Writing Inthe Discipline Word Document

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CHAPTER 1 A Clear and Logical Sentence A clear and correct sentence is easily understood. The statement that is inherent in every sentence

conveys facts and ideas that usually answer certain essential uestions !osed "y the five #$s and

the one H. #ho% #hat% #here% #hen% #hy% and How% A. Thousands of !eo!le &am lotto outlets throughout 'etro 'anila every #ednesday and

Saturday in a last minute rush to "uy tic(ets for the day$s draw.

#ho &am the lotto outlets % #here are these outlets% #hen does this ha!!en% #hat do the!eo!le want to "uy%). Any"ody can "e a millionaire "y winning the lotto &ac(!ot.

#ho can "e a millionaire% How can any"ody "e a millionaire%*f the sentence gives confusing answers+ it should "e rewritten. The sentence must "e clear+

direct+ logical. A sentence with mi,ed ideas not only confuses the reader "ut also "lurs the main

!oint. Therefore+ you may have to s!ot what e,actly is the main idea and delete the irrelevant

details.Cause and Effect Relationshi!Confusion may arise when two unrelated ideas are mi,ed together in one sentence.- It’s time to dust off those bathing suits or swimming trunks because summer is here and the

terrorist are back.There is no connection "etween the coming of summer and the return of the terrorist./* If you see her, she is beautiful. This im!lies that if you do not see her+ she is not "eautiful./Swee!ing StatementsThese are statements that ma(e use of faulty generali0ations with the use of words as all+ always+

never.E,am!leSome 2ili!inos have "ecome so ultra3modern today that they now favor living3in or trial marriage.Corrected

Some 2ili!inos+ es!ecially the youth+ have "ecome so ultra3modern today that they nowfavor living3in or trial marriage4se of *dioms and 2igurative Language

The use of clinch in an effort to "e colorful may lead to non3originality or a dead language.

#hat is worse is when it results in confusion and creates utter misunderstanding "etween writer

and reader.Confusing: He is a nut hard to crack and life is no bed of roses.Corrected: He is a strong-willed fellow who knows about life’s harsh realities4se of Conte,t Clues

The cardinal word is never define a word "y using the same word or its cognates. Certainly+

you should avoid re!etitions of the word "eing defined.Wrong: emocracy is a democratic go!ernment.Correct: emocracy is a form of go!ernment whose "owers emanate from the "eo"le.

1

CHAPTER 5 A 4nified Sentence1. 6nce a su"&ect is used+ see to it that the !redicates tal(s a"out it.5. 'a(e the ver" agree with the su"&ect and the !ronoun with its antecedent.7. Put in !arallel and uniform structures com!ounded su"&ects+ ver"s and o"&ects.



A Coherent SentenceThis means that a sentence should have all its com!onent !arts hold on to each other. 2rom

word to word+ !hrase to !hrase+ clause to clause+ "etween or among them+ !ro!er relationshi!s

must always esta"lish. Success in unity leads to coherence. )ut more than that+ !articularly in

com!ound+ com!le, and com!ound com!le, structures+ tense and voice. This also reuires !ro!er

coordination and su"ordination of clauses as well as !ro!er !ositioning of modifiers to esta"lish

good relationshi!.

This is a sentence which has only one !articular !ur!ose. #hatever com!onent !arts asentence may have+ everything results in only one !articular intention or im!ression. #ith sim!le

sentences achieving unity may not "e so difficult. All that may "e done are An Em!hatic SentenceEm!hasis here means only one focus. #hatever units of thought a sentence may contain+

everything must "e so !ro!erly tied to reflect only one develo!ed thought. #hatever grammatical

!arts it may contain everything must "e so !ositioned that the most im!ortant !art comes out

dominant and the least im!ortant one su"ordinated*n com!le, sentences+ there should "e a !ro!er !lay3u! of the more im!ortant thought over the

less im!ortant one through the use of effective sliding words.

As defined+ the a"ove characteristics a!!ear very much related to one another. Theachievement of one a!!ears to "e the achievement of the other.

An Accurate Sentence Accuracy here refers to the sentence grammatical correctness according to standard English

yardstic(. This calls again for agreement of su"&ect and ver"+ of the ver" tense and the adver" of

time+ of !ronoun and its antecedent and other !ertinent considerations. An A!!ro!riate Sentence A good s!eech reuires a!!ro!riateness. So does a good sentence. This means s!ea(ing or writing

in sentences which consider well status+ age+ se,+ of the !erson tal(ed to+ and the occasion+

connection with a!!ro!riacy is that what may "e ta(en as a!!ro!riate in one given communication

situation may not "e so in another. Some ty!ical e,am!les are the following1. #hile in a La"oratory Room 8enny can say 9Alice+ loo( at the worms. They all en&oy ni!!ing

the flesh of the durian. Let us scoo! a cou!le of them and e,amine them through the microsco!e.:*n a dining room "efore the dining ta"le during mealtime. 8enny must not say anything li(e

that. That would "e ina!!ro!riate.5. #hile Terry can say 92ely+ come &oin me+: "ecause 2ely is his friend+ of his age+ and a fellow

student.+ he cannot &ust say so the same to 'iss ;asue0 "ecause she is his teacher. The

a!!ro!riate a!!roach would "e 9#ould you care to &oin me+ 'iss ;asue0%: An Acce!ta"le Sentence

*t can "e safely said that an a!!ro!riate sentence is li(ewise an acce!ta"le sentence.

)etween and among "osom friends+ anything said+ wise or otherwise+ may &ust "e acce!ta"le "ut inmany instances+ it may not "e so. E,am!le of this may "e as follows1. #hile #ilson can say+ 9<ou$re really cra0y+: to Rene and Rene may not mind it at all+

"ecause they are old friends+ definitely #ilson cannot say that to Lawrence+ a new officemate.5. To say 9<ou loo( younger in short s(irts+: is acce!ta"le than to say+ 9<ou loo( older in long

s(irts.:5

*m!ortant #ays to a =ood SentenceThis sentence+ "eing rated here as good+ is that which is not only com!lete in thought "ut

also in !art. E,cluded here are those words+ !hrases+ and clause sentences can &ust "e acce!ted asa!!ro!riate+ acce!ta"le+ and accurate+ de!ending on time+ !lace+ occasion+ and other

communication circumstances. Recommendations to ma(e a good sentence are following

=uard the sentence against "eing fragmentary.



=uard against run3on+ over loaded or em!ty.

>o not shift into different !ers!ectives.

Avoid mis!laced and dangling modifiers.

6"serve !arallel and uniform construction. 6"serve !ro!er coordination and su"ordination.

=uarding against "eing 2ragmentary 6ften these fragments snea( into your s!eech or writing and act as confusing "rea(s to the

smooth flow of your sentence.Sentence fragments may "e one of the following ty!es

a. The statement that results from the de!endent clause is !unctuated as though it were a

com!lete sentence. #entence: Changed is a way of life. #entence: $ecause change is a way of life.

The a"ility to recogni0e sentence fragments will hel! you write good sentences. As

sentence fragments not only "rea(+ grammatical rules "ut also raise "arriers to clear

communication+ one$s a"ility to recogni0e said fragments can !revent his falling into this

communication "arriers.

A sentence fragment is a !art of the sentence that is !unctuated as if it were a com!lete sentence.This may "e corrected in two ways "y eliminating the de!endency word or "y adding an

inde!endent clause to ma(e a com!lete sentence. %ossible corrections:

Change is a way of life.

$ecause change is a way of life, let us learn how to ada"t to it. ". a grou! of words that has no su"&ect or !redicate or "oth. Incorrect : &he office where my father works.Correct : &he office where my father works is s"acious and beautifully

furnished.

Incorrect :Ho"ing that you’re en'oying your !acation.Correct :Ho"ing that you are en'oying your !acation, here’s some e(tra

money for more sou!enirs, )r, I ho"e you are en'oying your

!acation. Incorrect: &o see you looking ha""y.Correct: &o see you looking ha""y is enough to make me ha""y too.

)r, y one wish in life is to see you looking ha""y.c. A long infinitive !hrase may sometimes "e mista(en for a com!lete sentence.

Incorrect : &his is my dream. &o see your "ros"er.Correct : y dream is to see you "ros"er.7

d. An a!!ositive !hrase may sometimes "e written incorrectly as a com!lete sentence. +ragment :y health, the only "recious "ossession I ha!e in this world. #entence y health is the only "recious "ossession I ha!e in this world. +ragment : ocelyn, my !ery o"timistic friend. +ragments with ing/ ed/, !erb forms but with no "redicate !erbs are the trickiest kinds of

fragments to identify, in "lace of a !erb a "artici"le is used. +ragment: 0affy dribbling the ball in the hardcourt. #entence 0affy is dribbling the ball in the hardcourt.

#entence ocelyn is my !ery o"timistic friend. Avoiding "eing Run36n+ 6verloaded+ Em!ty A run3on sentence is a sentence with two or more sentences written as one sentence. *f a

sentence fragment is less than a sentence+ a run3on sentence is more. There are two (inds of run3



on sentence. The fused sentence in which two sentences are run together without any !unctuation+

and the comma s!lice in which two sentences are lin(ed with a comma.a. Two sim!le sentences may ma(e u! a run3on sentence.

+used #entence: &he laughter drowned out the s"eaker we could hardly hear him. Comma #"lice: &he laughter drowned out the s"eaker, we could hardly hear him.

". A com!ound sentence can "e run into a sim!le sentence. +used #entence: #he teaches literature and he teaches humanities, they seldom see eye to eye. Comma #entence: #he teaches literature and he teaches humanities, they seldom see eye to eye.

A com!le, sentence can also "e incorrectly com"ined with a sim!le or com!ound sentence. +used #entence: When insurgency first started in this country, "eo"le were not keen on the ha!oc

it would bring they sim"ly ignored it. Comma #entence: When insurgency first started in this country, "eo"le were not keen on the

ha!oc it would bring, they sim"ly ignored it Here are some ways to correct each of these three errors

1. i!ide the run-on into se"arate sentences.a/ &he laughter drowned out the s"eaker. We could hardly hear him.

"/ #he teaches literature and he teaches humanities. &hey seldom see eye to eye.

c/ When insurgency first started in the country, "eo"le were not keen on the ha!oc it couldbring1 they sim"ly ignored it.

2. 3ou could use a semi-colon instead of a "eriod if the sentences are closely related.a/ &he laughter drowned out the s"eaker1 we could hardly hear him.

"/ #he teaches literature and he teaches humanities1 they seldom see eye to eye. c/ When insurgency first started in the country, "eo"le were not keen on the ha!oc it could

bring1 they sim"ly ignored it. 4. 3ou could also correct a run-on sentence by adding a coordinating con'unction 5and, but, or,6

between clauses.a/ &he laughter drowned out the s"eaker and we could hardly hear him.

"/ #he teaches literature and he teaches humanities but they seldom see eye to eye. c/ When insurgency first started in the country, "eo"le were not keen on the ha!oc it could

bring and they sim"ly ignored it. ?

#ords li(e 9however+: 9also+: 9therefore+: and 9thus+: are con&unctive adver"s. 4se a semi3colon

"efore a con&unctive adver" and a comma after it when it comes "etween two inde!endent clauses.&he laughter drowned out the s"eaker1 therefore, we could hardly hear him.

7. In some cases you add a de"endency word and make one of the sentences a de"endent clause.a/ $ecause the laughter drowned out the s"eaker, and we could hardly hear him. "/ An 6verload Sentencec/ #hen you try to cram too much information into one sentence+ the result is an

overloaded sentence. 6verloaded sentences are so crowded that too often im!ortant

thoughts are almost lost.

d/ The reader$s attention is !ulled in all directions and he "ecomes distracted "y the

many ideas !resented to himTo fi, such sentences+ study the following suggestions

a/ >ecide on the main ideas.

"/ >ecide which of them can "e com"ined into one sentence.c/ #rite these ideas in one sentence.d/ #rite a se!arate sentence for the other ideas.e/ #rite sim!ly and clearly+ avoiding wordiness.



The following sentences try to say too much. @otice the revisions and "e sure you

understand the reason for the changes.)!erload : &o me slee"ing is fascinating because I consider it as a time of sweet

dreams that can come in a !ery s"ecial "lace or it may be a "lace I am thinking of, it may

be a "lace that does not e(ist at all.

0e!ised : &o me slee"ing is fascinating because I consider it as time of sweet dreams.&hese dreams can come in a !ery s"ecial "lace or I ha""en to be thinking of. &hey may

e!en be a "lace that does not e(ist at all.)!erloaded : I lo!e all kinds of books, and it makes no difference to me whether other

"eo"le consider a book. I may choose a drab, as long as I like it. 0e!ised : I lo!e all kinds of books. It makes no difference to me whether other "eo"le

consider my choices as drab. #ordiness #e should eliminate words that add only weight to our sentences and ma(e them

redundant and "oring. Loo( at these e,am!les.

at eight %. in the e!eningreturn again ne(t weekin my o"inion, I thinkgreen in colora former e(-soldierthree-sided trianglethe surrounding en!ironment school dro"-outs now of school unmarried single girl ancient anti8ues for sale?

Some common !hrases may also "e eliminated "ecause they are considered "urdensome

and need some su"stitutions. Study this list ta(en from the 'c=raw3Hill Hand"oo(at the "resent timein the "resent circumstances use now, todayat this "oint or nowadaysin this day and ageat that "oint in timein those days use thenin that "eriod

in many cases use oftenin some cases sometimesin e(ce"tional cases rarely, usuallyin most casesconsider as9consider as being use: I consider a

I consider a college degree college degreeas being necessary to necessary tosuccess success.

es"ite the fact that use: although 0egardless of the fact that ue to the fact that

+or the "ur"ose of use: because $y !irtue of the fact that &he reason is because

In a "osition to9in order to use: can In the area of use: near or in



In the e!ent that In the e!ent of use: if with a !erb In case of In the final analysisuse: finally In no uncertain terms use: firmly or clearly In the nature of use: like or&hings of that nature things like that

0efer back use: refer

#he is of a generous nature she is generous&he car is of green color the car is green&he weather condition is bad the weather is bad&raffic conditions are congested traffic is congested

An Em!ty SentenceThis is a sentence that says too little. =rammatically+ it is com!lete "ut it is lac(ing in ideas+

in su"stance. *t contains words that re!eat the idea found elsewhere in the sentence. Here

the writer a!!arently does not ta(e the trou"le to thin( a"out what he wants to say

therefore he actually ends where he has started. m"ty: &he +ili"ino teenager "refers rock music to the kundiman because he really

en'oys modern music.B

0e!ised: &he +ili"ino teenager "refers rock music to the kundiman because he likes

rock beat and its lyrics e("ress his feelings.Clear sentences are a result of clear thin(ing. Successful writers are !eo!le who have made

efforts to write sentences with sense. Their thoughts and ideas are e,!ressed in sentences

that are neither overloaded nor em!ty.

The facts and ideas that are conveyed are logically arranged in com!act statements whichare &ust right "ecause the relationshi!s of words are "eyond uestions.Em!ty sentences are a result of haste or careless thin(ing. *f you intend to "e effective in

your sentences+ fill in the em!ty ideas with logic and reason.

C. A;6*>*@= SH*2T*@= *@ PERSPECT*;ESThis refers to a shift in voice+ tense+ !erson+ and num"er. *t creates an im"alance that is

clearly related to faulty !arallelism. An a"ru!t shift can cause confusion and should+

therefore+ "e avoided.1. Shift from Active to Passive

*f a sentence "egins with the active voice+ it should finish in the active.

Confusing: I asked an intelligent 8uestion but no answer was recei!ed.Clear: I asked an intelligent 8uestion but recei!ed no answer. Confusing: #he went u" the stage and a song was sung.Clear: #he went u" the stage and sang. 5. Shift 2rom Past to Present Tense2or clearness and consistency+ a sentence that starts in the !resent tense should continue in

the !resent. A sentence that uses the !ast tense in the "eginning should end with the !ast.Confusing: I was reading my book 8uietly when the stranger sits down ne(t to me and

starts whistling. Clear: I was reading my book 8uietly when the stranger sat down ne(t to me and started

whistling. Confusing: odong was a strong farm boy who falls in lo!e and got married when he is

only se!enteen.Clear: odong is a strong farm boy who falls in lo!e and gets married when he is only

se!enteen.



7. Shift 2rom Singular To Plural <ou should also o"serve consistency in num"er.Confusing: When a "erson is in trouble, they are usually uncommunicati!e. Clear: When a "erson is in trouble, he is usually uncommunicati!e. Confusing: If the ladies do not come on time, she will be left behind. Clear: If the ladies do not come in time, they will be left behind. ?. Shift 2rom 6ne Person To Another

<ou should not shift needlessly from one !erson to another.

Confusing: We lo!e freedom but one does not always coo"erate to attain it. Clear: We lo!e freedom but we do not always coo"erate to attain it. B. Shift 2rom Statement to uestionConfusing: In the story +ootnote to 3outh,/ odong had to decide whether he should

gi!e $las "ermission to marry or should he sto" him.Clear: In the story +ootnote to 3outh,/ odong had to decide whether he should gi!e $las

"ermission to marry or whether he should sto" him.DThese shifts tend to occur most often in narrative writing when you are as(ed to write a

!iece of fiction+ an auto"iogra!hical account+ a !rcis or summary of someone else$s ideas+

or a !lot summary.>. Avoiding 'is!laced And >angling 'odifiers

These wea(nesses in sentence "uilding arise from defective ordering of grammatical

structures in a sentence+ !articularly the ordering of the o"&ectives and adver"s in their

word+ !hrase or clause forms. Carelessness in !ositioning any of the modifiers results in

confusing and sometimes funny unintended meanings.'is!laced 'odifiers

Ad&ective 'odifiers F these are words+ !hrases or clauses that modify a noun or !ronoun.

The general rule here is that the word ad&ectives are !laced immediately "efore the noun orthe !ronoun "eing modified while the !hrase or the close ad&ective is !laced immediately

"efore the noun or the !ronoun "eing modified while the !hrase or the clause ad&ective is

!laced immediately after.E,am!lesTelevision stations re!orted the good news.Radio stations in the !rovinces "roadcast the news that may did not li(e.The house which 8o(er "uilt was sold to the 8a!anese "usinessman.

A case of a mis!laced modifier therefore comes out when any of these words+ !hrases

or clauses are !laced distant from the noun or !ronoun meant to "e modified.Consider this e,am!le

9 0adio and tele!ision stations re"orted the news that the hi'ackers had freed their

"risoners all o!er the world./ )ecause the student who wrote this sentence se!arated the modifier 9all over the world:

from the noun stations/ it is su!!osed to modify+ this sentence im!lies that the hi&ac(ers

had freed !risoners all over the world

The corrected sentence would loo( li(e this0adio and tele!ision all o!er the world re"orted the news that the hi'ackers had

freed their "risoners./ *f you read your sentence carefully+ you can s!ot most of the mis!laced word+ !hrase+ or

clause errors. *t is very im!ortant that you ma(e sure your sentences say e,actly what you want them to say. Adver" 'odifiers



F these are also words+ !hrases+ or clauses that modify the ver"+ the ad&ective+ or another

adver". Adver" modifiers of ad&ective and another adver" also stand close or immediately

"efore said ad&ective and adver". )ut adver" modifiers of a ver" find themselves in several

&unctions in the sentence either after the o"&ect of the ver" or "etween the su"&ect and the

ver". Loo( at the following e,am!les E,am!les

I read an ama;ingly interesting book.

&he terribly difficult 8uestion in the test caused a headache.&he guest arri!ed early.G

We met in the Conference room.&hey often clash about "rinci"les.

I always feel the "ressure of my ma'or e(amination. #ur"risingly, he showed u" at the "arty. !entually, the moment of truth will come.

Cindy buys her stockings in &okyo. #he si"s her morning 'uice by the "oolside of anila +iesta %a!illion.Clause adver"s are actually su"ordinate clauses in the sentence they may "e !laced "efore

or after the main clause.

(am"les:

When the shooting started, we sto""ed the car.

We sto""ed the car when the shooting started.There is no difference in the "asic meaning "etween these two sentences. The

im!ortant difference "etween the two is the creation of sus!ense in the first sentence.

#hen several clauses are used in one sentence+ !lace them one after another or one clause within another. The reader+ though+ must store in his memory+ the "eginning of the clause

so that he can integrate the whole conce!t.>angling 'odifiers

#hen a !art of the sentence is left hanging in the air+ we have a dangler. A dangler

modifier is a !artici!le+ an infinitive+ or an elli!tical clause that does not refer clearly to any

word or !hrase in the sentence. The dangling construction which relates to words it cannot

logically modify not only em"arrasses the writer "ut also misleads the reader.6"serve these sentences>angling Partici!le

0eading the news"a"er, the tele"hone rang. 5&his sentence says that the tele"hone was reading the news"a"er6

G>angling *nfinitive

&o understand the sub'ect the book must be studies carefully.

5&his sentence says that the book must understand the sub'ect.6

>angling Elli!tical Clause While waiting for a ride, the rain "oured.

5&his sentence says that the rain was waiting for a ride.6To correct a dangling infinitive+ su!!ly a noun or !ronoun for the infinitive to modify "y

rewriting the clause that follows Wrong: &o understand the sub'ect, the book must be studied carefully.

Correct: &o understand the sub'ect, you must study the book carefully.



To correct a dangling elli!tical clause+ su!!ly the missing words that made the clause

elli!tical. Wrong: While waiting for a ride, the rain "oured.

Correct: While immy was waiting for a ride, the rain "oured.

E.6"serving Parallel And 4niform Construction.Parallelism*n any conte,t+ it suggests similarity of angle+ direction+ and form. #hen the !arts of a

sentence match grammatically and uniform structures can "e identified as a re!etition of

words+ !hrases+ or clauses+ it can "e a!!ro!riately !ointed out here that not all re!etitious

writing is "ad. *t is not the monotonous or needless re!etitions that you should avoid.

Re!etition of grammatical !atterns to e,!ress sameness of ideas so that !arallel ideas

a!!ear in !arallel form is desira"le. *t ma(es your writing effective.6"serve the !arallel and uniform construction in the following illustrations

*n #ord

+ili"inos lo!e freedom and democracy.

If we wish to succeed, we should be diligent, conscientious, "atient , and "erse!ering.

*n Phrase I learned three things this semester: how to organi;e a research, how to write a term

"a"er, and how to ty"e a manuscri"t. $eth is a "o"ular with her friends, with her teachers, and with her relati!es.*n Su"ordinate Clause

$ecause you ha!e been a good athlete, and because you ha!e done your best, you deser!e

a medal at the end of the tournament.

If I finish my work early, if you "romise to "ick me u", and if it does not rain, I will cometo your concert.*n Predicates

#he ran u"stairs, turned on the radio, gathered her fa!orite maga;ine and settled on the

sofa.&he man entered the bar, demanded a glass of whiskey, drank it hurriedly, and left

without "aying the bartender.

*n *nde!endent Clause I came, I saw, I con8uered.

When we get sick, we want an uncommon doctor.When we go to war, we yearn for an uncommon general or admiral.When we choose the "resident of a great uni!ersity, we want an uncommon educator.2aulty Parallelism

The coordinating con&unctions and "ut and or &oin structures of eual grammatical

value that is noun and noun+ ver" and ver"+ !hrase and !hrase+ clause and clause and so

forth. #hen the elements of a sentence are not grammatically "alanced faulty !arallelism results. +aulty: Cecile wants loyalty form her friends and to be

a""reciated for her efforts.Correct Cecile wants loyalty from her friends and

a""reciation for her efforts. +aulty: !eryone needs lo!e and to be attended.Correct !eryone needs lo!e and affection.1I



+aulty: ulie re8uested that I hel" her with her ath "roblems and

another e("lanation to the "rocedure. Correct: ulie re8uested that I hel" her with her ath

"roblems and that I e("lain the "rocedure again.Certain conte,ts+ es!ecially those that involve com!arison or contrasts+ call for !arallel and

uniform structures. A series of elements se!arated "y commas within a sentence should "e

!arallel. +aulty: &he general was tall, intelligent, and he was res"ected

by all. Correct: &he general was tall, intelligent, and res"ectable.

JThe two halves of a com!ound sentence should "e !arallel.

+aulty: #te!an a!ellana wrote Without #eeing the awn and

&ree is by +. #ionil ose. Correct: #te!an a!ellana wrote Without #eeing the awn and

+. #ionil ose wrote &ree. Without #eeing the awn is by #te!an a!ellana and &ree is by +. #ionil ose.

Certain sets of words or !hrases signal a series of related statements and call for !arallel

and uniform structure. not only but also

first second both and

either or neither nor

+aulty: &he %resident not only !etoed the bill but also he

was against too much go!ernment s"ending. Correct: &he %resident not only !etoed the bill but also

warned against too much go!ernment s"ending.To achieve !arallelism and uniformity+ you need to match ver"s+ nouns+ !re!ositions+

!hrases or other elements of your sentence. See this wor( in e,amination uestions and

classified ads. E,am!le of an e,amination uestion iscuss each character’s emotional "roblems,describe his or her attem"ts to co"e with them,and e!aluate the success of those attem"ts.

E,am!le of classified ad2. 6"serving Pro!er Coordination And Su"ordinationSentences are com!osed of a series of words+ !hrases or clauses. The relationshi!s "etween

these elements should "e made clear to reader. #hen these words+ !hrases+ or clauses come

in eual ran( or im!ortance+ they should "e coordinated. Coordination therefore+ is the

!rocess used when structures of the same (ind are &oined in a sentence. The &oiner word is

called a coordinating con&unction11



#antedCollege students with desire to learn salestechniue in cosmetics industry+ a"ility

to ma(e !hone contacts+ and interest to travelsome (ey cities

To lin( the coordinate elements of your sentence+ you may use the coordinating

con&unctions and+ or+ "ut+ nor+ yet the correlative con&unctions "oth+ and+ eitherKor+

neitherKnor+ so+ not onlyK"ut also+ weatherKor the con&unctive adver"s accordingly+ also+

"esides+ conseuently+ nevertheless+ namely+ indeed+ therefore. Coordinating Con&unctions

Words: &heir business is buy and sell.

#he lo!es ice cream and chocolates. %hrases: He came running down the corridor and

into the Conference 0oom. <ll she wanted was to go home and to brush her

teeth. Clauses

<lthough the e(am was difficult and although I was feeling sick, I got a "assing grade.

#ince we are good friends and since she has no one to turn to, I in!ited her to stay with

me. Correlative Con&unctions

ither you sell your land or you gi!e it free.

=ot only is he intelligent but also good looking.

Con&unctive Adver"s

&he boy is sick1 therefore, he must rest. I think you are right1 ne!ertheless1 I will not do as you say.

Coordinating Su"ordinate Clauses

Coordinating con&unctions may also lin( two or more su"ordinate clauses. They wor( the

same way for su"ordinate clauses as they do for !hrases or for inde!endent clauses. 6"serve the following e,am!les

<lthough I belie!e you are right and although e!eryone also thinks so, I don’t think I will

follow your suggestions. =ot only the way you s"eak but also the way you walk make your a""ear !ery se(y.

<fter you finish college or after you become financially inde"endent, you may do as you

"lease. In front of our house but behind the school building is the children’s "layground.

Coordinating con&unctions connect similar sentence !arts

and but or for nor yet

Correlative con&unctions are used in !airs not onlybut also eitheror bothand whether

or15

Con&unctive adver"s are used to &oin main clauses. They are !receded "y a semicolon and

followed "y a comma. <ccordingly conse8uently furthermore



Hence howe!er moreo!er

=e!ertheless otherwise than

&herefore yet also

Su"ordination

Su"ordinate Con&unctions F are used to introduce adver" clauses and lin( them to the main

clauses. They ma(e clear what e,actly the relation "etween the two clauses. The chief

relation they show are time+ !lace+ cause+ result+ e,ce!tion+ condition and alternative. after although as as long as

as though because if in order that "ro!ided as if

so that than though

till before unless

until whate!er when

since whene!er where

where!er'aterials of less im!ortance are su"ordinated or !ut in their !ro!er !lace/ "y the use of

clauses+ !artici!ial !hrases and a!!ositives. Su"ordinating con&unctions introduce theadver"ial clauses. #riting the correct su"ordinating con&unction as a su"stitute for the

meaningless ma(es effective and meaningful sentences Weak:$ert knew all the answers and he recited confidently.

$etter: >nowing all the answers, $ert recited confidently.5"artici"le6

Weak:0ita was the "rettiest and the most intelligent and she easily won

the $inibining %ili"inas title. $etter: #ince 0ita was the "rettiest and the most intelligent, she easily

won the $inibining %ili"inas title.5ad!erb clause6 Su"ordination may also "e used to &oin related sentences

+air: &he com"uter machine is a big office aid. It makes an ordinary 'obe(citing.

Im"ro!ed: &he com"uter machine, which is a big office aid, makes an ordinary

'ob e(citing. 5a""ositi!e6 +air: rick wants to become a soldier. He studies at the %hili""ine ilitary

<cademy. Im"ro!ed: rick, who wants to become a soldier studies at the %hili""ine

ilitary <cademy. 5ad'ecti!e clauses6 *nstead of writing short+ cho!!y sentences+ choose one idea for the sentence of inde!endent

clause+ and su"ordinate the other ideas.

Cho""y: &he %hili""ines, disco!ered in ?@2?, is a series of islands, the three biggest ofwhich are Au;on, Bisayas and indanao.

#ubordination: &he %hili""ines, disco!ered in ?@2?, is a series of islands, the three

biggest of which are Au;on, Bisayas and indanao. Cho""y: oey dela Cru; is the union "resident. oey dela Cru; is furious. He

will lead a "rotest.?4

#ubordination: &he furious union "resident, oey dela Cru;, willlead a "rotest.

2aulty su"ordination results when an im!ortant idea !laced in the su"ordination clause.



+aulty: ick suffered a big disa""ointment,

flunking his e(ams. Im"ro!ed: +lunking his e(ams, ick suffered a big disa""ointment.

1?

CHAPTER 7THE PARA=RAPH

A !aragra!h is a sentence or a grou! of sentences develo!ing a single idea or unit of

thought. A sentence is also a unit of thought "ut while a sentence e,!resses an idea+ a !aragra!h

develo!s an idea. Although it is !ossi"le to have one !aragra!h functioning as a wholecom!osition+ an e,haustive com!osition usually has several logically organi0ed !aragra!hs+

e,!laining or giving details to su!!ort the controlling idea or thesis of the com!osition. #R*T*@= A PARA=RAPH



Com!osing a !aragra!h is one communication activity which can !rove very e,citing and

fulfilling for a student to whom any educational underta(ing is always a most welcome tas(. This

(ind of activity often !roves difficult as it demands of the com!oser a great deal of mental

disci!line cou!led with a considera"le degree of creativity and (now3how in !utting down

thoughts together. However+ as soon as one wholly sets himself to it+ the !en will write and having

written+ will move on and having moved on+ one gets the s(ill.>oing this may de!end on the writer$s !ersonal s(ill in it. However+ if hel! is needed+ the

following ste!s are offered. These are !roven very hel!ful in achieving a well3organi0ed andmeaningful !aragra!h.. Pitch your !ointThis means figure out very well what you want to drive home to your reader or listener and lay it

down.E,am!le of a !oint

arket ay was usually a $argain ay #ale ay in #anta $arbara. 5. Su!!ort <our PointThis means that you need to "ac( u! your !oint with e,!lanations+ !roofs or reasons that will hel!

"ring home a desired message.E,am!le of su!!orting sentences <ll "rime commodities get sold at relati!ely low "rices.

&he same was true with the "rices of lu(ury items. enerally, customers are able to buy e!ery item chea"er by as much as twenty fi!e

"ercent. 7. #rite <our Paragra!h *n Style.

To do this+ you should need to use effective word and e,!ressions. Thus+ the need to use

action words+ s!ecific names+ coloring words+ radiant or glowing e,!ressions and other language

devices every time needed and !ossi"le.E,am!le of styling

arket ay was usually a $argain #ale ay in #anta $arbara. 0ice, fish, meat,!egetables, sugar and oil gets sold at relati!ely low "rices. &he same was true with the "rices of

trinkets, handbags, fans, headbands, ribbons and flowers. enerally, customers is able to buy

e!ery items chea"er by as much as twenty fi!e "ercent. 1B

5. Su!!ort <our PointThis means that you need to "ac( u! your !oint with e,!lanations+ !roofs or reasons that will hel!

"ring home a desired message.E,am!le of su!!orting sentences

<ll "rime commodities get sold at relati!ely low "rices. &he same was true with the "rices of lu(ury items.

enerally, customers is able to buy e!ery items chea"er by as much as twenty fi!e

"ercent.

7. #rite <our Paragra!h *n Style.To do this+ you should need to use effective word and e,!ressions. Thus+ the need to use

action words+ s!ecific names+ coloring words+ radiant or glowing e,!ressions and other language

devices every time needed and !ossi"le.



E,am!le of styling arket ay was usually a $argain #ale ay in #anta $arbara. 0ice, fish, meat,

!egetables, sugar and oil gets sold at relati!ely low "rices. &he same was true with the "rices of

trinkets, handbags, fans, headbands, ribbons and flowers. enerally, customers is able to buy

e!ery items chea"er by as much as twenty fi!e "ercent. *n styling+ the general e,!ression 9All !rime commodities: was reduced into s!ecifics339Rice+ fish+

meat+ vegeta"les+ sugar and oil: while 9lu,ury items: a li(ewise general term+ is reduced to s!ecific

trin(ets+ hand"ags+ fans+ head"ands+ ri""ons and flowers. *f further desired+ the a"ove s!ecificscan still "e reduced so that 9rice: may "e 9fish:+ mil(fish 9meat:+ "eef 9vegeta"les:+ egg!lants and

so forth.?. 'a(e *t =rammatically Correct.This means that you guard your !aragra!h against grammatical errors or weed it out of

grammatical flaws.E,am!le of =rammatical Correction

arket ay is usually a $argain sale ay in #anta $arbara. 0ice, fish, meat, !egetables, sugar

and oil get sold at relati!ely low "rices. &he same is true with the "rices of trinkets, handbags,

fans, headbands, ribbons and flowers. enerally, customers are able to buy e!ery item chea"er

by as much as twenty fi!e "ercent. *n grammatical !olishing+ the ver" 9was: in the first and third sentences is re!laced with is "ecause

the sentences which carry them clearly aim to state a fact or general statement. Then 9gets: in the

second sentence is re!laced with 9get:+ its su"&ect "eing !lural 9All !rime commodities:. The 9is: of

the fourth sentence is changed to are "ecause its su"&ect 9customers: is !lural and then the word

9items: "ecause it is modified "y 9every: which is singular should always "e followed "y a singular

name. Thus+ 9item:.THE T6P*C SE@TE@CE 62 A PARA=RAPH

The to!ic sentence which is either e,!ressed or im!lied+ is the statement which !oints out

the central thought or the gist of the !aragra!h. An im!lied to!ic sentence can "e drawn from a

well (nown !aragra!h when the reader+ after reflecting u!on what he has read+ can sum u!+ themain !oint conveyed.

An e,!ressed to!ic sentence may "e the first sentence in the !aragra!h which affirms what

is to follow the last sentence which sums u! what have "een said and illustrative to!ic sentence+

e,!lanation or e,!ansion of which constitutes the !aragra!h or an interrogative to!ic sentence

wherein the answer constitutes the !aragra!h itself.1D

2rom the a"ove discussion of com!osing the !aragra!h+ the !oint driven home is the to!icsentence.E,am!le

)urs is a "arado(ical world. &he achie!ements which are its glory threaten to destroy it.

&he nations with the highest standard of li!ing, the greatest ca"acity to take care of their "eo"le

economically, the broadest education, and the most enlightened morality and religion, e(hibit

the least ca"acity to a!oid mutual destruction in war. It would seem that the more ci!ili;ed we

become, the more inca"able we are of maintaining ci!ili;ation. Transitions within a Paragra!h

Transition has to do with the way you tie with your sentences together. To ena"le thereader to follow your thoughts easily+ you must lin( your sentences within a !aragra!h with the

use of transitional devices. 6nly with this manner will your sentences hang together. Some

transitional devices are as follows1. Pronouns



4se a !ronoun that refers to a !erson+ !lace+ thing or idea in the !receding sentence. Study

how the underlined words hel! to lin( the sentences in the following !aragra!h. I saw #yl!ia at the 0i;al %ark. <s she walked towards me, I reali;ed that there was

something wrong. I noticed that she was using crutches. &hese were "re!enting her from

walking briskly. #he smiled but I know it was rather forced since the "ain was all o!er her face. 5. Transitional >evices

These may "e used for the following reasonsTime Contrast Cause and Effectthen howe!er thereforenow ne!ertheless thusne(t yet hence

first e!en though conse8uently second des"ite so

=eneral to S!ecific Addition Referencein fact also the formeres"ecially too the latter

for instance furthermore in conclusion

for e(am"le moreo!er besidesSummary Attitudein summary fortunatelyto sum u" unfortunatelynaturally finallyTa(e note of the transition that ha!!ened in this !aragra!h

=ow that mos8uitoes ha""ily abound in my neighborhood, I feel I should at least deri!e

come "leasure out of their abundance. &he mos8uito must ha!e a high and hidden "ur"ose, as

yet unre!ealed to our finite mind. Indeed I am inclined to belie!e that she has, 5I used the

feminine "ronoun ad!isedly, as a mos8uito which draws a bit "recious blood from us a matter of

necessity is a female !am"ire, the male being better bred.6

1G

$ut man can ne!er disco!er that "ur"ose as long as he de"reciatingly attributes to the dull of wit

among us mos8uito mind/. Wisdom has been said to begin with the reali;ation of one’s

ignorance. I think it can only begin when humans reali;e that we know a trifle less than a

mos8uito does. 2rancisco ). *casiano39'osuito and Literature:/7. Re!etition of Mey #ords

6"serve how the underlined words in the following !aragra!h act as "ridges "etween ideas. I read an article %sychology &oday/. In this article it is said that "eo"le’s names can

influence their "ersonalities. If this is true, then it would be worthwhile to recommend the article

to friends so they would disco!er how their names can "ossibly influence their "ersonalities. ?. Parallel StructureThis means !utting your words !hrases or clauses in the same form whenever "est to do so or

whenever called for "y the situation.E,am!le

an is the highest creation of all creations. Woman is the most sublime of all ideals. od made

for man a throne1 for a woman, the altar1 the throne e(alts, the altar sanctifies. an is the

cerebrum, woman is the heart1 the cerebrum fabricates light1 the heart "roduces lo!e1 light fecund, lo!e resuscitates. an is the code, woman is the gos"el1 the code corrects, the gos"el "erfects. an is the genius,

woman is an angel1 genius is indefinable, angel is immeasurable. an is strong in reason,



woman is in!incible in her tears1 reason con!inces the most stubborn, tears soften the hardest of

mortals. an is the tem"le, woman is the sanctuary1 before the tem"le we re!ere, before the

sanctuary we kneel. an is the ocean, woman is the lake1 the ocean has its "earl that adorns,

the lake has its "oem that da;;les. <t least the man is "laced where the earth ends and the

woman where hea!en begins. ;ictor Hugo 9The 'an and The #oman:/ A =66> PARA=RAPH A good !aragra!h is so organi0ed that it moves smoothly and !rogresses inevita"ly towards an

end. Every sentence has a reason or !ur!ose for "eing there. To attain this+ the !aragra!h shouldhave unity+ coherence and em!hasis+ the same ualities desired in a good sentence.4nity *n A Paragra!hThe !rinci!le of unity involves the choice of a "asic idea "uilt along a single design and !roducing

oneness of effect or im!ression. To o"tain unity+ the !aragra!h should "e "uilt around a to!ic

sentence.Since the to!ic sentence summari0es the idea develo!ed in a !aragra!h+ it is im!erative that all

su!!orting details in the form of reason+ e,!lanation+ or argument should "e relevant to the main

idea. #hatever does not "elong to the develo!ment of this idea must "e rigorously ruled out. *n

this way+ readers are guided "y concrete details+ facts+ or e,!lanations. This ena"les them to

understand more fully what the !aragra!h is trying to say.Study the unity achieved in the following !aragra!h&he medium of literature is language. Aanguage, as we know, is com"osed of words that are

combined into sentences to e("ress ideas, emotions, or desires. Words ha!e both sound and

meaning. &he word horse/ for instance, stands for the sound horse and animal horse. &hese

are usually associated and are se"arated only by an effort, yet they are distinct. &o understand

literature, we must know both sound and sense. We begin with sense, or meaning.

1J

Coherence *n A Paragra!hCoherence refers to the orderly arrangement of ideas or materials needed in the !rogression or

seuence of thought. The ideal is for one sentence to lead naturally into the ne,t+ and go on until

the end is reached. This may "e achieved with an orderly arrangement of ideas and with the use of

effective structural devices.1. 6rderly Arrangement 6f *deasThe orderly arrangement of ideas may "e any of the following1.a. Chronological 6rderThis means the time order of the seuence in which the events occurred.E,am!le

I boarded a 'ee"ney whose signboard read $lumentritt-<!enida/. <ll at once, a sweet fragrance

assailed my nostrils. I looked around to find out if I could s"ot one "articular "erfumed "erson

among the "assengers. y eyes tra!elled from left to right but my nose was e!en more curious. I

sniffed at the young coed ne(t to me. =o,not she. &hen I shifted my seating "osition a little

toward the matron at the other side, to my left. =ot she either. I was about to gi!e u" when I

ha""ened to look at the direction of the dri!er and I saw that the fragrance was that of a

sam"aguita garland hanging from the 'ee"ney’s sto", close the dri!er’s head. 1.". S!ace 6rder

Here+ the details are arranged such that they come either from near to far+ or from inside to

outside+ or from to! to "ottom+ or the reverse.E,am!le



Birtue is one con!ention that rightfully belongs to the +ili"ino woman. Her s"iritual

"ower in the community rests largely on her !irtue, and the men whose own !irtue has much

more comfortable "eri"hery, thanks to the double standard, res"ect their woman folk for it. &he +ili"ino male is

firmly con!inced that his "remarital and e(tramarital circumstances only enriches his

e("erience, but he will, with a terrible sense of outrage, stab his wife or his sister and her seducer

if he so much as begins to doubt her goodness. &he news"a"er sensationali;es such stories daily

and "rint blown u" "ictures of the !ictims and cul"rits. Indeed human drama re!ol!esdramatically in defense of the +ili"ino woman’s !irtuous re"utation. 1.c. Logical 6rderThis means that a !aragra!h can !roceed either inductively or deductively in its !resentation or

develo!ment of ideas.E,am!le

I cannot myself state "ositi!ely that we should or should not borrow money from other "eo"le,

but I am !ery definite that one should lend money to the needy. < friend of mine used to say that

a man does Con&unctions+ or con&unctional words + !hrases

)elow is a list of con&unctions+ con&unctional words+ and !hrases arranged according to theirfunctions in a sentence.Time then+ now+ ne,t+ first+ secondContrast however+ nevertheless+ yet even though+ des!iteCause and Effect therefore+ thus+ hence+ so+ conseuently 1

=eneral to s!ecific in fact+ es!ecially+ for instance+ for e,am!le Addition also+ too+ furthermore+ moreover+ "esidesReference the former+ the latter+ the following

Attitude fortunately+ unfortunately+ naturally+ an a senseSummary in summary+ to sum u!+ in conclusion+ finally E,am!le

!eryone knows that a good name is a great "ossession1 hence, a "erson must stri!e to

"reser!e an untarnished re"utation. +ortunately, this is within the reach of e!ery indi!idual,

therefore, he must know how to li!e within the bounds of decency and integrity. 5.c. The 4se 6f #ell36rgani0ed Sentence StructuresThese structures refer to the words+ !hrases and clauses that are structured !arallel and

uniform when they e,!ress similar thoughts or ideas. This !arallel and uniform structuring is very

effective in creating a coherent !aragra!h.E,am!le

&he chief source of humor is the incongruous, the une("ected. We e("ect one thing and we

find another. If one man "ulls a chair out from under another, the 'oke lies on the fact that the

second sits on the floor instead on the chair. It is the une("ectedness that makes comedy. Em!hasis *n A Paragra!hEm!hasis in !aragra!h means a focus on that as!ect of the su"&ect "eing ta(en u!. This can "e the

logical result of a unified develo!ment of an idea in a !aragra!h. 6r+ this can result from the

dominant !lay u! of one as!ect of a su"&ect over another one. 6r+ from the "alance treatment of

all the as!ects of the su"&ect.E,am!leCommunication is a "rocess whereby a "arty called a sender transmits a message to another

"arty called a sendee in order for the said message to be understood. It may take "lace either



!erbally, meaning, when the sender uses words in con!eying his message or non-!erbally when

the sender uses kinesics, "aralanguage, ob'ect language, "ro(emics, chronemics and other

similar signs of messages. Whether !erbal or non-!erbal, it makes use of different channels of

transmission of message. +or it to effecti!ely take "lace it must consider the time "lace,

audience, occasion and medium in!ol!ed. *f you notice in this !aragra!h+ all sentences focus on the su"&ect communication. This is made

!ossi"le "y sustaining it from one sentence to another+ of course+ with the use of the su"stitute

word *t.'ETH6>S 62 >E;EL6P*@= A PARA=RAPH

2or the develo!ment of an idea in a !aragra!h to "e unified+ coherent and em!hatic+ it is a

good !ractice to go "y certain methods li(e the followingThrough 4se 6f Relevant >etailsN>eductive

Here the to!ic sentence is e,!anded or develo!ed "y giving relevant su!!orting details.E,am!le

&he +ili"ino short-story writer writes most of the time about life on the farm and in the

"ro!ince. His scenes are the ni"a house, the rice field, the threshing floor, the !illage church. His

characters are ang orio and <ling &eria. &ancio, the young man, and 0osa, the dalaga. His

mood is often as serene as a mountain lake. An e,cer!t from 9A =arland of Sam!aguita: "yRodolfo Severino+ 8r./5I

)y E,am!lesThe idea is "est develo!ed "y giving illustrations or e,am!les.

E,am!le %sychoanalysis gi!es s"ecial em"hasis to unconscious moti!ations. !en sli"s of the

tongue, forgetting of a""ointment and other sim"le acts of e!eryday life are traced to moti!es ofwhich the indi!idual may not be aware of at the moment. &hus, the bored hostess, after an

insufferable e!ening, said, not what she intended 5but what she meant6: Well goodbye. I’m

sorry you came./ Aikewise, the debutante at a dance, much interested in a young gentleman, intended to ask him

when he was going to dance with her, but instead asked, When are you going to marry meD/

&here is no good reason for su""osing that all such la"ses are unconsciously moti!ated1 some

may be "urely accidental-but there is no doubt that many ha!e such moti!ation. An e,cer!t

from 9Psychology The 2undamentals of Human Ad&ustment: "y @orman 'unn/)y Com!arison 6r Contrast

<ou may e,!lain a thing "y com!aring or contrasting it with another. 2or you to "e a"le to

use this method of develo!ment+ you should therefore have at least two su"&ects to write a"out. <ou com!are when you "ring out their similarities and you contrast when you "ring out

their differences.E,am!le

Aee Har!ey )swald was the diametric o""osite of ohn +it;gerald >ennedy, and he was aware

of this. #ignificantly, he attributed the %resident’s success to family wealth1 >ennedy had all the

breaks. Aike many delusions, this one had a kernel of truth. )ne man had almost e!erything

and the other almost nothing. >ennedy was s"ectacularly handsome. )swald was balding, and

he had the "hysi8ue of a ferret. &he %resident had been a bra!e officer during the war1 )swald

had been court-martialed. <s Chief (ecuti!e and Commander-in-Chief1 >ennedy was all "owerful1 )swald was im"otent.

>ennedy was cheered 1 )swald ignored. >ennedy was lo!ed1 )swald des"ised. >ennedy was a

hero1 )swald was a !ictim. #illiam 'anchester/



)y >efinitionTo "e logical+ a definition must have three !arts the first+ the term or the word or !hrase to

"e defined second+ the grou! or the class of o"&ect or conce!t to which the term "elongs and

third+ thedifferent characteristics which differentiate or distinguish it from all others of its class.E,am!leWhat is ha""inessD Ha""iness is a state of mind. Aincoln once said: We are ha""y as we make

u" our minds to be./ Ha""iness grows out of harmonious relationshi"s with others, based onattitudes and goodwill, tolerance, understanding, and lo!e. Ha""iness if found in little things: a

baby’s smile, a letter from a friend, the song of a bird, a light in the window. 9#ords To Live )y

The Art of Ha!!iness)y Cause And Effect

Here the idea is develo!ed "y loo(ing into the whys and hows of things. This involves

reasoning or e,!laining in terms of causal relationshi!s.E,am!le

+loods are e("ected in etro anila during rainy days. &here are reasons why this

ha""ens all the time. )ne, anila and its immediate suburbs are under sea le!el or 'ust a bit

abo!e sea le!el.51

<nother reason is the drainage system is bad because the "i"es and sewers are "oorly

constructed. Aastly, the residents wantonly throw their garbage almost anywhere e(ce"t in the

trash rece"tacles. &his habit causes clogs in the "i"es and sewers. &he resultD +lash floods. Series of uestion. The writer can arouse the reader$s interest "y as(ing a series of uestions.Statement. The writer gives a strong suggestion and gives details to arouse the reader$s interest

and desire.>efinitions. The su"&ect of the !aragra!h is defined and !articulars are given.

6rigin. 6ne way of giving the reader a clearer understanding of the su"&ect is "y showing theorigin of the su"&ect of the letter and then "y tracing its develo!ment.>eductive. This !aragra!h "egins with a general statement+ then !roceeds to giving su!!ortive

details@arration. The incident which led to the situation or !ro"lems is narrated. The writer must see to

it that the facts are accurate. 6"&ective+ factual re!orting is necessary. Analogy . The li(eness of two things is shown in terms of their attitudes+ circumstances or effects.55



Cha!ter ?THE #H6LE C6'P6S*T*6@

As a thin(ing social "eing+ you will always need to e,!ress your thoughts+ ideas+ and feelings. At

this !oint of your study+ you are e,!ected to have a considera"ly good gras! of the various

idiosyncrasies of the English language. Having studied how to write effective sentences and

!aragra!hs+ you are now ready to write a whole com!osition. Although it is generally !resumed

that of all the language s(ills writing is the hardest you are "ound+ nevertheless to master the art of

communication through effective writing.2rancis )acon wrote that 9#riting ma(eth an e,act man:. Therefore+ when you can !ut down your

thoughts+ ideas+ and feelings on !a!er and ma(e your readers understand what you are saying+ you

are on the road to "eing an e,act man in communication. As a student in college+ you should

reali0e that relevant effective writing is the (ey to future !rofessional success. #R*T*@= A #H6LE C6'P6S*T*6@ #riting is a !rocess. *t moves from to! to "ottom of its organi0ational !attern form its title

to its "eginning+ "ody and ending with !ro!er use of transitions. As such+ it entails a ste! "y ste!

move towards a desired !iece of com!osition+ which+ in this cha!ter+ will "e trac(ed down as

follows)E26RE ACT4AL #R*T*@=Choose a Su"&ect.

<ou may use three !ossi"le sources of a su"&ect imagination+ o"servations+ and e,!erience. <our

e,!eriential "ac(ground can cover three general areas of interest your !ersonal life+ your college

life and your social life in the outside world of local+ national+ and international affairs.*n doing this+ choose a su"&ect that is interesting to you and to your reader+ and that you (now

much a"out. This will ma(e the writing &o" easier for you to do.6r+ a su"&ect that if you do not (now yet much a"out+ you (now that there are enough data

that can "e gathered a"out it. So that if you want first to study your su"&ect "efore you write+ you

have enough resources to use.E,!lore <our Su"&ect1.)efore deciding on what to write thin( hard a"out your su"&ect. =ive this your honest

consideration. Ta(e your feelings and im!ulses seriously. Honesty is essential "ecause readers

hate insincerity. Thin(ing and scrutini0ing ideas a"out a !a!er can hel! define+ sha!e or clarify a

to!ic.5. To write a"out something+ you must first (now a lot a"out it. S!end time for research in the

li"rary. Read e,tensively on the su"&ect.Tal( to friends and e,!erts. As( uestions and get ideas from !eo!le who have enough

information on the su"&ect.



7. List down ideas a"out your su"&ect. Then write freely unloc( ideas in your mind. <our list of

assorted ideas on the su"&ect has a disorgani0ed flow "ut it will !rovide you a chance to ma(e

s!ecific+ orderly ground for your writing.EOA'PLE Summer in )arrio Ticol

In!igorating morning swim in the ri!er Chir"ing crickets at night

#uman and other delicacies

$oating and night swimming #mell of 'asmine, rosal and other ay 24

Aolo’s "igs and "oultry anila !isitors en'oy the fresh un"olluted rural air +ruits and !egetables abound angoes and maco"a in bloom #light e!ening dri;;le a welcome treat <fter a sultry afternoon

0ural hos"itality unmatched Bisit to the small cha"el #im"licity and religiosity of country folks is !ery infectious #ummer in the big city smacks of heat and dust City folks sa!or the refreshing delights of the countryside

%eace of mind and heartWhere’s the ideal "lace to go to during summerD These fragmentary ideas a"out summer in a "arrio called &icol hel! a student who will do a

!ersonal e,!erience of s!ending summer outside of his city residence. The list of course is very

disorgani0ed. <ou are e,!ected to revise+ delete+ add or e,!and a lot of the ideas and final ways of

limiting and defining the to!ic until you come u! with an organi0ed outline.

?. As( uestions. )e reminded of the five #$s who+ what+ when+ where+ why/ and one H how/.Em!loying these &ournalistic uestions will hel! you e,!lore your su"&ect e,tensively. As you as(

as many versions of these uestions you start uncovering a lot more to contri"ute to your !a!er.E,am!leWhat is summer outside the metro"olisD Who lo!e to desert the big city during the hot seasonD Why do we 'um" at the chance of an out-of-town !acationD Where do we usually "refer to goD What different things do we obser!e in the countrysideD Where is the "erfect hideawayD

What do we obser!e among the country folkD What effect do all these obser!ations ha!e on usD How do we com"are summer in anila with summer in $arrio &icolD

>etermine <our Pur!ose <our !ur!ose will guide you in the further writing ste!s that you need to ta(e. *t will

suggest you the ty!e of com!osition you need to write and the limit of develo!ment you have a"out

your to!ic. As there are several ty!es of com!osition+ namely e,!osition+ descri!tion+ narration and

argumentation+ your clear !ur!ose in mind will ma(e you determine whether you have to write an

e,!ository+ descri!tive+ narrative+ or argumentative ty!e of com!osition. And once you have

determined this matter+ you will also (now the (ind of com!osition develo!ment you have to use

"ecausethe very ty!e of com!osition you will write gives you also a fitting method of develo!ment for it.>etermine The Ty!e 6f Com!osition To )e #ritten



As stated earlier+ your !ur!ose will hunch to you the ty!e of com!osition you have to write

for your to!ic. )ut+ you can only get that if you (now the nature of each ty!e of com!osition.5?

1. E,!ositionThis is an e,!lanatory ty!e of writing. *t is done in order to clarify or give further

information on what a thing is+ how it functions+ and how its !arts are related to one another or

how they are related to other things. Thus+ e,!osition addresses itself to !eo!le who (nows

nothing or only a little a"out the su"&ect in uestion. That is why if your !ur!ose is to e,!lain your

to!ic+ then you have to engage in e,!ository writing.5. >escri!tion

This is a ty!e of com!osition which !ro&ects an image "y means of words. This ma(es

descri!tion an oral or written activity aimed at ma(ing the listener or reader not only see "ut also

feel+ smell+ taste+ and hear the nature of things. Thus+ if your !ur!ose is to show or create a !icture

of your to!ic+ then+ you engage in descri!tive writing.7. @arration

This is a com!osition ty!e which !resents a story from "eginning to end. *t gives a

com!lete story "asically constituted "y life3giving characters+ the locale and the time of the event+

conflicts and crises+ and moral or truth of life that the story aims to deliver. Thus+ if your !ur!ose

is to tell a series of events a"out characters in a given !lace at a certain time+ then+ you engage in

narrative writing.?. Argumentation

This means writing to o!!ose a contention of one in order to assert his own. This is done "y

!resenting facts and !ieces of evidence reasona"ly su!!ortive of the assertion. Argumentation may "e as sim!le and informal as !retty uarrel over the color of a

"as(et"all team$s "anner as some would li(e it green while others would li(e it red. 6r as formal

as contending for and against 9'en are more intelligent than women.: #hatever+ good argumentation will always reuire intelligent reasoning.

Thus+ if your !ur!ose ha!!ens to "e li(e this+ you engage in argumentative writing.*n whatever way the com!osition may "e e,!ressed+ it will ma(e use of the language of

!rose or !oetry. And the fact that one is e,!ository and the other is descri!tive or narrative or

argumentative does not mean that each ty!e is truly distinct from the other. *n one$s seeming

distinctness from the other+ it is really not "ecause it utili0es and com"ines with the other ty!es in

the achievement of its own form.Ta(e the com!osition of any of the narrative !rose3fiction ty!es. )e it a short3story+ a novelette+ a

novel+ or a drama+ in its "eing narrative in nature+ it utili0es a great deal of descri!tion+ narration+

and even argumentation. 6n the other hand+ ta(e an essay. *n its "eing dominantly e,!ository+ it

is also !ossi"le that it uses narration and descri!tion.*n this edition+ however+ the e,!ository and descri!tive ty!es are the only ones ta(en u!

lengthily "ecause these are the ones needed in the (ind of writing desired to "e achieved.Limit <our Su"&ect

How do you limit your su"&ect so you can write a"out some as!ect or angle that will interest

your reader% Achieving this !articular goal is not an easy tas(. )ut you have to try to succeed in

"rea(ing down a "road su"&ect into its limited form+ otherwise+ you may not "e a"le to win the

interest of anyone.



This writing ste! may "e done "y !roceeding from a general su"&ect+ then narrowing it to

"ecome a little limited su"&ect. 2rom this limited su"&ect+ you narrow this further+ this time+ to

"ecome a to!ic which can serve as your com!osition title.

5B

2or instance+ you may want to write in general a"out love+ religion or !olitics. 'ost !ro"a"ly there

are already thousands of "oo(s on these su"&ects. )ut su!!ose you write a"out how love can e,ist "etween legitimate and illegitimate children+ or the Church meddles in the !olitical e,ercise of the

!eo!le% These angles of a su"&ect are the (ind that will ma(e it easier for you to e,!and ideas

a"out the su"&ect.E,am!le=eneral Su"&ect ReligionLimited Su"&ect Attitude Toward 'arriage

Angled To!ic >ifferences )etween Catholics and 'oslems #hen *t Comes to 'arriage

=eneral Su"&ect S!ortsLimited Su"&ect )as(et"all

Angled To!ic #hy 2ili!inos Are Cra0y A"out )as(et"all

*n doing this+ you usually consider the timeframe you have or you are given for writing. @aturally+

if you have only an hour or so+ as what you may have in 9on3the3s!ot writing: in the classroom+ you

have to narrow your su"&ect only to as much as an e,tent that is feasi"le to co!e with in an hour or

so. However+ if you have a semester time for writing+ as in the case of reuired !a!ers or term

!a!ers+ then+ you have to limit your su"&ect to an e,tent that is wor(a"le within such time frame.6f course+ other things to consider are your !ur!ose for writing+ the ty!e of com!osition you want

to write and then rhetorical mode that is suited to your !ur!ose in writing. <ou can use either for

rhetorical modes descri!tion+ narration+ e,!osition+ and argument. These ty!es of com!osition

will "e ta(en u! in detail in a se!arate unit.Engage in Free Writing

As( anyone+ a student or a !rofessional writer+ and he will agree with you that the hardest

!art of writing is getting started. At one time or another+ you have e,!erienced holding a !en in

hand staring hel!lessly at a "lan( sheet of !a!er. *t is during such frustrating moment that you

wish you (new how to ma(e thoughts and words flow into the sheet of !a!er and manifest what it

is you really want to say.Since writing is a s(ill that im!roves with !ractice+ the more you !ractice writing+ the more the

words you need to use come easy. Thus+ a free+ rela,ed (ind of e,ercise or lim"ering u! should

hel! you off to a good start.The following suggested e,ercises in free writing should hel! in unwinding !otential writing

a"ilities and "rea(ing down on mental and emotional "arriers to this im!ortant s(ill.*n free writing you write a"out anything that comes to your mind with no concern for

correctness+ logic+ or order. *n this e,ercise+ anything goes.anything goes. 6"serve this e,am!le of free writing done "y a student

<ctually I ha!e nothing to write about. &his is cra;y, being asked to write about anything.

&he room is hot. I’m uncomfortable. Why is my seat !ery far from the ceiling fanD any of my

classmates are still holding their "encils 5or ball "ens6 and not touching their "a"ers. =ot a

word is written yet. )ur teacher is "erha"s slee"ing but with her eye o"en. How many minutes

did she sayD &enD +ifteenD y mind is still blank. I’m getting bored. I ho"e the bell ring now so

I can go to the 5D



Documents

Writing Inthe Discipline Word Document