CLEP College Composition key terms

The rule that a verb must match its subject in number and person, so a singular subject takes a singular verb and a plural subject takes a plural verb, even when words sit between them.

A word group placed between a subject and its verb that does not change the subject's number, such as "along with the interns" in "the manager, along with the interns, is attending."

A singular word naming a group, such as team, jury, or committee. It usually takes a singular verb in American English unless members act individually.

A pronoun without a specific antecedent, such as everyone, each, few, or both. Most ending in -one or -body are singular, while some like few and many are plural.

The requirement that a pronoun match its antecedent in number and gender, as in "each student must bring his or her book" rather than "their book" in formal prose.

A fault in which a pronoun could point to more than one earlier noun, leaving readers unsure which one is meant, as in "When Maria met Dana, she was nervous."

An introductory word group that does not logically describe the subject of the main clause, as in "Walking to class, the rain started," where the rain is not walking.

A modifier placed too far from the word it describes, creating confusion or unintended meaning, as in "She served cake to the children on paper plates" when the plates hold the cake.

A modifier positioned so it could attach to either the preceding or the following word, as in "Students who study often improve," where often may modify study or improve.

An error joining two independent clauses with only a comma. It can be fixed with a period, a semicolon, or a comma plus a coordinating conjunction.

Two independent clauses run together with no punctuation at all, as in "The test was hard everyone studied." It is also called a run-on.

A word group containing a subject and a finite verb that can stand alone as a complete sentence, such as "The report was late."

A word group with a subject and verb that cannot stand alone because it opens with a subordinating word, such as "because the report was late."

A word group punctuated as a sentence but lacking a subject, a finite verb, or an independent clause, such as "Running down the hall."

One of the seven linking words for, and, nor, but, or, yet, so, used with a comma to join two independent clauses of equal grammatical rank.

A word such as although, because, since, or when that turns an independent clause into a dependent one and signals the relationship of ideas.

An adverb like however, therefore, or moreover that links clauses but cannot join them with a comma alone; it needs a semicolon or period before it.

A punctuation mark that separates two closely related independent clauses or items in a complex list, signaling a stronger break than a comma.

A punctuation mark introducing an explanation, list, or quotation after a complete clause, or separating a title from its subtitle.

The use of matching grammatical forms for items in a series or for paired ideas, as in "hiking, swimming, and biking" rather than "hiking, swimming, and to bike."

A comparison that omits needed words or compares unlike things, as in "Her score was higher than John," which illogically compares a score with a person.

The writer's choice of words, judged for precision, tone, and appropriateness to audience, as when formal writing avoids slang and vague terms like "a lot of stuff."

The emotional or cultural associations a word carries beyond its literal meaning, such as the negative shade of "cheap" compared with "inexpensive."

The literal, dictionary meaning of a word, stripped of emotional associations; the neutral core sense that connotation builds on.

The writer's attitude toward the subject or audience as revealed by word choice and sentence style, such as ironic, respectful, or urgent.

The distinctive personality or presence of a writer on the page, created through diction, syntax, and stance toward the topic and reader.

A sentence construction in which the subject performs the action, as in "The committee approved the plan," producing direct and vigorous prose.

A construction in which the subject receives the action, formed with a form of be plus a past participle, as in "The plan was approved by the committee."

The use of more words than needed to express an idea, as in "due to the fact that" for "because"; revision trims such padding to tighten prose.

Repeating an idea already stated, as in "free gift" or "each individual person," which revision removes to keep prose efficient.

A single sentence that states the essay's central claim and often previews its organization; it guides the whole piece and should be arguable, not a bare fact.

A sentence, usually first in a paragraph, that announces the paragraph's main point and ties it back to the essay's thesis.

The quality of an essay or paragraph in which every sentence supports one controlling idea, with no digressions or unrelated details.

The quality of writing whose ideas connect logically and flow smoothly, achieved through transitions, pronoun reference, and consistent organization.

A word, phrase, or sentence that shows how one idea relates to the next, such as "however," "in contrast," or "as a result."

Presenting another person's words or ideas as one's own, whether by copying without quotation marks, paraphrasing too closely, or omitting citation.

A restatement of a source's idea in the writer's own words and sentence structure, still requiring citation because the idea belongs to the source.

A condensed restatement of a source's main points in the writer's own words, much shorter than the original and still requiring citation.

Exact wording taken from a source, enclosed in quotation marks and cited, used when the original phrasing is distinctive or the authority's words matter.

A formal note identifying the source of borrowed information, giving author, title, and publication details so readers can locate the original.

The close examination of how a text persuades, focusing on the writer's appeals, audience, purpose, structure, and stylistic choices rather than merely summarizing content.

The combination of writer, audience, purpose, context, and message that shapes any act of communication and determines what choices are effective.

An appeal based on the writer's credibility, character, or authority, built through fair treatment of evidence, credentials, and a trustworthy tone.

An appeal to the audience's emotions and values, often through vivid stories, imagery, or loaded language, used to move readers toward a response.

An appeal to logic and reason, relying on evidence, statistics, examples, and sound reasoning to persuade an audience.

A flaw in reasoning that weakens an argument, such as attacking a person instead of the claim, or assuming two events are causally linked.

A fallacy drawing a broad conclusion from too little or unrepresentative evidence, as in judging a whole school by one rude student.

A fallacy that attacks the character or circumstances of the person making an argument rather than addressing the argument itself.

An opposing view that a writer acknowledges and answers, strengthening credibility by showing that the argument has considered other positions fairly.

The writer's direct response to a counterargument, explaining why the opposing view is weak, limited, or outweighed by stronger evidence.

The readers or listeners a text addresses, whose knowledge, values, and expectations shape the writer's tone, evidence, and level of detail.

The reason a writer produces a text, such as to inform, persuade, entertain, or explain, which determines its structure and content.