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Creating An Annotation

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Writing—the last step

Finally, it's time to turn all that preparation into an annotation. Using the preliminary notes—

While the planning steps are basically consecutive, the elements that make up writing are incorporated largely simultaneously. As soon as you begin writing, language, sentence structure, grammar, and style come into play. That does not mean every sentence or every word will be exactly what is needed on the first draft. The general approach needs to be achieved first and then more attention paid to specific details. But choice of language and how to use it are there from the beginning. The elements are separated here to focus on some fundamentals and considerations.

Get to the point

A strong first sentence sums up or indicates the main emphasis of the book. Supportive details follow.

Edward VIII

by Frances Donaldson

     Annotation: Lady Donaldson suggests that Edward VIII's abdication to marry Mrs. Simpson was a willful abandonment of the throne rather than a noble sacrifice. The eldest son of King George V is portrayed as a tragic personality, the victim of his own flawed character and judgment.

     Comment: The opening sentence presents the author's thesis. The second develops it. While active voice is generally preferable, the second sentence works in passive voice with some supporting information on either side of the verb.

Dhalgren

by Samuel R. Delany

     Annotation: As the sun grows deadly, the world goes mad. Society perishes, savagery rules, and all that was known is over. In these dying days of Earth, a young drifter enters the city. Explicit descriptions of sex, strong language, and violence.

     Comment: The opening sentence presents the situation and sets the mood. The second adds details, opposing the concepts of society and savagery. The concluding sentence inserts a person into the setting, implying that something is about to happen and enticing the reader to find out what that is. The warning tags indicate that the action may not be to everyone's taste.

That vital first sentence

The opening sentence lets the reader know immediately what this book is about.

For nonfiction, the information could include the author's premise or approach, the time period covered, a succinct introduction to the subject matter, a brief statement of the author's credentials, or whatever else is essential to the particular book. Note that the statement must indicate something about the book, not just about the person or situation covered in the book.

The first sentence sets the tone

For fiction, the first sentence should capture the mood, and could introduce the major character(s), set the plot in motion, or anchor the book in place and time, along with leading the reader into the next sentence for more information. Sometimes it needs to state the nature of the book, usually for genres that are hard to depict through plot and mood. Not all these elements should be included in every first sentence; the writer must select what is essential to this book. Remember that some information has already appeared in the title.

Good starts

Obviously there can be as many good beginnings as there are books being annotated.

Fragments of the Ark

by Lousie Meriwether

     First sentence: Peter Mango has been a slave all his life.

     Comment: Identifies the protagonist and his situation, and at the same time implies that something is about to happen to change things.

Next Time, She'll Be Dead: Battering and How to Stop It

by Ann Jones

     First sentence: A study of the institutions and attitudes that foster the problem of domestic violence in America.

     Comment: Straightforward exposition about what the book contains. There are five useful nouns (study, institutions, attitudes, problem, violence) and a well-chosen verb that has the sense of giving aid to a situation that should be halted, not encouraged.

The Last Integrationist

by Jake Lamar

     First sentence: A political tale set in a racially divided America.

     Comment: Both the genre and the subject are hinted at in the title. The explanatory opening sentence clarifies the direction of the novel, leading to plot elements to follow.

Always try to get directly to the author's approach for nonfiction books. Some possibilities include:

Watch out for these approaches

Don't ignore the book. Annotations are about books, not about the people profiled or the conflict covered. The first sentence for a nonfiction book should always indicate what the book is about (life of, discusses, covers), not what the subject did, why he or she did it, or how the author became interested. This problem is particularly prevalent with biographies.

Wilma Unlimited: How Wilma Rudolph Became the World's Fastest Woman

by Kathleen Krull

      Annotation: African American Wilma Rudolph weighed only four pounds when she was born in 1940, and she had nineteen older brothers and sisters. Childhood polio left her leg paralyzed, but Wilma exercised until she not only walked but became an Olympic gold medal runner. For grades 2-4.

     Problem: Needs an introductory sentence stating that the book tells how the person profiled surmounted many difficulties to become an Olympic gold medal winner. The details listed should intrigue children, but they are supportive information rather than the starting point.

Little Girl Fly Away

by Gene Stone

     Annotation: For four years Ruth Finley said she was stalked by a man who, on different occasions, kidnapped her, stabbed her, harassed her by phone, and wrote her evil poetry. The Poet eluded Wichita police until the chief, who had not met Ruth, read the voluminous file and solved the case by surveillance: Ruth was stalking herself. After five years of psychoanalytic therapy, Ruth was able to understand why. Strong language and some violence.

     Problem: We have a lengthy annotation about the case, its solution, and even the outcome for the perpetrator. There's nothing anywhere about the book, which can only be presumed to present this information somehow.

Don't concentrate just on background. This problem is another common aspect of ignoring the book. An annotation should cover the approach of the book, not explain how the author happened to write it. These facts can be included as supportive details if pertinent, but the first sentence should always indicate that there is a book.

Schoolgirls:Young Women, Self-Esteem, and the Confidence Gap

by Peggy Orenstein

     Annotation: When journalist Orenstein read the American Association of University Women's (AAUW) 1990 study that told of widespread low self-esteem in young girls, she wanted to learn about the people and the stories behind the statistics. With the support of AAUW, she spent a year observing this trait in eighth-grade girls from two California schools, chosen to reflect the system-wide division by race and economic class.

     Problem: It's all background. Not only is there no book, there's no substance about any findings from the study.

Of Love and Other Demons

by Gabriel García Márquez

     First sentence: In 1949, the author was instructed by his newspaper editor to go to the old convent of Santa Clara on the Caribbean coast and see if he could come up with a story about the emptying of their burial crypts prior to building a hotel.

      Problem: More than half of the allotted fifty words have been used, and we have no information about what is in the book. The opening sentence or two should be devoted to setting, characters, and story line of a fiction book. If there is space, background information could be added briefly: This novel was inspired by a 1949 visit... Readers might be intrigued to learn that a 1995 bestseller was based on an experience almost half a century earlier-but only if they first had some reason to become interested in the book.

Don't repeat title information. Use the annotation to give new information; limited space shouldn't be used to repeat what can be learned from the title and subtitle. Repetition is dull in print, wasteful in braille, and deadly when recorded.

Rebecca West: A Celebration

by Rebecca West

      First sentence: Selections from the works of Dame Rebecca West.

      Comment: The author's name already appears twice in the bibliographic material; a third appearance in the annotation is both unnecessary and boring.

The Misbegotten Son: A Serial Killer and His Victims; the True Story of Arthur J. Shawcross

by Jack Olsen

      First sentence: Reconstruction of crimes committed by Arthur John Shawcross.

      Comment: All that is in the lengthy subtitle. The first sentence should be used to tell how many murders, over what period of time, how grizzly or inexplicable, how long it took for him to be discovered- anything that is more than what is already stated. Is there something in his family background to explain the title?

Many works of nonfiction are quite specific in the title and subtitle about the subject covered and the time. Obviously, then, these facts do not need to be included in the annotation. Instead, the first sentence should focus on other elements, possibly a fuller explanation of who the subject is, what he or she accomplished or is known for, the approach or credentials of the author, or how this book differs from others on the subject.

Repetition is rarely a problem with fiction titles.

Avoid wordy opening phrases. It's superfluous to start with a book about; the reader knows that it is a book about something. Moreover, such an opening phrase almost insists that the writer add descriptive adjectives about the book, and these can too easily become judgmental. Instead, go directly to the content: someone doing something.

Wordy: Warm, sympathetic story of the seven restless and ambitious children of a pre-depression Jewish immigrant family as they pursue power and wealth.

Direct: Seven restless and ambitious children of a pre-depression Jewish family pursue power and wealth.

Beware of such phrases as:

The annotation usually should start with the information that comes after such phrases. Spell out the genre only if it isn't obvious. The annotation's tone and content are the best means for conveying the type of book. The reader can tell that it's a historical novel if the time period and setting are given; that it's a gothic novel if the heroine is being pursued around a spooky mansion on the edge of a cliff overlooking the moors.

Cases where the genre can be in doubt often involve some form of humor where the action depicted is intended to illustrate a point, as in a satire. Here it is preferable to begin with a statement about what is being satirized and use the plot elements for supportive details-which is what they are: the author's means of making the point.

Biting the Wall

by J.M. Johnson

      First sentence: In this satire on academic life, Llew McQuilla is summarily removed from his job as head of computer services at Wilbur Moody College, and his loyal colleagues are determined to learn the reason behind this sudden demotion.

      Comment: Without the opening phrase, the plot information could be read straight, possibly as the introduction to a serious conspiracy.

I Killed Hemingway

by William McCranor Henderson

      First sentence: Satirical thriller about former Hemingway scholar Elliot McGuire, who is asked to ghostwrite the biography of elder Eric "Pappy" Markham.

      Comment: The opening phrase tells the reader to expect a suspense novel with comic twists.

The Ditches of Edison County

by Ronald Richard Roberts

      First sentence: This parody of the bestselling Bridges of Madison County (RC 35861) also features a brief affair between a traveling photographer, Ronald Concave, and a farmer's lonely wife, Pancetta Jackson.

      Comment: The title, with its echoes of the original runaway bestseller and film, announces a takeoff. Identifying the book as a parody reinforces this fact, as does the plot information. The connections may not be so obvious as Bridges fades from memory.

Avoid overcrowding. An overcrowded first sentence cannot focus attention on any one point, and readers may get totally confused or lose interest. Overcrowding is bad practice anywhere, but it can be a disaster in the opening sentence.

The Terrible Teague Bunch

by Gary Jennings

      Annotation: (1) Comic western (2) set in Texas, (3) at the turn of the century in which (4) four wellintentioned badmen (5) encounter (6) rough obstacles and (7) rough luck (8) en route (9) to robbing a train (10) carrying money (11) to a new bank (12) at Teague.

      Comment: Twelve separate thoughts are stuffed into one sentence. Most of the information is useful and fairly well expressed, but there is too much in one place. Run-on thoughts are a challenge even to the inveterate reader of westerns.

Never use throwaways. These are sentences that lead into the information that should be conveyed, but contain no information of their own about the book. They create the impression that the writer didn't quite know how to get to the point, or was trying to stretch the material and fill up the space.

The Doctor's Book of Home Remedies: Thousands of Tips and Techniques Anyone Can Use to Heal Everyday Health Problems

by Deborah Tkac

      First sentence: Have you ever wondered what a doctor does when he gets a cold, is plagued with arthritis, snores, or has a stomachache?

      Comment: The sentence is wasted-words thrown away that could have been used for imparting information. Readers should not be addressed as you, and what they may have wondered is immaterial. The book does not need a long annotation; the title is quite explicit.

Add supportive details

The second sentence (and others as necessary) should clarify the introductory sentence if needed, add specifics, identify the conflict, or move the plot along. The type of book and its approach will determine what is needed.

Long Ago in France: The Years in Dijon

by M.F.K. Fisher

      Annotation: An account of the years between 1929 and 1931, when the author is introduced to life in France. For her it is a time when practically everything is new-marriage, the French language, and culinary interests. Most exciting of all are the people in the cafes, movies, shops, and kitchens and in the pensions she and her husband share with other foreigners and graduate students in the provincial city of Dijon.

      Comment: The first sentence is short and straightforward, showing that the book contains memoirs (an account), clarifying the years encompassed by the long ago of the title, and indicating new experiences with introduced to. The details that follow reflect the emerging concerns of the well-known food writer and add color.

The Dutchman

by Maan Meyers

      Annotation: (1) New Amsterdam, 1664. (2) This city of Dutch settlers, Indians, and Jewish merchants is about to be attacked by the British. (3) But Schout (sheriff) Pieter Tonneman has other problems to worry about first. (4) A close friend has apparently killed himself, a Jewish family's house has been burned, a corpse disappears and reappears, and a lovely Jewish widow has a special interest in him. Strong language and some violence.

      Comment: (1) A dateline with place and time is a good way to identify a historical work; it saves space and words along with reducing the dependence on prepositional phrases. Like all devices, however, it should not be overused. (2) The first full sentence enlarges on the background and setting and also introduces one plot element. (3) The hero appears in the next sentence, along with indications of more plot complications. (4) Finally, there is an overwhelming series of personal concerns and criminal activities designed to keep a conscientious lawman occupied for quite some time. Note how well the details build.

Know how to stop

A good paragraph, or a good annotation, should have a beginning, a middle, and an end-but not necessarily in three sentences and not usually revealing the outcome of the book. When there is enough information to lay out the author's thesis or pique the reader's interest, there is no need to add more. Particularly with annotations for escapist fiction titles, it is enough to get the protagonists into a situation or dilemma and stir concern about how they will deal with it. The annotation should not, of course, disclose the ending. It also does not need to summarize all the action leading to the conclusion.

Don't disclose too much plot. Once the situation has been laid out, trying to encapsulate all of the action can lead to complex, convoluted sentences that confuse rather than enlighten. And too much information can weaken the thrust, leaving the annotation to trail off, rather than end on an interesting note.

Seasons of the Heart RC 24280

by Cynthia Freeman

      Annotation: Ann Coulter's dreams of a happy, prosperous future with her husband, Phillip, a dashing, aristocratic lawyer she met at her best friend's wedding, are shattered by World War II. His internment throughout the war in a Japanese prison camp saps his strength of character. Ann's determination to improve the family finances by working as a realtor turns her into a millionaire, but the marriage fails.

      Comment: The first sentence is long and filled with details that seem to lead into a light romance. Since that is not to be the case, the allusion to her best friend's wedding should be eliminated to connect dreams and shattered more directly. The middle section covers a fairly long period of time, with both people facing realities—his very grim and hers of ambition and achievement. Then the whole thing ends abruptly and with finality, leaving very little reason for reading the book.

Avoid weak generalizations. The concluding sentence should arouse interest in some way, not trail off into a vague nothingness. This situation can be caused by too much attention to how the author sets up the plot, leaving little space to focus on how it develops.

Sound the Trumpet: The Liberty Bell, Book 1

by Gilbert Morris

      Annotation: When British Daniel and Lyna Bradford lose their mother, going to a workhouse is their only option. Fortunately, they are hired by Lord Rochester to work as indentured servants for five years, and life is good. Then young Leo Rochester makes passes at Lyna, and Daniel fights with him and must leave. Both Daniel and Lyna will endure many hardships before they are reunited in America. Some violence.

      Problem: Most of the book is encompassed in the vague endure many hardships of the last sentence, which surely is not going to inspire much interest, especially since the tagline indicates violence. This problem occurs mainly because too much attention has been given to details of the opening situation, many of them unnecessary. Going to a workhouse is obviously not their only option, since they didn't. This annotation could easily begin with a sentence such as "Orphaned siblings Daniel and Lyna are separated after being indentured to Lord Rochester," leaving more space to lay out something about the action.

Don't pose useless questions. The annotation should not dissolve into meaningless speculation about whether the characters will achieve their purpose. Questions to which the answer is obvious add no information.

Generally, the writer should stop with the sentence that precedes these questions. If the problem has not been set out, as it probably should have been, the situation is much better handled with a statement:

Questions can be used to good effect, but they should be used sparingly and should not express the obvious. (See Questions, below)

Choose appropriate language

Language is chosen before it is written, even though the two acts may seem to be simultaneous; writers decide what word to use before they write it down. Language for annotations should be interesting, appropriate, and nonjudgmental. Words chosen should fulfill two related objectives. They should

Every word in an annotation should be valuable. Readers don't have infinite time or patience to wait for the point to be made; length is a consideration for selection cards and bookcards; space for printing, brailling, and recording annotations is limited.

Before selecting words, consider some aspects of language.

Verbs

Verbs are action words; they describe what happens. Annotations that relate something happening are much more interesting than those that generalize about background or contents. Use active voice for vigor, boldness, and brevity. Choose one tense, preferably present.

Life after Life

by Raymond A. Moody Jr.

      Annotation: A philosopher-doctor (1) synthesizes the experiences of more than fifty people who (2) have been declared clinically dead and then (2) resuscitated. Their similar accounts (3) suggest to the author existence after death.

      Comment: (1) Main verb of the sentence—active voice and present tense. The word is well chosen for the act of putting many things together. (2) Verbs for the dependent clause show action before that of the main verb. Words have the precise meaning intended. (3) Main verb of sentence—active voice and present tense. Gives immediacy to the theme of the book, even though the author considered and chose his topic before he began writing.

The Romance of Atlantis

by Taylor Caldwell

      Annotation: According to the author, this novel (1) was written when she was twelve and (1) based (2) on her former life in Atlantis.

      Comment: (1) Compound verb; passive voice, past tense. Creates little interest. (2) Nothing happens in this annotation, although the last phrase and the title hint that something happened in the author's life or imagination that may be reflected in the book.

These two annotations are on similar subjects. The first one creates interest and the other kills it. The difference lies with the care taken in selection of facts and use of verbs to describe them.

Nouns

Nouns identify who and what. Choose nouns to incorporate as much information as possible, since brevity is a necessity and precision aids interest. Bachelor is better than unmarried man. Nouns that incorporate a description convey vitality through succinctness; they also leave space for adjectives that add more force or new information.

The Case of the Glamorous Ghost

by Erle Stanley Gardner

      Annotation: (1) Amnesia, (1) blackmail, and (1) jewel-smuggling provide the (2) background for a (2) murder in which (3) Perry Mason, for once, knows less than the (3) prosecutor.

      Comment: (1) The sentence has a triple subject; the three nouns sum up the elements of the plot. (2) These two nouns continue to set the scene. (3) These two nouns identify the conflict: the protagonist by well-known name and the antagonist by function. This short annotation uses seven nouns; most of the remaining words provide connections. What more is needed for a Perry Mason mystery?

Names. Using proper nouns, names of people and places, requires careful consideration. The foremost concern is accuracy; places and characters should be identified correctly and spellings checked. Obviously, people featured in nonfiction works need to be identified by name and often also by title or function, place, and date. Places are usually essential.

Run, River, Run: A Naturalist's Journey down One of the Great Rivers of the West

by Ann Zwinger

      Annotation: Detailed descriptions of the (4) sights, (4) smells, and (4) sensations of the magnificent (1) Green River from its (2) source in Wyoming to its (2) confluence with the Colorado in Utah. (3) Zwinger covered all (2) 730 miles of the river on (5) foot and by (5) canoe, (5) raft, and (5) plane.

      Comment: (1) With that title and subtitle, the river has to be named. (2) Further definition is needed- where and how long? (3) The author must be identified as the naturalist of the title; she could have been writing about someone else. (4) Alliterative summation of sensory phenomena and immediate mood of the book. Note that the descriptive words on content come before the identification of the place—despite the questions raised in the title: What river? Where? (5) Supportive detail completes the picture. Good use of simple nouns throughout.

Character names should not be used if they are common; readers don't gain much information from John and Mary. A descriptive phrase would have the advantage of telling something about the person that relates to development of the plot (New York detective, gun-shy cowboy, heiress to coal-baron's fortune). On the other hand, familiar characters should always be identified if their names aren't included in the title information; readers may need to see that this book features Sherlock Holmes or a member of Louis L'Amour's Sackett family.

The Secret Box

by Gayle Pearson

      Annotation: Five interconnected stories about Taylor Finch and her sixteen-year-old brother, Toby, and Lindsay, thirteen, and her brother, Eric, who is also sixteen. In the title story, Taylor receives a secret box for her twelfth birthday, but thinks the thirtyfour steps to open it are too much trouble—until she realizes she has some secrets she wants to hide. For grades 4-7.

      Comment: There is no reason to identify these characters by name. Only one is referred to later in the annotation, and sorting them all out, including ages, produces an awkward sentence without much interest.

      Rewritten: Five interconnected stories about two girls and their sixteen-year-old brothers.

Sleeping Murder

by Agatha Christie

      Annotation: In this, her last case, Miss Marple warns a charming young couple...

      Comment: The name is important; mystery fans will want to know which of Agatha Christie's famous sleuths is featured.

Sometimes place or character names add interest: if they suggest a nationality or an ethnic group that is being portrayed, if they are somehow related to the title, or if they simply sound as if they belong to this character or this book.

The Lion's Paw

by D.R. Sherman

      Annotation: A young bushman in the Kalahari Desert befriends a trapped lion and is caught in a deadly conflict with nature and an obsessed white safari hunter.

      Comment: The exact place is not absolutely necessary; Africa is clearly suggested by the rest of the content. But the unusual nature of the setting and the sound of the word Kalahari add mystery and interest. Don't forget sound. Note that neither the bushman nor the hunter is named; the description is enough.

Chancy

by Louis L'Amour

      Annotation: Young (3) drifter (1) Otis Chancy takes his (2) chances against (3) crooked sheriffs, (3) deadly gunmen, and (3) renegade Indians.

      Comment: (1) Shows that the title is the name of the hero. (2) A small play on words that should not be overdone. (3) Note the fine parallel use of descriptive adjectives. Names are unnecessary except for the title character.

Exile of the Stars

by Andre Norton

      Annotation: (1) Krip Vorland and (1) Maelen of the free trader ship (1) Lydis are forced to land with a priceless treasure on the (2) supposedly uninhabited planet of (1) Sekhmet.

      Comment: (1) The unusual names enhance the exotic nature of the subject. (2) Note the hint of things to come in supposedly uninhabited.

Sometimes character names are a necessity. If the annotation would otherwise dissolve into mysterious pronouns and obscure references, use names-interesting or not- for comprehension.

Leave a Message for Willie: A Sharon McCone Mystery

by Marcia Muller

      Annotation: Willie Whelan is a vendor at the Saltflats Flea Market near Brisbane. He also works as a fence—and someone thinks he knows something about some missing Torahs. A man wearing a yarmulke has been hanging around his stall for about three weeks, and he has asked Sharon McCone to investigate. But Sharon has hardly gotten her investigation under way when the man, Jerry Levin, is murdered.

      Comment: Willie's name is necessary, both to identify the title character and because at least one other man appears in the annotation. All the masculine pronouns are meant to refer to Willie, but grammatically some of them don't; the antecedent is in one case someone and in another the man wearing the yarmulke, who may or may not be the someone. Willie's name will have to be used in place of the pronouns or the sentences rewritten. The man's identity wasn't known earlier and could be omitted. However, the ethnic name ties him in with the yarmulke and the missing Torahs, and so adds interest.

Be careful to use names consistently within an annotation. Assuming the full name has been given at first reference, generally last names are preferable for the next mention. This practice will not work, however, when the characters are related and two or more have the same last name. And sometimes the first names are the ones that set the tone or provide interest. In any case, don't use first names for some characters and last names for others. In particular, don't use strong-sounding surnames for men and frivolous or uninteresting ones for women, even if the book does. ( See "Gender" under "Sensitivities").

Adjectives

Adjectives describe nouns and are next in importance to nouns and verbs. Their purpose is to refine definition, infuse color, and add dimension to a noun. Some nouns with carefully selected adjectives can almost tell the story:

Adjectives set or sum up the tone:
Adjectives add color.

April Lady

by Georgette Heyer

      Annotation: Light novel set in Regency England. To help such (1) deserving people as (3) her (2) dashing, debt-ridden brother and (3) her husband's (2) lovesick young sister, Lady Helen continually tells little white lies. One fib too many puts her marriage in jeopardy.

      Comment: (1) Deserving people sets up an image that is (2) immediately counteracted by dashing, debtridden brother and lovesick young sister, presenting quite a different picture and underscoring the irony of the first adjective. (3) Simple words give definition and hint at something about the plot; one of these relatives is hers and one is his.

Adjectives that judge. Adjectives should not be used to make explicit judgments about books. What reviewers or annotation writers find lively may be deadly to readers. Reaction to a book depends on interest in the subject, background brought to it, and often mood of the moment. These factors cannot be assessed for readers. (See the Judgments section of the chapter, "Considering Content")

Avoid phrases like these:

and all similar adjectives that prejudge.

Adjectives that describe. On the other hand, descriptive adjectives can and often should be used to identify an author's approach or attitude. The key word is "descriptive"; the writer does not judge the success of the effort.

Dossier: The Secret History of Armand Hammer

by Edward J. Epstein

      Annotation: An unflattering portrait of the noted American industrialist, philanthropist, and alleged agent for the Soviet Union. Drawing on official American and Soviet records, extensive interviews, and secretly taped conversations, the author describes a man given to duplicity and ambition.

Comment: A well-rounded annotation presenting immediately the author's approach to his subject and ending with specifics that expand on his negative attitude. In between, the subject is identified succinctly, as are the sources of information.

Small words

Little words mean a lot! But in the struggle to get words right—interesting nouns, active verbs, precise and colorful adjectives—articles and words that connect or introduce phrases can get insufficient attention.

Articles. English utilizes three articles. A and an are indefinite; the is definite. Indefinite and definite are not just grammar-book names; they point out a function. Articles are not interchangeable, and they are overused.

A and an indicate that the subject is one of a group—any one. Often such a relationship is understood, and the article is unnecessary.

The presents more problems. It shows uniqueness—that particular one. It also indicates a totality—all of them. Be careful when using this simple word that you don't imply that the book covers every aspect of this situation, every historical event in the time frame, or every possibility for discussion.

      Example: ...describes the adjustments made by plant and animal species to perpetuate themselves in their inhospitable environment (from a nonfiction work about deserts, but it could apply to any place where plants or animals are in trouble).

      Comment: The adjustments implies that every possibility is covered, an unlikely circumstance in any scientific field. The force of the annotation is not diminished if the article is omitted; the content is suspect if it is included.

Conjunctions. These connecting words make a relationship clear. And indicates that elements go together, or shows choice or disparity, but introduces an exception or condition. And/or has crept into use but not into the dictionary; options that are compatible at some point and divergent at others can usually be expressed differently and better.

Or is straightforward and rarely misused; it indicates that one of two or more things happen or are involved, but not all of them.

      Sentence: By following their suggestions, a person can avoid investing in companies that manufacture weapons, test products on animals, use environmentally unsound packaging, or exploit minorities.

      Comment: The reader can identify companies involved in any one of these four practices.

Sentence: ...and joining, staying in, or leaving the work force.

      Comment: Lists three options that are mutually exclusive.

      Sentence: Was it fate or was it an act of God?

      Comment: The characters have to ponder about this.

      Sentence: Xar, lord of the Nexus and now lord of Abarrach, wants to control the Seventh Gate, which will give him the power to unite or destroy the worlds of air, fire, stone, and water.

      Comment: There's a big difference between uniting and destroying.

And is concerned with similarities rather than differences. Writers have to be careful about uniting two clauses with and unless they are really connected and relatively equal in importance. One event that follows, or is dependent on, another is better introduced by a phrase or clause that indicates the relationship:

Similarly, but should be used primarily for two things that are equal. But could be substituted for and in any of the examples above, depending on the information that follows.

Within an annotation, sentence structure needs to vary for interest, so not all information can or should be conveyed through dependent clauses. The equality of the information is largely the determining factor for using conjunctions.

Prepositions. These words lead to qualifying phrases. Many prepositions are visually short, only two letters (to, by), and simple in sound, having only one or two syllables (through, below). Although these small and familiar words are not interchangeable, several of them can be used in somewhat the same sense. Of, the most common preposition, has twelve major definitions—with up to four submeanings under these headings—in Merriam-Webster's Collegiate Dictionary, Tenth Edition (Springfield, Massachusetts: Merriam-Webster, Incorporated, 1993). An annotation that used of for all, or even a large fraction, of its possible meanings would be infinitely monotonous. Strive for variety and the most precise meaning. Avoid overuse, which leads to long, rambling sentences.

Because of the tendency to equate prepositions with short, writers tend to get edgy and wonder if they're being pedantic when considering prepositions longer than five letters. Actually, English utilizes many prepositions, not all of them short; many longer ones are in common usage and not at all obscure in meaning. Several, called phrasal prepositions, consist of more than one word.

A list of prepositions for selection:

It's Disgusting—and We Ate It! True Food Facts from around the World—and throughout History (Note the double preposition, from around, and the long one, throughout.)

Some constructions almost always use a particular preposition. Grammatically, things are always different from, not different than—a very common error that uses the wrong part of speech. Words into Type (Third Edition, Completely Revised, Prentice-Hall, Inc., 1974, pp. 432-446) lists several hundred words with one or more appropriate prepositions. Where more than one preposition can be used, the meaning usually differs with the one selected; for example, interfere in something, but interfere with someone.

Note that some of the words listed as prepositions can also be other parts of speech, depending on their function in the sentence.

Language traps

Be careful about

These words have different pronunciations:

These common words have the same pronunciation:

Obviously, such words cannot be prohibited for annotations, but the context must make their meaning clear.

Can You Trust Your Bank?

by Robert Heller and Morris Willatt

      Annotation: A study of the world's banks documents what went wrong...

      Problem: Documents is intended as a verb (a study ... documents), but the statement has to be read several times and the punctuation examined carefully before that is clear. The reader's tendency is to consider documents as a collection of official-looking papers. Reading that phrase would try the most professional and dedicated narrator.

Avoid:

Vary sentence structure

Variety makes reading and listening interesting. Short sentences should be mingled with longer ones. Sentence fragments are acceptable if the meaning is clear. Questions, exclamations, and quotations can occasionally add interest.

      Annotation: A cat is kidnapped because he is the cherished stablemate of a thoroughbred racehorse who performs well only when the cat is around. The catnap job is assigned to Bertie!

      Annotation: Will easy-riding cowboy Hewey Calloway finally settle down? He realizes that a new era is coming to Texas in the early years of the century, but he doesn't want to change with it.

       Annotation: Shakespeare's best-known plays are presented in a new, humorous light, the old light having blown a fuse.

       Comment: All of these annotations present the tone and the thrust of the book in a few carefully selected words. There is no need to summarize plots, although another sentence with supportive details could be added to each one as long as the tone is maintained. Note that the first two alternate a long sentence with a short, simple one. The third example uses a short quote in the last clause for an abrupt change in direction.

Parallel construction

Keep parallel thoughts parallel in construction. Use a verb throughout or omit throughout. Use the same tense and approximately the same length for each thought.

      Annotation: The junior senator from New York, elected on the Conservative Party ticket, presents his political views. He analyzes the Constitution, advocates less centralized government, observes the loss of American productivity, and comments on the dangers of isolation.

      Comment: The second sentence, with supportive details, lists four major tenets presented, each about the same length and each introduced by an active verb that delineates the difference in approach.

The Brontës

by Juliet Barker

      Annotation: Barker draws on eleven years' research to compile this detailed, documented reinterpretation of the nineteenth-century family of writers. Contrasting her findings with conclusions of previous biographers, Barker presents the father, Patrick, as a sympathetic patriarch; brother Branwell as a talented, though tortured, poet; and authors Charlotte, Emily, and Anne as strong, not oppressed, women.

      Comment: A fine annotation introducing both the subject and the unusual approach in the first sentence, along with the author's credentials. The second sentence spells out how the subjects are treated. Note the parallel structure of elements in the second sentence, where three individuals or groups are identified, named, and characterized. Also note that semicolons are properly used to separate the sections with interior commas.

Complex sentences

Avoid overlong and overcomplex sentences. They make the reader search for the meaning and can pave the way for grammatical errors.

      Unacceptable: Former Scotland Yard detective John Raven becomes involved with a Polish con man whom he knew years before to help denounce a fellow Pole whom he suspects of spying for the KGB.

      Comment: It's hard to tell how many people are involved here, much less who did what to whom.

Questions

Questions can effectively introduce the situation or summarize the problems. As discussed earlier (See "Dont pose useless questions"), they should not be used to state what is already obvious or as a way to get out.

The Neandertal Enigma: Solving the Mystery of Modern Human Origins

by James Shreeve

      Annotation: Science writer Shreeve surveys evidence and theories on the origins of modern humankind. Drawing on his travels to sites where the oldest human remains have been found, his interviews with foremost anthropologists, and a weighing of discoveries, Shreeve points to Neandertals as the central mystery of human evolution. Did our species evolve from, interbreed with, or replace Neandertals?

      Comment: The words enigma and mystery in the title make it clear that this book is dealing with a question. Most of the annotation deals with credentials and methodology, which are valuable for giving credence to evidence presented on such a large and controversial subject. The points raised are still in question, and it is appropriate for the final sentence to express them in that form.

Mischief: A Novel of the 87th Precinct

by Ed McBain

      Annotation: Could the man who is blowing away graffiti artists as they perform their peculiar brand of mischief be the same person who is gunning down annoying kids and inept counter help? The men in blue must also deal with their own mischief maker—the Deaf Man, last heard from in Eight Black Horses (RC 23671)—who keeps calling with clues to his latest scheme. Strong language, violence, and explicit descriptions of sex.

      Comment: The introductory question sums up one of the problems being tackled, and with a good series of nouns and modifiers. The mischief of the title, incorporated into both sentences, seems to be considerably more than that. The final descriptive tagline reinforces that concept.

Exclamations

Exclamations pull the attention up abruptly and say to the reader "How about that!" They are a useful device, which, like all devices, should not be overused. But for fiction with sharp contrasts or unexpected twists, an exclamation can often be more effective than a description or an explanation.

The Forty Fathom Bank: Novella

by Les Galloway

      Annotation: The author recalls the year 1940 in San Francisco when, worried about how he would support his family, he settled on a get-rich-quick scheme involving shark fishing. But life at sea proved difficult, especially when he was called on to cope with rough waters, a silent partner, a dead engine, and—most dangerous of all—an overactive imagination!

      Comment: Things were bad enough already, and oh, what imagination can do to you! The exclamation point emphasizes the possibilities.

Quotes

Sometimes a few words from the text can convey a book's approach or flavor much more directly than words about the text. Selected phrases or a line or two of poetry can illustrate method and feeling. Quotes are often necessary for nonfiction works where the author identifies his approach or thesis with a particular repeated phrase.

Note that in using quotes an ellipsis is not needed at the beginning or at the end; the reader knows that only part of the material in the book is being quoted. An ellipsis is used only when words are omitted from within the phrase being quoted.

Example: And in the title poem, an autobiographical narrative, he speaks of learning "the need in all things...to balance out."

Using a few words, phrases, or lines of poetry does not infringe on copyright, a problem that always lurks in the minds of librarians and conscientious writers. Quotes used for reviews or commentary are allowable under copyright law. And it would usually be difficult in a fifty-word annotation to lift enough material to usurp the writer's theme, much less gain any advantage from it, especially when quotes indicate the author as source. An exception occurs in very short material, such as a poem for children, where the annotator must be careful not to use the entire piece.

      Sentence: Many are known by familiar first lines, including "Will the day be bright and cloudy?" (The Complete Poems by Emily Brontë)

      Sentence: She explores the progression [of her father's final illness], beginning with a visit and observing how her father "sat as if waiting for his daughter." (The Father by Sharon Olds)

      Sentence: He divides his extended meditation into eighteen sections, each division "a catch-your-breath moment" before his argument continues. (Garbage by A.R. Ammons)

      Comment: All three of these quotes are used in annotations for poetry, which often seems to cry out for some small sound of the author's own voice.

Acts of Faith: Daily Meditations for People of Color

by Iyanla Vanzant

      Sentence: Daily meditative statements that Vanzant hopes will "assist the children of the earth in the redevelopment of their minds, bodies, and spirits."

      Comment: The statement of such an extensive purpose is more effective in the author's words than in a writer's summation.

Quotes from introductions, book reviews, and other source materials are a different matter entirely. Without other information, the reader will assume that the words quoted are the author's. It is unnecessary to use quotes if a phrase describing the book comes naturally to the subject matter; one person's historical fiction is likely to be everyone's historical fiction, and using such general descriptive phrases does not constitute appropriating someone else's work.

Quotes from introductions by well-known people should be attributed, which has the additional benefit of indicating that the introduction exists as part of the book. Rarely, an authority in the field may be quoted; the quote should be attributed and the credentials noted briefly. Generally, however, it is better to describe the book than to tell what someone else, however prominent, thinks about it.

Be specific and concise

Language should create a precise image. Sentences should flow smoothly from one thought to another and should not encompass too many separate thoughts. Avoid overusing prepositional phrases, choppy sentences with too many discrete parts, and wordiness.

Avoid imprecise language

      Annotation: Excerpts from various sources that present the author's provocative opinions and insights on literature, feminism, her family, and various contemporary figures.

      Comment: Two vague, various things are too many. If it is important to mention sources at all, they need more definition. The second various is unnecessary and weakens an otherwise good listing of content; readers would no more expect opinions on all contemporary figures than they would on all literature. Much of the time various can be left out with no meaning lost.

Don't use too many prepositional phrases

At one time, NLS stressed starting annotations with the traditional five w's (who, what, when, where, and why) and an h (how) of newspaper reporters. The result was frequently a conglomerate that bumped along in a sing-song manner from one prepositional phrase to another. These are important considerations for notes and for inclusion somewhere in the annotation (See "Jot down notes"). But not all in the first sentence.

      First sentence: Novel about one year in the lives of four women in their late thirties in the glamorous city of New York...

      Comment: Three ins and two ofs, one after the other. And the sentence goes on from there. In annotations, novel about is a weak opening.

      First sentence: Former Washington Post White House correspondent chronicles the paper's centennial (1) from its founding (2) by Democrat Stilson Hutchins (3) from New Hampshire (4) in 1877 (5) to the exciting days (6) of the Watergate expose.

      First sentence: Novel examines the lives (1) of Beverly and her friends, two wealthy sisters (2) from a prominent family, (3) from young womanhood (4) in the mid-1940s (5) in California (6) through the turbulent present.

      Comment: There are six prepositional phrases in each sentence. Consider whether all this information needs to be included. See if another construction can be used.

Some wordiness can be avoided by substituting adjectives for prepositional phrases:

This technique can become as monotonous as the prepositional phrases and should not be used all the time, but it does make writing more concise. A judicious mixture of prepositions and adjectives is the best solution.

Smooth out choppy sentences

A sentence needs to flow easily from one thought to the next with a construction that is easy to follow. If a sentence breaks too frequently, it loses focus and may become devoid of meaning.

      First sentence: In Florida, in 1941, irrepressible, red-haired, six-year-old Terrell, son of Gerald, the harried manager of a farmworker's camp, and his expectant wife, Mickey, continually plays hooky from school.

      Comment: Too many thought units broken up by too many commas. Some of the information may be unnecessary; some could be combined (Florida farmworker's camp). The subject of the sentence (Terrell) takes a while to appear and is a long way from the verb (plays hooky). Readers should not have to work to determine who and what the book is about.

Eliminate wordiness

Wordiness takes many forms. The examples given for overuse of prepositional phrases and choppy sentences show types of wordiness that results from sentences with too much detail. An opposite phenomenon can also occur.

      Annotation: The authors trace one hundred years of American technology from the innovative plumbers of the 1770s to the inventions of Bell and Edison. Through the use of minibiographies, they produce a highly readable study of the early years of American technology.

      Comment: Too many words for the amount of information they provide. The facts presented are (1) 100 years of technology, (2) from the 1770s to Bell and Edison, (3) through the use of minibiographies. A highly readable study is opinion. The annotation is circular; it starts with American technology and ends with American technology. Space and words could be used to better advantage. Do the authors have a point to make? And who are Bell and Edison?

The simplest and most obvious form of wordiness consists of using words and phrases that could be eliminated or made more specific without changing the meaning or the impact.

Wordy: one of the most distinguished of the Latin fathers

Concise: a distinguished churchman

Wordy: shortcuts and guidelines, including specific details

Concise: tips

Wordy: Considered to be the most famous biography in the English language, this is an intimate ...

Concise: Famous biography gives an intimate ...

Wordy: information in the area of ...

Concise: information about/on

Avoid repetition

One of the most common problems in annotation writing is repeating the same word several times, when a different word would surely add more interest and provide more information. Sometimes a different construction is needed.

Mary Magdalen: Myth and Metaphor

by Susan Haskins

      Annotation: Scriptural exegesis, history, and art serve as sources for this portrait of the renowned female saint and intimate of Jesus. Haskins demonstrates how through the ages the image (1) of Mary Magdalen has merged with other biblical figures to become that of the penitent prostitute, a portrayal (2) that epitomizes the subordinate role of women in the church and in society. Haskins reevaluates that concept (3).

      Comment: Good annotation on a complex subject, improved by finding two new and more explicit words. Image, (1) indicating something that exists in the mind, was originally used in all three places marked. Substituting other nouns not only avoids the monotony of repetition but enlarges on the thrust of the book. Portrayal (2) in the next clause adds the element of creation; someone or something made the image what it has become. Concept (3) refers back to the role of women and, as a last word, gives emphasis to the author's thesis.

Dreams of Dead Women's Handbags: Collected Stories

by Shena Mackay

      Sentence: Thirty-one short stories written since 1974 by this British fiction writer who often writes lives of her characters.

      Comment: Written, writer, writes—all forms of the same word. Obviously what a writer does is write. This kind of repetition is easily corrected by making the fiction writer an author and replacing writes with tells. With these simple changes, this fine introductory sentence refers back to the rather cryptic title with bizarre circumstances juxtaposed to seemingly normal.

Simple rules aid comprephension

There is no need to study all the parts of speech and become conversant with such esoterica as gerundives and cognate objects. Following a few basic tenets will make the annotation easy to follow, which is what annotation writing is all about. There are many good books on grammar for further reference. Just remember that if the construction misleads, gramatically correct or not, do something else.

Subjects and verbs should agree

Subjects and verbs. Subjects and verbs should agree: they are either singular or plural but not one of each. Lack of agreement most often occurs with collective nouns (a family does something, but its members do something) or with compound subjects separated by descriptive clauses or phrases. Lack of agreement often creeps in when the subject and verb are separated by long, parenthetical information. Keep the construction simple and the verb reasonably close to the subject.

      Sentence: Recollections of the four Carter children growing up, and their relationship with each other, provides insight into the mercurial personality of Billy.

      Problem: Recollections is plural; provides is singular. Thirteen words come between the subject and the verb and contribute to the creation of an error.

Pronounds should have clear antecedents

Referents should be clear. Watch those pronouns and modifiers.

      Annotation: When a stranger offers young Willie Banks a ride and asks him to deliver a package, he is unaware that he is about to become ...

      Problem: Which he? Willie or the stranger? Both? Separately? There are four possible readings.

      Annotation: Joining two friends for a flight from San Francisco to Death Valley, the pilot chooses the wrong pass, forcing the plane into the mountainside and killing the author's two friends.

      Problem: If all three people are friends, the sentence is correct technically; the pilot joined two friends and the author's two friends were killed. But the pilot and the author are two different people; the pilot did not survive. That's almost impossible to determine from the information in the sentence.

Phrases should be properly attached

Watch out for danglers. Participles and phrases should not be grammatically on their own; they should have something to modify-the noun or pronoun that comes next.

      Annotation: Written in 1962, the former president...

      Problem: The former president wasn't written in 1962, the book was.

      Annotation: The recipient of many awards including the Pulitzer Prize, her poems ...

      Problem: The dangling modifier fails to make a subtle distinction; the poem doesn't receive the prize, the poet does.

      Annotation: As soon as Jessica arrives, someone tries to steal her suitcase, and while visiting Salisbury Cathedral, the same person attacks her...

      Problem: Grammatically the reference is to the same person, who is also the someone in the previous clause. The person meant is Jessica, and the sentence is easily fixed by inserting she is before visiting. Dangling modifiers generally appear at the beginning of a sentence, but obviously they can also be hidden within one.

Be careful with punctuation

Use proper and adequate punctuation. These small marks help to group thoughts that belong together and separate those that need to be isolated. Collecting and separating thought units help the person who reads the written annotation and the narrator who presents the oral one.

Don't let words and thoughts run together; use more punctuation rather than less when there is a chance of misreading. Divide long sentences into separate thought segments with commas, semicolons, dashes, and colons and even into discrete sentences with periods. Use dashes or parentheses to isolate elements when too many commas become confusing. Ease of reading is the criterion.

The following comments on punctuation marks cover the most common usages. The discussion is in no way complete; possibilities are seemingly endless. As with grammar, many good reference books are available for difficult punctuation situations.

Some punctuation marks are generally understood and need little comment. The smallest of all, the period, is used to indicate a full stop. The uses of question and exclamation marks are defined by their names, and apostrophes are used to indicate possession or letters omitted in contractions.

Some punctuation marks that have several uses or can be easily misused need clarification.

Commas , , , , ,

Commas. Some punctuation is optional. The Chicago Manual of Style manual says that, aside from the few obligatory situations, use of the comma is mainly a matter of good judgment, with ease of reading as the end in view (section 5.29). That statement doesn't mean commas can be used at random; it recommends judgment.

One of the obligatory uses is between two or more parts of a compound sentence. The discrete sections should be set apart for ease of reading, except when each part is very short.

Another required use is for nonrestrictive clauses, which add information; unlike restrictive clauses that are needed to define. Information that is merely added is set apart; information that is needed is not set off by a comma.

      Restrictive: He is the one person who can help you.

      Comment: Information needed; no comma. This person is the only one.

      Nonrestrictive: All of these people, who come from different parts of the country, are going on the cruise together.

      Comment: Merely adds information, set off by commas. The main idea of the sentence would be complete without the clause.

Chicago style also uses the serial comma: all items in a series of three or more are separated by commas, including a comma before and or or preceding the last item in the series.

Note that a comma should never separate the subject of a sentence from its verb(s). There can be commas before the verb, as in sentences with descriptive information in apposition to the subject, but the commas must not simply separate. This situation generally occurs when too much information comes between the subject and the verb, or sometimes when there are two verbs, and the construction becomes elusive.

The Cat Who Tailed a Thief

by Lilian Jackson Braun

      Annotation: A rash of petty thievery, newcomers in Pickax, a wedding, and a couple of murders Down Below, keep Qwilleran, who has bought a condo for the winter, and his cats, Koko and Yum Yum, busy during the holiday season. Bestseller.

      Problem: It's that hard-to-spot comma after Below. The sentence has a compound subject in four parts, and the serial commas are used correctly between the parts, but the comma after the last one disconnects all four from their verb.

Semicolons ; ; ; ; ;

Semicolons. One common use of the semicolon is to separate elements in a series (including a series of coordinate clauses) where some items have interior commas. Another major purpose is to separate parts of a compound sentence where the connective conjunction is not used; this usage can also be considered a joining of two related sentences whose connection would be less clear if each came to a full stop. It can also be used before connective words that emphasize a transition and a relationship such as therefore, however, moreover, also, and consequently. These words are usually followed by a comma for more emphasis.

100 Years, 100 Stories

by George Burns

      Sentence: Burns states that he can't put each of his fans in his will; he can't even thank them enough.

      Comment: The second part of the sentence completes the first, with the semicolon creating a pause but not a full stop.

Le Cordon Bleu Classic French Cookbook

edited by Julia Alcock

      Annotation: One hundred classic recipes to celebrate the cooking school's centenary. Includes first courses, such as vichyssoise; main courses, such as duck breasts with pistachios; and desserts, such as chocolate and Cointreau gateau. A section on techniques provides the beginner with the basics for becoming a successful cook. 1994.

      Comment: Semicolons separate sections of the sentence with interior commas. The sentence is also a fine example of parallel structure.

Colons :::::

Colons. The colon is generally used to indicate that what follows will explain or complete the preceding thought.

Uncommon Knowledge

by Judy Lewis

      Sentence: Growing up as Loretta Young's adopted daughter, Judy finally learns her true identity when her fiancé tells her what the rest of her world has known: she is Young's illegitimate daughter by Clark Gable.

Comment: Note the colon after known. This mark indicates that the rest of the sentence will tell what the generally known thing is, and so it does.

Dashes — — — — —

Dashes. Be careful about dashes. Even though they are large and visible, they function as a kind of subsidiary comma, setting aside things where commas are already in use. They can also be used to indicate a longer pause than that created by a comma, for situations where the information that follows comes as somewhat of a change or surprise. A dash should not be a substitute for a colon when the information that follows explains or completes the preceding thought.

      Sentence: Meanwhile, when John Porteous—a guard condemned for murder—is reprieved by the queen, a mob takes justice into its own hands.

      Comment: The parenthetical description would normally be set off by commas. However, the sentence has two commas needed for other purposes, so the dashes are used to isolate the information.

      Sentence: She travels to Harpers Ferry where her arrival, along with that of her grandfather, Daniel Griffin, stirs up long-suppressed memories involving murder—and another murder ensues.

      Comment: After the rather involved part of the sentence that evokes the past, a pause is needed to introduce the brisk announcement of current mayhem.

Parentheses () () ()

Parentheses. These paired markings are perfectly acceptable punctuation for setting aside some types of information, and there is no reason to eliminate them from your repertoire. Their purpose is to set off information not necessary to the grammatical construction of the sentence but too important to omit.

Like dashes, which can often be used in similar constructions, parentheses should be used with care and should not appear to enclose an afterthought that should have been incorporated earlier.

That Kind of Danger RC 39979

by Donna Masini

      Annotation: Unlikely urban places, including construction sites and a dark basement, form the settings of these poems. But the noise ("sandblast, jackhammer, the city making itself over") and violence ("a leather jacket, handgun followed me up the stairs") that permeate life in the city are relieved by sweetness ("I laugh—at nothing—the way a baby laughs at wallpaper"). Some strong language.

      Comment: Parentheses bring examples of the poet's words close to the nouns describing them as instant illustrations of the concept. It is seldom necessary to use parentheses in this kind of situation, but they provide one possible alternative for conveying the information.

Parentheses are particularly useful for dates and references to other material that would take several more words to insert in the sentence as a phrase or part of a clause. NLS also uses them as its style for book numbers in referring to other works by the same author or in a series. (Note that we never give a reference without a book number; the cross reference is useless to the patron unless it provides a means of ordering the book.)

Sentence: The complete texts of The Hard Hours (1967), which won the Pulitzer Prize; Millions of Strange Shadows (1977); and The Venetian Vespers (1979); along with selections from A Summoning of Stones (1954), Hecht's first poetry collection.

      Sentence: The author of I Know Why the Caged Bird Sings (RC 24959) and the poem read at President Clinton's inauguration, On the Pulse of the Morning (RC 36169), presents four poems that celebrate women: Phenomenal Woman, Still I Rise, Weekend Glory, and Our Grandmothers.

Adhere to style

Style in this context means the treatment of punctuation, capitalization, spelling, and numbers that have various acceptable forms. For consistency, one form is selected and used throughout. As noted in earlier sections NLS uses The Chicago Manual of Style as the basic reference. It has also adopted some style practices of its own that have been found to be more workable for annotations. ( See Background within Style and Presentation)

Other annotation writers do not, of course, have to follow these forms. But every individual or group should use some formal style reference or develop practices that are adhered to consistently. Otherwise, there is chaos.

The style chosen will often differ from the style used in the book being annotated; publishers have, or should have, their own style practices. This problem occurs most often with capitalization: But it's capitalized in the book! It doesn't matter what the book does; if you have a style, you should adhere to it. Otherwise, you are at the mercy of a different style for every publisher, or possibly for every book.

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Posted on 2006-02-24