 122A
%eruar# 28, 2006
Bat"s"ea and t"e ;rdeal o$ Love
Alt"oug" most -ultures di$$er greatl# $rom one anot"er, t"e# s"are a -ommon elie$ t"at
e?uates .no/ledge and e@!erien-e /it" /isdom and age, and man# -ultural -ustoms -enter on
various trials to /eed out t"e /ea. and $orti$# t"e strong. 2"omas 5ard#, t"e 'i-torian Britis"
novelist, demonstrates "o/ t"ese age9old ideas in$luen-e Bat"s"ea +verdene, t"e main
-"ara-ter o$ "is novel %ar $rom t"e Madding ,ro/d. Living in a small, nineteent"9-entur#
Sample Paper Some teachers prefer
that no header appear
on the first pae.
.ollow your teacher$s
preference.
+nglis" village, Bat"s"eaAs trials -ome in t"e $orm o$ t"e eligile a-"elors /"o e-ome "er
suitors in t"e novel. 3n "er transition $rom adoles-en-e to /oman"ood, it is t"e men in "er li$e
/"o "el! s"a!e "er and /"o trans$orm "er $rom -"ild to adult. Li.e man# o$ 5ard#As $emale
-"ara-ters, Bat"s"ea is a"ead o$ "er time0 S"e ends u! as a sel$9!ossessed, inde!endent /oman
o$ -onsiderale !ro!ert#. 5o/ever, t"is -"ange does not "a!!en until s"e "as een t"roug"
"eartrea. and loss t"at test "er enduran-e. 3roni-all#, 5ard# uses t"e men in "er li$eE&ariel
;a., Mr. Bold/ood, and Sergeant 2ro#Eto s"o/ t"is inde!endent /omanAs develo!ment $rom
-"ild to /oman.
During "er $irst en-ounters /it" &ariel ;a., a $armer /"o is t"e $irst to !ro$ess "is love
$or "er, Bat"s"ea !ersoni$ies t"e !roud, idealisti- $emale -aug"t in t"at -om!li-ated transition
$rom adoles-en-e to /oman"ood. W"en &ariel oserves Bat"s"ea indulging in a $avorite
!astime o$ riding "er "orse, (in a manner demanded # t"e saddle, t"oug" "ardl# e@!e-ted o$ t"e
/oman,) "e sees t"e $ading ties o$ "er #out" <5ard# 26=. 3n addition, t"e $armer notes t"e
modest "ig" -ollar o$ "er dress !aired /it" "er (eauti$ul ne-. and s"oulders,) suggesting t"at
Bat"s"ea $avors more -onservative attire des!ite su-" /ort"# $eatures <27=. 2"e raver#
Bat"s"ea dis!la#s, "o/ever, in single9"andedl# saving %armer ;a. s"o/s -ourage e#ond "er
#ears, as /ell as a tra-e o$ "umilit#, /"en s"e a--e!ts &arielAs t"an.s /it" a sim!le, (;" never
mind t"at) <30=. *evert"eless, a strea. o$ !ride overs"ado/s t"is modest# /"en &ariel !ours
out "is "eart to "er and as.s "er to marr# "im0 (But sin-e a /oman -anAt s"o/ o$$ . . . # "ersel$,
3 s"anAt marr#,) s"e tells "im <38=. 2"is sentiment s"o/s "er la-. o$ maturit#0 S"e re$uses "is
sin-ere o$$er in a -ruel /a#, /it"out even giving it mu-" t"oug"t. S"e also o$$ers "im t"e advi-e
t"at marr#ing an a$$luent /oman /ould e more desirale t"an marr#ing "erF "o/ever,
Bat"s"ea still $eels a lo/ to "er !ride /"en &ariel inno-entl# a!!roves o$ "er suggestion.
Wit" "er ne@t -omment on "is marriage !ro!osal, (3 donAt love #ouEso Gt/ould e ridi-ulous,)
Bat"s"ea dis!la#s a ra!id transition $rom anger to gaiet# t"at reveals t"e $i-.leness o$ "er
undevelo!ed emotions <:0=. 3n $a-t, as Ri-"ard ,ar!enter oserves, (Bat"s"ea +verdene . . .
s!urns t"e earnest suit o$ &ariel $rom s"eer -a!ri-e) <5ard# 81=. 2"ere$ore, in "er earliest stage
:*
o$ develo!ment, Bat"s"ea is -learl# in transition. S"e s"o/s t"e t#!i-all# #out"$ul
-"ara-teristi-s o$ inno-en-e and modest#F "o/ever, at t"e same time s"e is /ill$ul, $i-.le, and
still ?uite undevelo!ed emotionall#.
%urt"ermore, Bat"s"eaAs emotional ine@!erien-e reveals "er ignoran-e o$ love at t"is
stage. S"e en4o#s $lirting and leaving &ariel gras!ing $or a name to address t"e (#oung girl
/it" t"e remar.al# !leasant li!s and /"ite teet") <5ard# 30=. 5o/ever, /"en &ariel de-lares,
(3 s"all do one t"ing in t"is li$e . . . t"at is love #ou, and long $or #ou, and .ee! /anting #ou till 3
die,) Bat"s"ea sim!l# desires to end t"e relations"i! <31=. 5er delig"t in t"e -"ase ut not t"e
-a!ture re$le-ts "er desire to !reserve "er !ride # remaining single. +ven t"oug" Bat"s"ea
as!ires to rea. $ree $rom t"e -onstraints o$ -"ild"ood on "er o/n, "er immaturit# leads to t"e
undesirale trait o$ arrogan-e, and s"e disa!!oints "er /ort"# and ardent admirer, %armer ;a..
B# t"e time Bat"s"ea meets t"e re-lusive %armer Bold/ood, s"e "olds t"e inde!endent
!osition s"e so desires as "ead o$ a vast $arm, in"erited $rom "er un-le, and s"e ta.es -"arge o$
all t"e res!onsiilities t"e 4o entails, s"o/ing "er move to an inde!enden-e t"at /as ver#
unusual at t"at time. 5o/ever, Jo"n +delman notes t"at s"e still remains (t"e inno-entl# vain
village tem!tress . . . H/"o isI emotionall# motivated and irres!onsile) <?td. in Broo.s 21=.
Bat"s"ea outgro/s "er girlis" modest# and en4o#s t"e attention s"e re-eives $rom lo/ -ut
garments t"at, earlier, /ould send "er running to (t"rust "er "ead into a us") <5ard# 27=. 2"ese
a-tions do not mean, "o/ever, t"at s"e "as -om!leted "er gro/t" as a /oman. W"en s"e is
(!i?ued # . . . Bold/oodAs indi$$eren-e to "er -"arms,) Bat"s"ea mails Bold/ood t"e $ate$ul
(Marr# Me) valentine t"at ta.es "im in a do/n/ard s!iral to/ards madness <Ma# 1B00901=.
,ar!enter notes t"at (as a result o$ "er "eedless tri-. and suse?uent unre$le-ting
en-ouragement, Bold/ood e-omes "o!elessl# in$atuatedF ut Bat"s"ea does not $ind it
!ossile to love "im) <(A Loo. at Bat"s"ea) :1=. 3n $a-t, ored # "er -on?uest, Bat"s"ea
values "is ardent devotion to "er (onl# as s"e values an arti$i-ial $lo/er or /a@ $ruit) <5ard#
116=. So Bat"s"ea remains naive in "er outloo. to/ard love and (so/HsI a more sinister seed o$
vanit# /it" "er treatment o$ %armer Bold/ood) <&ur.o n. !ag.=. Des!ite "er out/ard, !"#si-al
maturit# and "er ne/ $inan-ial se-urit# and inde!enden-e at t"is stage, Bat"s"ea still must
trans-end "er #out"$ul sel$9asor!tion and "er $eminine vanit#.
%inall#, t"e introdu-tion o$ Sergeant 2ro# into "er /orld e@!oses Bat"s"ea to all t"e
tragedies and 4o#s o$ li$e t"at $inaliDe "er transition into /oman"ood. 3roni-all#, "er relations"i!
/it" t"e soldier tea-"es "er a valuale lesson # s/it-"ing "er role $rom !redator to !re#. +arlier,
Bat"s"ea re$uses to marr# &ariel e-ause s"e ("ateHsI to e t"oug"t menAs !ro!ert# in t"at
/a#) <5ard# 37=. 5o/ever, s"e (!roves to e at t"e mer-# o$ "er o/n im!etuosit# /"ere t"e
"eart is involved, and $alls all too eas# a !re# to t"e "andsome, adventurous sedu-er, 2ro#)
<S-ott9James and Le/is 6=. +ven e$ore t"e e@"ilaration o$ "er $irst love $ades, Bat"s"ea
(rea!s t"e re/ard o$ t"is vanit# /"en 2ro# s"o/s "is true sel$ a$ter t"eir marriage) <,ar!enter,
5ard# 86=. 2"e -ruel -omments t"at result $rom arguments over mone# reveal t"e atmos!"ere
t"at -auses Bat"s"eaAs (voi-e !ain$ull# HtoI lo/er $rom t"e $ullness and viva-it# o$ t"e !revious
summer) <5ard# 2::=. 2"is s"o/s a -lear transition $rom "er $ormer inno-ent gaiet# to a more
sudued maturit#. 3n addition, ne/ $eelings o$ 4ealous# s!ar.ed # t"e arrival o$ %ann# Roin,
2ro#As $irst and onl# real love, eat a/a# at Bat"s"eaAs alread# melan-"ol# soul. 5er ultimate
anguis" and emarrassment -ome /"en %ann# dies, and "e e@-laims, (2"is /oman is more to
me, dead as s"e is, t"an ever #ou /ere, or are, or -an e) <281=. 2"is -ruel -omment $rom t"e
man s"e loves devastates Bat"s"ea -om!letel#. As ,ar!enter oserves, (2"e virant and !roud
girl /e see at t"e eginning HisI t"oroug"l# destro#ed) <5ard# 87=. 2"e novel ends /it" all o$
"er suitors -oming toget"er /it" disastrous results. 3n a $it o$ 4ealous#, t"e !ossessive Bold/ood
s"oots and .ills t"e one man Bat"s"ea elieves s"e loves, Sergeant 2ro#. Jltimatel#, in t"e
-ourse o$ "er maturing, s"e leads "ersel$ and t"e men around "er to disa!!ointment, deat",
madness, and im!risonment, and in t"e end, Bat"s"eaAs devastation is -om!lete. 2"e on-e
untamale, #out"$ul s!irit is ro.en, and $ar $rom "aving "er !i-. o$ man# suitors, s"e $inds
"ersel$ alone during t"is terrile e!isode.
;verall, t"e various ordeals Bat"s"ea endures during "er relations"i!s /it" &ariel,
Bold/ood, and 2ro# "el! trans$orm "er into a stronger, ut also sadder and /iser, #oung /oman.
3n t"e novel s"e moves $rom eing (a vain and "ig"l# amusing tease HintoI almost a s#moli-
$igure o$ resour-e$ulness and enduran-e) <&uerard 6:=. 5er trials in t"e $ires o$ love turn t"e
vain, -a!ri-ious Bat"s"ea into a more re$le-tive and mature /oman /"o -an alan-e "er /ill
and "er e@!e-tations. S"e emerges $rom t"ese e@!erien-es o$ love read# to rene/ "er a$$e-tion
$or "er $irst suitor, &ariel ;a., /"o "as remained in t"e a-.ground, true to "er e-ause o$ "is
natural (goodness o$ "eart) <5ard# 3B1=. %rom "er udding relations"i! /it" &ariel, /"en s"e
$irst e-omes a/are o$ "er !otential, to "er vain, sedu-tive to#ing /it" Bold/ood and "er $inal
$atal in$atuation /it" 2ro#, Bat"s"ea goes $rom trium!" to -om!lete des!air in "er !ursuit o$
love. *evert"eless, Bat"s"eaAs survival e?ui!s "er /it" a ne/ strengt" t"at enales "er to
!ersevere (as t"oug" a rose s"ould s"ut and e a ud again) <372=. *ot onl# does Bat"s"ea
ma.e t"e transition $rom adoles-ent to adult, ut s"e also $inds "a!!iness /it" t"e /ort"#, stead#
&ariel ;a., t"e man /it" /"om s"e egan "er di$$i-ult !at" to /oman"ood.
Wor.s ,ited
Broo.s, David. (Strong 'i-torian Women.) 'i-torian Crose B.3 <2002=0 1192B.
,ar!enter, Ri-"ard. (A Loo. at Bat"s"ea.) 'i-torian Studies 32 <1118=0 :09B0.
999. 2"omas 5ard#. Boston0 2/a#ne, 116:.
&uerard, Alert J. (2"e Women o$ t"e *ovels.) 5ard#. +d. Alert J. &uerard. +ngle/ood
,li$$s, *J0 Crenti-e95all, 1163. 63970.
&ur.o, Leo. (Love in %ar $rom t"e Madding ,ro/d.) 2/entiet" ,entur# 3nter!retations o$ %ar
$rom t"e Madding ,ro/d. +d. 5arold Bloom. *e/ 6or.0 S-riner, 118B. 1792B.
Dis-overing ,olle-tion. &ale. ;sorne 5ig" S-"ool Li., Marietta, &A. 6 Jan. 2006
K"tt!0LL galenet.galegrou!.-omLservletLD,LM.
5ard#, 2"omas. %ar $rom t"e Madding ,ro/d. *e/ 6or.0 Cenguin, 1160.
Ma#, ,"arles +. (2"omas 5ard#.) ,riti-al Surve# o$ Long %i-tion. +d. %ran. *. Magill. 'ol.
:. Casadena0 Salem, 1111.
S-ott9James, R. A., and ,. Da# Le/is. (2"omas 5ard#.) Britis" Writers. +d. 3an S-ott9Nilvert.
'ol. 6. *e/ 6or.0 S-riner, 1183.
Cobb County School District
B1: &lover Street
Marietta, &eorgia 30060
C"one0 7709:2693:01
%a@0 7709:219B831
Cre!ared $or
,o ,ount# Language Arts 2ea-"ers
,arol#n +. Waters, Su!ervisor