{"id":247,"date":"2018-01-10T08:08:02","date_gmt":"2018-01-10T13:08:02","guid":{"rendered":"https:\/\/carleton.ca\/keirarmstrong\/?page_id=247"},"modified":"2018-01-28T11:20:01","modified_gmt":"2018-01-28T16:20:01","slug":"mechanics-of-writing","status":"publish","type":"page","link":"https:\/\/carleton.ca\/keirarmstrong\/learning-resources\/essay-guidelines\/mechanics-of-writing\/","title":{"rendered":"Mechanics of Writing"},"content":{"rendered":"

The following is an excerpt from the\u00a0MLA Handbook for Writers of Research Papers, Theses, and Dissertations<\/em>, ed. Joseph Gibaldi and Walter S. Achtert (New York: The Modern Language Association of America, 1977), pp.\u00a09\u201341.<\/strong><\/p>\n

10\u00a0 \u00a0 Punctuation<\/strong><\/p>\n

a.\u00a0 General remarks.<\/strong>\u00a0The primary purpose of punctuation is to ensure the clarity and readability of your writing. Although there are many required uses, punctuation is, to some extent, a matter of personal preference. But, while certain practices are optional, consistency is mandatory. Writers must guard against adopting different styles in parallel situations. The remarks below stress the conventions that pertain especially to research papers. More comprehensive discussions of punctuation can be found in standard handbooks of composition \u2026.<\/p>\n

b.\u00a0 Apostrophes<\/strong>\u00a0indicate contractions (rarely acceptable in scholarly writing) and possessives. General practice is to form the possessive of monosyllabic proper names ending in a sibilant sound (s, z, sh, zh, ch, j) by adding an apostrophe and another\u00a0s<\/em>\u00a0(Keats\u2019s poems, Marx\u2019s theories) except, by convention, for names in classical literature (Mars\u2019 wrath). In words of more than one syllable ending in a sibilant, only the apostrophe is added (Hopkins\u2019 poems, Cervantes\u2019\u00a0novellas<\/em>) except for names ending in a sibilant and a final\u00a0e<\/em>\u00a0(Horace\u2019s odes). Note that the possessive of a name ending with a silent\u00a0s<\/em>\u00a0is formed by adding an apostrophe and another\u00a0s<\/em>\u00a0(Camus\u2019s novels).<\/p>\n

c.\u00a0 Colons<\/strong>\u00a0are used to indicate that what follows will be an example, explanation, or elaboration of what has just been said. They are commonly used to introduce quotations (see \u00a7\u00a7 14b, 14c, and 14f). For their use in documentation and bibliography, see \u00a7\u00a7 31c, 31h, and 41c. Always skip one space after a colon.<\/p>\n

d.\u00a0 Commas<\/strong>\u00a0are usually required between items in a series (blood, sweat, and tears), between coordinate adjectives (an absorbing, frightening account), before coordinating conjunctions joining independent clauses, around parenthetical elements, and after fairly long phrases or clauses preceding the main clause of a sentence. They are also conventional in dates (January 1, 1980), names (W. K. Wimsatt, Jr., and Walter J. Ong, S.J.), and addresses (Brooklyn, New York). A comma and a dash are never used together in modern English usage. If the context requires a comma (as it does here), the comma follows a closing parenthesis, but a comma never precedes an opening parenthesis. See \u00a7\u00a7 31, 33, 35, and 41 for the usage of the comma in documentation and bibliography; see \u00a714f for commas with quotation marks.<\/p>\n

e.\u00a0 [Em] dashes.<\/strong>\u00a0An [em] dash is typed \u2026 with no space before or after. Some writers tend to overuse [em] dashes, substituting them loosely for other marks of punctuation. The [em] dash, however, has only a few legitimate uses: around parenthetical elements that require a number of internal commas, and before a summarizing appositive.<\/p>\n

Carter\u2019s sweep of the South\u2014Virginia was the only Southern state to vote Republican\u2014helped give him the election.<\/p>\n

Many twentieth-century American writers\u2014Faulkner, Capote, Styron, Williams, to name only a few\u2014come from the South.<\/p>\n

Stray dogs, abandoned cats, injured birds, orphaned baby rabbits\u2014all found a home with us.<\/p>\n

See \u00a739 for use of the [em] dash in documentation.<\/p>\n

f.\u00a0 Exclamation marks<\/strong>\u00a0should be used sparingly in scholarly writing.<\/p>\n

g.\u00a0 Hyphens<\/strong>\u00a0are used to form some types of compound words, particularly compound adjectives that precede the word(s) they modify (a mind-boggling experience, a well-established policy, a first-rate study). Hyphens also join prefixes to capitalized words (post-Renaissance) and link pairs of coequal nouns (poet-priest, teacher-scholar). Many other compounds, however, are written as one word (wordplay, storytelling) or as two (social security tax, a happily married man). Consult a standard dictionary or writing manual for guidance in determining which compounds require hyphenation. [En dashes rather than hyphens should be] used to connect numbers indicating a range (pp. 1\u201320). For the use of hyphens in dates, see \u00a711c; for hyphens in unavoidable word divisions at the end of a line, see \u00a712b.<\/p>\n

h.\u00a0 Italics \u2026.<\/strong>\u00a0Avoid frequent use of italics \u2026 for emphasis. (On the [italicizing] of titles, see \u00a713.) Phrases, words, or letters cited as linguistic examples and foreign words used in English text are [italicized]. The numerous exceptions to this last rule include quotations entirely in another language, titles of articles in another language (placed within quotation marks), proper names, and foreign words anglicized through frequent usage. Since [North] American English rapidly naturalizes words, use a dictionary and your own knowledge of current usage to determine which originally foreign expressions still require italics. Much, of course, depends on the audience. Foreign words, abbreviations, and phrases commonly not [italicized] include: etc., e.g., et al., laissez faire, raison d\u2019\u00eatre, t\u00eate-\u00e0-t\u00eate, and versus. In discussions of the arts, such words or expressions as the following are also not [italicized]: clich\u00e9, enjambment, genre, hubris, leitmotif, mimesis, and roman \u00e0 clef. (On italicizing abbreviations, see \u00a747.)<\/p>\n

i.\u00a0 Parentheses<\/strong>\u00a0are used to enclose parenthetical remarks and to enclose some items in documentation (see \u00a7\u00a7 31h, 33f, 37, and 41c). On parenthetical documentation, see \u00a739.<\/p>\n

j.\u00a0 Periods<\/strong>\u00a0end sentences. They also come at the end of notes and after complete blocks of information in bibliographical citations (see \u00a741). The period follows a parenthesis that falls at the end of a sentence. It is placed within the parenthesis when the parenthetical element is independent (see, not this sentence, but the next). (For the use of periods with ellipsis, see \u00a714d; for periods within quotation marks, see \u00a714f.)<\/p>\n

k.\u00a0 Quotation marks.<\/strong>\u00a0Enclose in double quotation marks words to which attention is being directed (e.g., words purposely misused or used in a special sense, words referred to as words, and parenthetical English translations of words or phrases from another language). Note, however, that words used as examples in linguistic studies are [italicized] and not enclosed in double quotation marks (see \u00a710h). Use single quotation marks for definitions or translations that appear without intervening punctuation (e.g.,\u00a0ainsi<\/em>\u00a0\u2018thus\u2019). For the use of quotation marks with titles, see \u00a713; and, for use of single and double quotation marks in quoted material, see \u00a714f.<\/p>\n

l.\u00a0 Semicolons<\/strong>\u00a0are used to separate items in a series when some of the items require internal commas. They are used between independent clauses that are not joined by a coordinating conjunction, and they may be used before the coordinating conjunction in a compound sentence if one of the independent clauses requires a number of internal commas. For the use of semicolons in documentation and bibliography, see \u00a7\u00a7 31e, 32k, 36, 37, and 42k.<\/p>\n

m.\u00a0 Slashes (virgules)<\/strong>\u00a0are used to separate lines of poetry (see \u00a714b) and elements of dates (see \u00a711c), to enclose phonemic transcription, and occasionally to separate alternative words (and\/or).<\/p>\n

n.\u00a0 Square brackets<\/strong>\u00a0[] are used for an unavoidable parenthesis within a parenthesis, to enclose interpolations in a quotation (see \u00a714e) or in incomplete data (see sample notes 58 and 64 in \u00a7\u00a7 32r and 32t), and to enclose phonetic transcription.<\/p>\n

11\u00a0 \u00a0 Numerals<\/strong><\/p>\n

a.\u00a0 In general,<\/strong>\u00a0numbers that cannot be spelled out in one or two words may be written as numerals (one, thirty-six, ninety-nine, one hundred, two thousand, three million; but 2\u00bd, 101, 137, and 1,275). Numbers compared or contrasted should be in the same style (5 out of 125, 2\u00bd to 3 years old or two-and-a-half to three years old). In technical or statistical discussions involving their frequent use or in notes, where many space-saving devices are legitimate, all numbers may be written as numerals. Common practice is to put a comma between the third and fourth digits from the right, the sixth and seventh, and so on.<\/p>\n

1,000\u00a0\u00a0\u00a0\u00a0\u00a0\u00a020,000\u00a0\u00a0\u00a0\u00a0\u00a0\u00a07,654,321<\/p>\n

Exceptions to this practice include page and line numbers of four or more digits, addresses, and year numbers. The comma is added in year numbers if a fifth digit is used.<\/p>\n

On page 3333 \u2026.<\/p>\n

At 4132 Broadway \u2026.<\/p>\n

In 1984 \u2026.<\/p>\n

But<\/p>\n

In 20,000 B.C. \u2026.<\/p>\n

\u2026 Dates and page numbers are rarely spelled out: \u201c12 April\u201d or \u201cApril 12\u201d and \u201cpage 45\u201d are generally preferred to \u201cthe twelfth of April\u201d and \u201cthe forty-fifth page.\u201d Because numbers beginning sentences (including dates) are, by convention, spelled out, avoid beginning a sentence with a number.<\/p>\n

b.\u00a0 Percentage and amounts of money<\/strong>\u00a0are treated as other numbers: if the numbers involved cannot be spelled out in one or two words, they may be written as numerals with the appropriate symbols (one percent, forty-five percent, one hundred percent, five dollars, thirty-five dollars, two thousand dollars, sixty-eight cents; but 2\u00bd%, 150%, $2.65, $303, \u20a4127. In business, scientific, and technical writing involving their frequent use, all percentages and amounts of money may be written as numerals with the appropriate symbols.<\/p>\n

c.\u00a0 Dates.<\/strong>\u00a0As in other aspects of writing, be consistent in expressing dates: either \u201c22 July 1981\u201d or \u201cJuly 22, 1981,\u201d but not both (if the latter, be sure to put a comma both before and after the year unless another punctuation mark is required); either \u201cAugust 1981\u201d or \u201cAugust, 1981,\u201d but not both. Centuries are written out in lowercase letters (the twentieth century). A hyphen is added if the century is being used as an adjective (eighteenth-century thought; nineteenth- and twentieth-century literature). Decades are also usually written out without capitalization (the seventies), but it is \u2026 acceptable to express them in figures (the 1970s). \u201cB.C.\u201d follows the year, but \u201cA.D.\u201d precedes it (19 B.C.; A.D. 565). (Some writers use \u201cB.C.E,\u201d before the Common Era, and \u201cC.E.,\u201d Common Era.) European usage gives all dates in day-month-year order, separated by spaces, commas, hyphens, periods, or slash marks (2 March 1974, 2-3-74, 2\/III\/74). To indicate both Western and non-Western dates, put one set in parentheses: \u201c3 November 1963 (K\u2019ang hsi 32\/10\/6).\u201d Both \u201cin 1951\u201352\u201d and \u201cfrom 1951 to 1952\u201d are clear and acceptable, as is \u201cfrom 1951\u201352 to 1968\u201369,\u201d but \u201cfrom 1951\u201372\u201d alone is not because, lacking the preposition \u201cto\u201d after \u201c1951,\u201d the phrase is inaccurate and confusing.<\/p>\n

d.\u00a0 Inclusive numbers.<\/strong>\u00a0In connecting consecutive numbers, give the second number in full for numbers through ninety-nine. For larger numbers, give only the last two figures of the second if it is within the same hundred or thousand: pp. 2\u20133, 10\u201312, 21\u201328, 103\u201304, 395\u2013401, 923\u20131003, 1003\u201305, 1608\u2013774, 1999\u20132004, 12345\u201347, 12345\u20133300.<\/p>\n

e.\u00a0 Roman numerals.<\/strong>\u00a0Use capital Roman numerals for \u2026 books and parts of a work, volumes, acts of a play, or individuals in a series.<\/p>\n

Book I of Spenser\u2019s\u00a0Faerie Queene<\/em><\/p>\n

Part II of Goethe\u2019s\u00a0Faust<\/em><\/p>\n

Volume II of\u00a0Encyclopedia Americana<\/em><\/p>\n

Act III of\u00a0Arms and the Man<\/em><\/p>\n

Elizabeth II<\/p>\n

Use lower case Roman numerals for chapters of a book (Chapter xii), scenes of a play (Act I, Scene ii), cantos of a poem (Book I, Canto iv), chapters of books of the Bible (Luke xiv), and the preliminary pages of a dissertation (e.g., preface, table of contents), On capitalization, see \u00a715. On the use of Roman numerals in documentation, see \u00a7\u00a7 31i and 31j.<\/p>\n

12\u00a0 \u00a0 Spelling<\/strong><\/p>\n

a.\u00a0 General remarks.<\/strong>\u00a0Spelling, including hyphenation, must be consistent, except in quotations: quoted material must be reproduced exactly as it appears in the original. See \u00a79 on the selection and use of a dictionary.<\/p>\n

b.\u00a0 Word division.<\/strong>\u00a0Avoid dividing words at the end of a line. Where divisions are unavoidable, practice in [North America] is to divide words according to pronunciation (\u201crep-re-sent\u201d), whereas the British divide according to word derivation (\u201cre-pre-sent\u201d). Other languages have their own rules for dividing words: French, for instance, usually divides on a vowel (\u201cho-me-rique\u201d; in English, \u201cHo-mer-ic\u201d). If in doubt, consult a dictionary.<\/p>\n

c.\u00a0 Accents.<\/strong>\u00a0In quoting, reproduce all accents exactly as they appear in the original. Bear in mind that in French, when capital letters are followed by lowercase letters, the capital letters are not always accented (always \u201c\u00e9cole,\u201d but \u201cEcole\u201d is acceptable). Although it is never unacceptable to place an accent over a capital letter that would require one if it were lowercase, the practice of French printers varies when words appear entirely in capital letters:\u00a0\u00c0<\/em>,\u00a0\u00c9<\/em>,\u00a0\u00c8<\/em>,\u00a0\u00d9<\/em>, and capital letters bearing a circumflex are often accented, but often not. When transcribing words that appear in all capitals and changing them to lowercase, insert the necessary accents. \u2026<\/p>\n

d.\u00a0 Dieresis.<\/strong>\u00a0In German words the dieresis, not\u00a0e<\/em>, should be used for the umlaut (\u00e4, \u00f6, \u00fc\u00a0rather than<\/em>\u00a0ae, oe, ue), even for initial capitals (\u201c\u00dcber\u201d). But common usage must be observed for names: G\u00f6tz, but Goethe.<\/p>\n

e.\u00a0 Digraphs.<\/strong>\u00a0A digraph is a combination of two letters that represents only one sound (e.g.,\u00a0th<\/em>,\u00a0oa<\/em>\u00a0in \u201cbroad\u201d). In many languages, some digraphs appear united in print (\u00e6, \u0153, \u00df). They may be transcribed in typescript without any connection between them (ae, oe, ss). \u2026 In [North] American English, the digraph\u00a0ae<\/em>\u00a0[has been almost completely] abandoned in favor of the\u00a0e<\/em>\u00a0alone; \u201cencyclopedia\u201d and \u201carcheology\u201d (instead of\u00a0\u00a0\u201cencyclopaedia\u201d and \u201carchaeology\u201d) and \u201cesthetic\u201d and \u201cmedieval\u201d are now [the norm].<\/p>\n

13\u00a0 \u00a0 Titles in the Text<\/strong><\/p>\n

For capitalization of titles, see \u00a715.<\/p>\n

a.\u00a0 [Italicized].<\/strong>\u00a0Titles of published books, plays (of any length), long poems (usually poems that have been published as books), pamphlets, periodicals (including newspapers and magazines), works of classical literature (but not sacred writings), films, radio and television programs, ballets, operas, instrumental music (but not if identified simply by form, number and key), paintings, sculpture, and names of ships and aircraft are all [italicized] in the text. \u2026<\/p>\n

David Copperfield<\/em>\u00a0\u00a0(published book)<\/p>\n

As You Like It<\/em>\u00a0\u00a0(play)<\/p>\n

The Waste Land<\/em>\u00a0\u00a0(long poem)<\/p>\n

New Jersey Driver Manual<\/em>\u00a0\u00a0(pamphlet)<\/p>\n

Washington Post<\/em>\u00a0\u00a0(newspaper)<\/p>\n

Time<\/em>\u00a0\u00a0(magazine)<\/p>\n

Horace\u2019s\u00a0Ars Poetica<\/em>\u00a0\u00a0(work of classical literature)<\/p>\n

Sounder<\/em>\u00a0\u00a0(film)<\/p>\n

All in the Family<\/em>\u00a0\u00a0(television program)<\/p>\n

Giselle<\/em>\u00a0\u00a0(ballet)<\/p>\n

Rigoletto<\/em>\u00a0\u00a0(opera)<\/p>\n

Berlioz\u2019\u00a0Symphonie fantastique<\/em>\u00a0\u00a0(instrumental music identified by name)<\/p>\n

Beethoven\u2019s Symphony No.\u00a07 in A\u00a0\u00a0(instrumental music identified by form, number, and key)<\/p>\n

Chagall\u2019s\u00a0I and My Village<\/em>\u00a0\u00a0(painting)<\/p>\n

Bernini\u2019s\u00a0Ecstasy of St. Theresa<\/em>\u00a0\u00a0(sculpture)<\/p>\n

H.M.S.\u00a0Vanguard<\/em>\u00a0\u00a0(ship)<\/p>\n

Spirit of St. Louis<\/em>\u00a0\u00a0(aircraft)<\/p>\n

b.\u00a0 In quotation marks.<\/strong>\u00a0Titles of articles, essays, short stories, short poems, songs, chapters of books, unpublished works (such as dissertations), lectures and speeches, courses, and individual episodes of radio and television programs are enclosed in quotation marks.<\/p>\n

\u201cSharp Rise in Unemployment\u201d\u00a0\u00a0(article in a newspaper)<\/p>\n

\u201cSources of Energy in the Twenty-First Century\u201d\u00a0\u00a0(article in a magazine)<\/p>\n

\u201cThe Writer\u2019s Audience is Always a Fiction\u201d\u00a0\u00a0(article in a scholarly journal)<\/p>\n

\u201cEtruscan\u201d\u00a0\u00a0(encyclopedia article)<\/p>\n

\u201cThe Fiction of Langston Hughes\u201d\u00a0\u00a0(essay in a book)<\/p>\n

\u201cYoung Goodman Brown\u201d\u00a0\u00a0(short story)<\/p>\n

\u201cKubla Khan\u201d\u00a0\u00a0(poem)<\/p>\n

\u201cSummertime\u201d\u00a0\u00a0(song)<\/p>\n

\u201cItalian Literature before Dante\u201d\u00a0\u00a0(chapter in a book)<\/p>\n

\u201cGoethe\u2019s\u00a0Faust<\/em>\u00a0and the German Puppet-Play\u201d\u00a0\u00a0(unpublished dissertation)<\/p>\n

\u201cThe Style and the Story: Shakespeare\u2019s Appropriate and Varying Artistry\u201d\u00a0\u00a0(lecture)<\/p>\n

\u201cIntroductory Mathematics\u201d\u00a0\u00a0(course)<\/p>\n

\u201cThe Joy Ride\u201d\u00a0\u00a0(episode of the television program\u00a0Upstairs, Downstairs<\/em>)<\/p>\n

c.\u00a0 Titles within titles.<\/strong>\u00a0If a title indicated by quotation marks appears within an [italicized] title, the quotation marks are retained. If a title indicated by [italicizing] appears within a title enclosed in quotation marks, the [italicizing] is retained.<\/p>\n

\u201cYoung Goodman Brown\u201d and Hawthorne\u2019s Puritan Heritage<\/em>\u00a0\u00a0(book)<\/p>\n

\u201cAs You Like It<\/em>\u00a0as a Pastoral Poem\u201d\u00a0\u00a0(article)<\/p>\n

When a title normally indicated by quotation marks appears within another title requiring quotation marks, the shorter title is given single quotation marks.<\/p>\n

\u201cAn Interpretation of Coleridge\u2019s \u2018Kubla Khan\u2019\u201d\u00a0\u00a0(article)<\/p>\n

When a normally [italicized] title appears within another [italicized] title, the shorter title appears neither [italicized] nor in quotation marks.<\/p>\n

The Art of\u00a0<\/em>David Copperfield\u00a0\u00a0(book)<\/p>\n

d.\u00a0 Exceptions.<\/strong>\u00a0These conventions of [italicizing] titles or placing them within quotation marks do not apply to sacred writings (including all books and versions of the Bible), to series, editions, and societies, to descriptive words or phrases (or conventional titles) used instead of an actual title, and to parts of a book, none of which is underlined or put within quotation marks. (On capitalization, see \u00a715.)<\/p>\n

Sacred writings:<\/em><\/p>\n

Bible<\/p>\n

King James Version<\/p>\n

Old Testament<\/p>\n

Genesis<\/p>\n

Gospels<\/p>\n

Talmud<\/p>\n

Koran<\/p>\n

Upanishads<\/p>\n

Series:<\/em><\/p>\n

Bollingen Series<\/p>\n

University of North Carolina Studies in Comparative Literature<\/p>\n

Masterpiece Theatre<\/p>\n

Editions:<\/em><\/p>\n

New Variorum Edition of Shakespeare<\/p>\n

Centenary Edition of the Works of Nathaniel Hawthorne<\/p>\n

Societies:<\/em><\/p>\n

American Medical Association<\/p>\n

Renaissance Society of America<\/p>\n

Descriptive words or phrases or conventional titles:<\/em><\/p>\n

Roosevelt\u2019s first Inaugural Address<\/p>\n

Mona Lisa\u00a0\u00a0[for Leonardo da Vinci\u2019s\u00a0La Gioconda<\/em>]<\/p>\n

Parts of a book:<\/em><\/p>\n

Introduction<\/p>\n

Preface<\/p>\n

Appendix<\/p>\n

Index<\/p>\n

e.\u00a0 Frequent use of a title.<\/strong>\u00a0If a title is to be mentioned often in the text, after the first full reference in the text or in a note, use only a shortened (if possible, familiar or obvious) title or abbreviation (e.g., \u201cNightingale\u201d for \u201cOde to a Nightingale\u201d;\u00a0Much Ado<\/em>\u00a0for\u00a0Much Ado about Nothing<\/em>; HEW for Department of Health, Education and Welfare). This practice is also followed in notes (see \u00a737).<\/p>\n

14\u00a0 \u00a0 Quotations<\/strong><\/p>\n

a.\u00a0 In general,<\/strong>\u00a0all quotations\u2014whether a word, phrase, sentence, paragraph, or more\u2014should correspond exactly to the original source in spelling, capitalization, and interior punctuation (on the use of ellipsis, see \u00a714d). Exceptions, such as the [italicizing] of words for emphasis or the modernization of spelling, must be explicitly indicated or explained in a note or enclosed in parentheses at the end of the quotation or in square brackets within the quotation (on the uses of parentheses and square brackets, see \u00a7\u00a7 10i and 10n):<\/p>\n

Lincoln specifically advocated a government \u201cfor<\/em>\u00a0the people\u201d (emphasis added).<\/p>\n

Take care to ensure that the syntax of your sentence accords grammatically with that of the quotation.<\/p>\n

b.\u00a0 Poetry.<\/strong>\u00a0Unless unusual emphasis is required, verse quotations of a single line or part of a line should be incorporated, within quotation marks, as part of the text. Quotations of two or three lines may also be placed in the text, within quotation marks, but with the lines separated by a slash (\u00a0\/\u00a0), with a space on each side of the slash.<\/p>\n

In Shakespeare\u2019s\u00a0Julius Caesar<\/em>, Antony says of Brutus, \u201cThis was the noblest Roman of them all.\u201d<\/p>\n

In\u00a0Julius Caesar<\/em>, Antony begins his famous speech: \u201cFriends, Romans, countrymen, lend me your ears; \/ I come to bury Caesar, not to praise him.\u201d<\/p>\n

Verse quotations of more than three lines should be separated from the text by triple-spacing, introduced in most cases by a colon, indented [0.5 inches] from the left margin (\u2026), and typed with double-spacing (\u2026) but without quotation marks unless they appear in the original. The spatial arrangement of the of the original (including indentation and spacing within and between lines) should be reproduced as accurately as possible.<\/p>\n

Crashaw begins his poem \u201cThe Weeper\u201d with several metaphors describing the eyes of St. Mary Magdalene, withholding until the end of the first stanza the subject of his work:<\/p>\n

Haile, Sister Springs,
\nParents of Silver-footed rills!
\nEver bubling things!
\nThawing Crystall! Snowy hills!
\nStill spending, never spent; I meane
\nThy faire eyes, sweet\u00a0Magdalen<\/em>.<\/p>\n

If the quotation begins in the middle of the line of verse, it should be reproduced as such and not shifted to the left margin.<\/p>\n

It is in Act II of\u00a0As You Like It<\/em>\u00a0that Jaques is given the speech that many think contains a glimpse of Shakespeare\u2019s conception of drama:<\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 All the world\u2019s a stage
\nAnd all the men and woman merely players:
\nThey have their exits and their entrances;
\nAnd one man in his time plays many parts,
\nHis acts being seven ages.<\/p>\n

Jacques then proceeds to enumerate and analyze these ages.<\/p>\n

c.\u00a0 Prose.<\/strong>\u00a0Prose quotations of not more than four lines in the typescript, unless special emphasis is required, should always be incorporated, within quotation marks, as part of the text.<\/p>\n

For Dickens it was both \u201cthe best of times\u201d and \u201cthe worst of times.\u201d<\/p>\n

\u201cHe was obeyed,\u201d writes Conrad of the Company manager in\u00a0Heart of Darkness<\/em>, \u201cyet he inspired neither love nor fear, nor even respect.\u201d<\/p>\n

Longer quotations (more than four lines in the typescript) are usually introduced by a colon or comma (see \u00a714f), set off from the text by triple-spacing, indented [0.5 inches] from the left margin, and typed with double-spacing (\u2026) but without quotation marks. If a single paragraph, or part of one, is quoted, do not indent the first line more than the body of the quotation; if two or more paragraphs are quoted consecutively (as in the following example), indent the first line of each an additional [0.2 inches]. If, however, the first sentence quoted is not the beginning of a paragraph in the source, do not indent it the additional [0.2 inches].<\/p>\n

In\u00a0Moll Flanders<\/em>, Defoe maintains the pseudo-autobiographical narration typical of the picaresque tradition:<\/p>\n

\u00a0 \u00a0 \u00a0 My true name is so well known in the records or registers at Newgate, and in the records or registers at Newgate, and in the Old Bailey, and there are some things of such consequence still depending there, relating to my particular conduct, that it is not to be expected I should set my name or the account of my family to this work. Perhaps, after my death, it may be better known; at present it would not be proper, no, not tho\u2019 a general pardon should be issued, even without exceptions of persons or crimes.
\n

d.\u00a0 Ellipsis.<\/strong>\u00a0When omitting a word, phrase, sentence, or paragraph from a quoted passage, writers should be guided by two principles: (1)\u00a0fairness to the author being quoted and (2)\u00a0clarity and correct grammar in their own writing. If only a fragment of a sentence is quoted, it will be obvious that some of the original sentence has been left out: In his Inaugural Address, Kennedy spoke of a \u201cnew frontier.\u201d But if, after material from the original has been omitted, the quotation appears to be a grammatical sentence or a series of grammatical sentences, the omission (or omissions) should be indicated by using [an] ellipsis \u2026. For [an] ellipsis\u00a0within<\/em>\u00a0a sentence, [leave] a space before and after \u2026. A quotation that can stand as a complete sentence should end with a period even if something in the original has been omitted. When the ellipsis coincides with the end of your sentence, [it should\u00a0precede<\/em>\u00a0a sentence period with a space before]. If parenthetical material follows the ellipsis at the end of your sentence, \u2026 place the sentence period after the final parenthesis.<\/p>\n

Original:<\/em><\/p>\n

The sense of isolation present in many of the poems of the his earlier collections grew into an obsessive loneliness, under the pressure of two alien cultures. (From Robert Pring-Mill,\u00a0Pablo Neruda: A Basic Anthology<\/em>\u00a0[Oxford: Dolphin, 1975], p.\u00a0xxi.)<\/p>\n

Quoted with [an] ellipsis in the middle:<\/em><\/p>\n

As Robert Pring-Mill notes of Neruda\u2019s years in the East, \u201cThe sense of isolation \u2026 grew into an obsessive loneliness, under the pressure of two alien cultures.\u201d<\/p>\n

Quoted with [an] ellipsis at the end:<\/em><\/p>\n

As Robert Pring-Mill notes of Neruda\u2019s years in the East, \u201cThe sense of isolation present in many of the poems of his earlier collections grew into an obsessive loneliness \u2026.\u201d<\/p>\n

or<\/p>\n

As Robert Pring-Mill notes of Neruda\u2019s years in the East, \u201cThe sense of isolation present in many of the poems of his earlier collections grew into an obsessive loneliness \u2026\u201d (p.\u00a0xxi).<\/p>\n

[An ellipsis] may also be used to indicate the omission of a whole sentence or more or of a paragraph or more. Remember, however, that grammatically complete sentences must both precede and follow the ellipsis. (\u2026)<\/p>\n

Original:<\/em><\/p>\n

The most dissimilar people said similar if not identical things about this unique soul, this poet who gave so much delight. They spoke of his wonderfully balanced humanity, the expanse and gentleness of his spirit and his incredibly subtle art. All testify that he taught his contemporaries to see things, to recognise relationships, to love what is fine, to be aware of depths, and to discover the hidden ways of the human soul, and that he did this with a gentle but sure conviction. (From J. R. von Salis,\u00a0Rainer Maria Rilke: The Years in Switzerland<\/em>, trans. N. K. Cruickshank [Berkeley: Univ. of California Press, 1966], p.\u00a0290.)<\/p>\n

Quoted:<\/em><\/p>\n

J. R. von Salis has written of Rilke, \u201cThe most dissimilar people said similar if not identical things about this unique soul \u2026. All testify that he taught his contemporaries to see things, to recognise relationships, to love what is fine, to be aware of depths \u2026.\u201d<\/p>\n

\u2026<\/p>\n

The accuracy of the quotation and the exact reproduction of the original are paramount in scholarly writing. Unless indicated in brackets, liberties must not be taken with the spelling or punctuation of the original. The writer must construct sentences that allow, on the one hand, for the exactness of the quotation and, on the other, for clarity and correct grammatical structure. In many cases, it is best simply to paraphrase grammatically incorporating fragments of the original into the text.<\/p>\n

Original:<\/em><\/p>\n

Moralists have unanimously agreed, that unless virtue be nursed by liberty, it will never attain due strength\u2014and what they say of man I extend to mankind, insisting that in all cases morals must be fixed on immutable principles; and, that the being cannot be termed rational or virtuous, who obeys any authority, but that of reason. (From Mary Wollstonecraft,\u00a0A Vindication of the Rights of Woman<\/em>, ed. Carol H. Poston [New York: Norton, 1975], Ch.\u00a0xiii, \u00a76 [p.\u00a0191].)<\/p>\n

Quoted:<\/em><\/p>\n

\u201c[U]nless virtue be nursed by liberty,\u201d wrote Mary Wollstonecraft, \u201cit will never attain due strength \u2026.\u201d<\/p>\n

But writers who prefer not to use square brackets to indicate the changing of a lowercase letter into uppercase should recast the sentence:<\/p>\n

Mary Wollstonecraft wrote that \u201cunless virtue be nursed by liberty, it will never attain due strength \u2026.\u201d<\/p>\n

e.\u00a0 Interpolations.<\/strong>\u00a0The writer\u2019s own comments or explanations\u00a0within<\/em>\u00a0quotations are enclosed in square brackets (not parentheses<\/em>) \u2026. Use \u201csic\u201d (\u201cthus,\u201d \u201cso\u201d) sparingly\u0097in square brackets and without quotation marks or an exclamation point\u2014to assure readers that the quotation is accurate although the spelling or logic might lead them to doubt it. Unless the writer states otherwise (e.g., by \u201cemphasis added\u201d; see \u00a714a), the reader will assume that whatever is [italicized] in the quotation was italicized \u2026 in the original.<\/p>\n

The term paper was [titled] \u201cOn Wordsworth\u2019s \u2018Imitations of Immorality\u2019 [sic].\u201d<\/p>\n

Hamlet says of his mother:<\/p>\n

\u00a0 \u00a0 \u00a0 Why, she would hang on him [Hamlet\u2019s father]
\nAs if increase of appetite had grown
\nBy what it fed on \u2026.<\/p>\n

f.\u00a0 Punctuating quotations.<\/strong>\u00a0Quotations set off from the text require no quotation marks; internal punctuation should be reproduced exactly as in the original. For quotations included as part of the text, first use double quotation marks, then, for quotations within quotations, single marks:<\/p>\n

The professor in the novel confessed that he found it \u201cimpossible to teach the \u2018To be or not to be\u2019 speech\u201d because he was himself terrified by its implications.<\/p>\n

Commas and periods are placed\u00a0inside<\/em>\u00a0closing quotation marks unless a parenthetical or bracketed reference intervenes. (If a quotation ends with both a single and a double quotation mark, the comma or period is placed within both: \u201cRead \u2018Kubla Khan,\u2019\u201d he told me.) All other punctuation goes outside quotation marks, except when it is part of the matter quoted.<\/p>\n

Original:<\/em><\/p>\n

I believe taxation without representation is tyranny!<\/p>\n

Quoted:<\/em><\/p>\n

He attacked \u201ctaxation without representation.\u201d<\/p>\n

He attacked \u201ctaxation without representation\u201d (p.\u00a032).<\/p>\n

Did he attack \u201ctaxation without representation\u201d?<\/p>\n

He did not even attack \u201ctaxation without representation\u201d!<\/p>\n

but<\/p>\n

He declared that \u201ctaxation without representation is tyranny!\u201d<\/p>\n

When a quotation is formally introduced, it is preceded by a colon. Quotations of verse are also usually preceded by a colon.<\/p>\n

Coleridge\u2019s\u00a0Rime of the Ancient Mariner<\/em>\u00a0concludes: \u201cA sadder and a wiser man, \/ He rose the morrow morn.\u201d<\/p>\n

but<\/p>\n

\u201cPoets,\u201d according to Shelley, \u201care the unacknowledged legislators of the world.\u201d<\/p>\n

15\u00a0 \u00a0 Capitalization<\/strong><\/p>\n

a.\u00a0 English.<\/strong>\u00a0In all English titles, not only of entire works (such as novels, lectures, or essays) but also of divisions of works (such as parts or chapters), capitalize the first letter of the first word, the last word, and all the principal words\u2014including nouns and adjective in hyphenated compounds but excluding articles, prepositions (except when they function as adverbs), conjunctions, and the \u201cto\u201d in infinitives.<\/p>\n

Death of a Salesman<\/em><\/p>\n

Antony and Cleopatra<\/em><\/p>\n

The Hero in Nineteenth-Century Novels: A Survey<\/em><\/p>\n

The Teaching of Spanish in English-Speaking Countries<\/em><\/p>\n

\u201cOde to a Nightingale\u201d<\/p>\n

\u201cItalian Literature before Dante\u201d<\/p>\n

\u201cThe Life Beyond\u201d<\/p>\n

\u201cWhat Americans Stand For\u201d<\/p>\n

In references to magazines or newspapers (the\u00a0Washington Post<\/em>), the initial definite article is usually not treated as part of the title. The words \u201cseries\u201d and \u201cedition\u201d are capitalized only when they are considered part of an exact title (the Norton Critical Edition, the Twayne World Authors Series,\u00a0but<\/em>\u00a0Penguin edition, the Studies in English Literature series). Titles like Preface, Introduction, and Appendix are often capitalized, particularly when they refer to a well-known work, such as Wordsworth\u2019s Preface to\u00a0Lyrical Ballads<\/em>. They are also capitalized when formally cited in notes and bibliographies (see \u00a731b). In many other contexts, however, these terms need not be treated as titles (the author claims in an introduction). Capitalize and, in documentation, abbreviate a noun followed by a numeral indicating place in a sequence: Vol.\u00a0II of 3 vols., Pl.\u00a04, No.\u00a020, Act\u00a0V, Ch.\u00a0iii, Version\u00a0A. Do not capitalize col., fol., l., n., p., or sig. (see \u00a748 for the meanings of these and other abbreviations). Never capitalize entire words (i.e., every letter) in titles cited in text or notes.<\/p>\n

b.\u00a0 French.<\/strong>\u00a0In prose or verse, French usage differs from English in that the following are not capitalized unless they begin a sentence or (in some cases) a line of verse: (1)\u00a0the subject pronoun\u00a0je<\/em>\u00a0\u2018I\u2019; (2)\u00a0months or days of the week; (3)\u00a0names of languages and adjectives derived from proper nouns; (4)\u00a0titles of people or places.<\/p>\n

Un Fran\u00e7ais m\u2019a parl\u00e9 en anglais dans la place de la Concorde.<\/p>\n

Hier j\u2019ai vu le docteur Maurois qui conduisait une voiture Ford.<\/p>\n

Le capitaine Boutillier m\u2019a dit qu\u2019il partait pour Rouen le premier jeudi d\u2019avril avec quelques amis normands.<\/p>\n

In titles of books, stories, poems, chapters, and the like, capitalize the first word and all proper nouns. If the first word is an article, capitalize also the first noun and any preceding adjectives.<\/p>\n

Du c\u00f4t\u00e9 de chez Swann<\/em><\/p>\n

Le Grand Meaulnes<\/em><\/p>\n

La Guerre de Troie n\u2019aura pas lieu<\/em><\/p>\n

In titles of series and periodicals, capitalize all major words.<\/p>\n

Novell Revue des Deux Mondes<\/em><\/p>\n

L\u2019Ami du Peuple<\/em><\/p>\n

\u2026<\/p>\n

16\u00a0 \u00a0 Names of Persons<\/strong><\/p>\n

a.\u00a0 General remarks.<\/strong>\u00a0Since there are exceptions to almost any rule, good judgment based on knowledge of common usage is essential in dealing with persons\u2019 names.<\/p>\n

b.\u00a0 Titles.<\/strong>\u00a0Formal titles (Mr., Mrs., Miss, Ms., Dr., Professor, etc.) are usually omitted in references to persons, living or dead. By convention, titles are associated with, or used for, certain names\u2014for instance, the poet Henry Howard, earl of Surrey, is referred to as Surrey, not Howard. By custom, however, some titled persons are not referred to by their titles: Benjamin Disraeli, first earl of Beaconsfield, is commonly called Disraeli. A few women are traditionally known by their married names (Mme de Sta\u00ebl). Otherwise, women\u2019s names are treated the same as men\u2019s (Dickinson, Stein, Plath, not Miss Dickinson, Miss Stein, Miss Plath).<\/p>\n

c.\u00a0 Authors\u2019 names.<\/strong>\u00a0It is common and acceptable to use simplified names of famous authors (Vergil for Publius Vergilius Maro, Dante for Dante Alighieri). Many authors are referred to by pseudonyms, which should be treated as ordinary names.<\/p>\n

Moli\u00e8re (Jean-Baptiste Poquelin)
\nVoltaire (Fran\u00e7ois-Marie Arouet)
\nGeorge Sand (Amandine-Aurore-Lucie Dupin)
\nGeorge Eliot (Mary Ann Evans)
\nMark Twain (Samuel Clemens)
\nStendhal (Marie-Henri Beyle)
\nNovalis (Friedrich von Hardenberg)<\/p>\n

In a few cases, however, surnames and pen names are virtually inseparable from initials (O. Henry, not Henry).<\/p>\n

d.\u00a0 Dutch and German names.<\/strong>\u00a0Dutch\u00a0van<\/em>,\u00a0van der<\/em>,\u00a0van den<\/em>, and German\u00a0von<\/em>, with some exceptions (especially in English contexts), are not used with the last name alone.<\/p>\n

Droste-H\u00fclshoff (Annette von Droste-H\u00fclshoff)
\nKleist (Heinrich von Kleist)
\nVondel (Joost van den Vondel)<\/p>\n

but<\/p>\n

Van Gogh, Vincent
\nVon Braun, Wernher<\/p>\n

German names with an umlaut (\u00e4, \u00f6, \u00fc) are often alphabetized in [North America] as though spelled out (ae, oe, ue). In this case, \u201cG\u00f6tz\u201d (alphabetized as \u201cGoetz\u201d) would precede \u201cGogol\u201d in an alphabetical listing. In Germany they are most often alphabetized without regard to the umlaut.<\/p>\n

e.\u00a0 French names.<\/strong>\u00a0French\u00a0de<\/em>\u00a0alone following a given name, with some exceptions, is not used with the last name alone.<\/p>\n

Maupassant (Guy de Maupassant)
\nRonsard (Pierre de Ronsard)
\nScud\u00e9ry (Madeleine de Scud\u00e9ry)<\/p>\n

but<\/p>\n

De Gaulle, Charles<\/p>\n

When the preposition\u00a0de<\/em>\u00a0and the definite article are combined into a single word (des<\/em>,\u00a0du<\/em>), this word is used with the last name.<\/p>\n

Des P\u00e9riers, Bonaventure
\nDu Bartas, Guillaume de Salluste<\/p>\n

Otherwise, omit\u00a0de<\/em>\u00a0with the last name.<\/p>\n

La Bo\u00e9tie, Etienne de
\nLa Bruy\u00e8re, Jean de<\/p>\n

A hyphen is normally used between French given names (M.-J. Ch\u00e9nier is Marie-Joseph Ch\u00e9nier, but M. R. Char is Monsieur Ren\u00e9 Char; P. J. Reynard is P\u00e8re \u2018Father\u2019 J. Reynard).<\/p>\n

f.\u00a0 Greek names.<\/strong>\u00a0See \u00a717g.<\/p>\n

g.\u00a0 Italian names.<\/strong>\u00a0Many Italian names of persons living before or during the Renaissance are alphabetized by the first name.<\/p>\n

Bonvesin da la Riva
\nCino da Pistoia
\nDante Alighieri
\nIacopone da Todi
\nMichelangelo Buonarroti<\/p>\n

but<\/p>\n

Boccaccio, Giovanni
\nCellini, Benvenuto
\nStampa, Gaspara<\/p>\n

Members of historical families, however, are usually alphabetized by their last names.<\/p>\n

Este, Beatrice d\u2019
\nMedici, Lorenzo de\u2019<\/p>\n

In modern times, the Italian\u00a0da<\/em>,\u00a0de<\/em>,\u00a0del<\/em>,\u00a0della<\/em>, and\u00a0di<\/em>\u00a0are used with the last name.<\/p>\n

D\u2019Annunzio, Gabriele
\nDe Sanctis, Francesco
\nDel Buono, Oreste
\nDella Casa, Giovanni
\nDi Costanzo, Angelo<\/p>\n

h.\u00a0 Spanish names.<\/strong>\u00a0Spanish\u00a0de<\/em>\u00a0is not used with the last name alone.<\/p>\n

Madariaga (Salvador de Madariaga)
\nRueda (Lope de Rueda)
\nTimoneda (Juan de Timoneda)<\/p>\n

When the preposition\u00a0de<\/em>\u00a0and the definite article\u00a0el<\/em>\u00a0are combined into a single word (del<\/em>), this word must be used with the last name: Del R\u00edo, Angel. Otherwise, omit\u00a0de<\/em>\u00a0with the last name: Las Casas, Bartolom\u00e9 de.<\/p>\n

Spanish surnames often include both the paternal name and the maternal name, with or without the conjunction\u00a0y<\/em>. The surname of a married woman usually includes her paternal surname and the paternal surname of the husband, connected by\u00a0de<\/em>. The proper indexing of Spanish names requires the ability to distinguish between given names and surnames. Alphabetize by paternal name.<\/p>\n

\u00c1lvarez, Miguel de los S\u00e1ntos
\nCervantes Saavedra, Miguel de
\nD\u00edaz de Castillo, Bernal
\nFiguera Aymerich, \u00c1ngela
\nLarra y S\u00e1nchez de Castro, Mariano Jos\u00e9
\nL\u00f3pez de Ayala, Pero
\nMatute, Ana Mar\u00eda
\nOrtega y Gasset, Jos\u00e9
\nQuevedo y Villegas, Francisco G\u00f3mez de
\nSinu\u00e9s de Marco, Mar\u00eda del Pilar
\nZayas y Sotomayor, Mar\u00eda de<\/p>\n

Even persons who are commonly known by the maternal portion of their surnames\u2014Gald\u00f3s, Lorca\u2014are properly indexed under their full surnames: Benito\u00a0P\u00e9rez Gald\u00f3s<\/em>, Federico\u00a0Garc\u00eda Lorca<\/em>.<\/p>\n

i.\u00a0 Oriental names.<\/strong>\u00a0In Chinese, Japanese, Korean, and Vietnamese, surnames precede given names (Hu Shih, Wang Kuowei, Kim Jong Gil, Anesaki Masajaru), but Western authors should follow the known preferences of Oriental persons, even if they differ from normal practice or standard romanization (Y. R. Chao, Syngman Rhee).<\/p>\n

\u2026<\/p>\n","protected":false},"excerpt":{"rendered":"

The following is an excerpt from the\u00a0MLA Handbook for Writers of Research Papers, Theses, and Dissertations, ed. Joseph Gibaldi and Walter S. Achtert (New York: The Modern Language Association of America, 1977), pp.\u00a09\u201341. 10\u00a0 \u00a0 Punctuation a.\u00a0 General remarks.\u00a0The primary purpose of punctuation is to ensure the clarity and readability of your writing. Although there […]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":138,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","_mi_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":"","_links_to":"","_links_to_target":""},"yoast_head":"\nMechanics of Writing - Keir Armstrong<\/title>\n<meta name=\"description\" content=\"The following is an excerpt from the\u00a0MLA Handbook for Writers of Research Papers, Theses, and Dissertations, ed. Joseph Gibaldi and Walter S. Achtert (New\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/carleton.ca\/keirarmstrong\/learning-resources\/essay-guidelines\/mechanics-of-writing\/\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"29 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/carleton.ca\/keirarmstrong\/learning-resources\/essay-guidelines\/mechanics-of-writing\/\",\"url\":\"https:\/\/carleton.ca\/keirarmstrong\/learning-resources\/essay-guidelines\/mechanics-of-writing\/\",\"name\":\"Mechanics of Writing - Keir Armstrong\",\"isPartOf\":{\"@id\":\"https:\/\/carleton.ca\/keirarmstrong\/#website\"},\"datePublished\":\"2018-01-10T13:08:02+00:00\",\"dateModified\":\"2018-01-28T16:20:01+00:00\",\"description\":\"The following is an excerpt from the\u00a0MLA Handbook for Writers of Research Papers, Theses, and Dissertations, ed. 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Joseph Gibaldi and Walter S. Achtert (New","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/carleton.ca\/keirarmstrong\/learning-resources\/essay-guidelines\/mechanics-of-writing\/","twitter_misc":{"Est. reading time":"29 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/carleton.ca\/keirarmstrong\/learning-resources\/essay-guidelines\/mechanics-of-writing\/","url":"https:\/\/carleton.ca\/keirarmstrong\/learning-resources\/essay-guidelines\/mechanics-of-writing\/","name":"Mechanics of Writing - Keir Armstrong","isPartOf":{"@id":"https:\/\/carleton.ca\/keirarmstrong\/#website"},"datePublished":"2018-01-10T13:08:02+00:00","dateModified":"2018-01-28T16:20:01+00:00","description":"The following is an excerpt from the\u00a0MLA Handbook for Writers of Research Papers, Theses, and Dissertations, ed. 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