Business Communication Polishing Your Professional Presence Canadian 1st Edition Shwom Solut

Business Communication Polishing

Your Professional Presence Canadian
1st Edition Shwom Solutions Manual
Visit to get the accurate and complete content:

https://testbankfan.com/download/business-communication-polishing-your-profession
al-presence-canadian-1st-edition-shwom-solutions-manual/

Visit TestBankFan.com to get complete for all chapters

Business Communication Polishing Your Professional Presence Canadian 1st Edition Shwom Solut

Chapter 2: Managing the Communication Process

Analyzing, Composing, Evaluating

LECTURE OUTLINE
LEARNING OBJECTIVES
3.1 What should you spend time analyzing?
3.2 What is involved in composing?
3.3 How does evaluating improve communication?

INTRODUCTION

ACE is a flexible communication process that can be applied to any message – from a simple email to a
complex report. ACE applies to both written and oral communication contexts.

Analyzing helps you make good decisions about what and how to communicate:
 Analyzing the purpose focuses the message
 Analyzing the audience helps you meet their needs
 Analyzing the content ensures a complete message
 Analyzing the medium helps you choose the best delivery option

Composing involves more than putting words on the page or speaking them aloud; you need to:
 Decide where and when to compose
 Organize the message
 Draft the content
 Design a professional format and delivery

Evaluating requires checking your message on multiple levels:

 Revising the content improves effectiveness
 Editing style and tone helps you project a professional image
 Proofreading increases your credibility
 Reviewing feedback helps you improve your communication strategy

Your evaluation may lead you back to the first step of the process – Analysis – to reconsider your decisions. This
circular approach will ensure your communication success.

Chapter 2 | Copyright © 2017 Pearson Education, Inc. P a g e | 2‐1

Visit TestBankFan.com to get complete for all chapters

LEARNING OBJECTIVE 2.1
Why should you spend time analyzing?

TEACHING TIP: ACE is a circular process, which implies that the communication process doesn’t end. Ask
students to explain why the process always returns to analyzing. What are the potential consequences of
believing the communication process is over once the message is delivered?

Analyzing the purpose focuses the message (see Exercise 1)

 What is my purpose?
o To inform, persuade, report?
o All messages should maintain goodwill – a positive relationship with the audience
 What outcome do you want to achieve?
o Outcome – what you want your audience to know or do
o See FIGURE 2.2 for examples of purpose and outcome statements
o See FIGURE 2.3 for a draft and revised message that achieves a desired outcome
 Will the outcome require persuasion?
o Persuasion – your ability to influence an audience to agree with your point of view, accept
your recommendation, or grant your request
o Informational messages usually require no persuasion (e.g., minutes, instructions, reports)
o Messages that request change or suggest ideas often require persuasion
o See FIGURE 2.5 for sample purpose and outcome statements for a persuasive message
(implementing a summer‐hours work schedule)

Discussion Starter: What is the difference between the purpose and outcome of a message? Provide an
example of each within a specific business communication scenario.

Analyzing the audience helps you meet their needs (see Exercise 1)

 Primary Audience – the direct recipient of your message

 Secondary Audience – anyone else who may receive a copy of (or hears about) your message
 See FIGURE 2.7 for answers to the following questions to consider when analyzing the audience
(based on the summer‐hours work schedule):
1. What does the primary and secondary audience already know?
2. What information does the audience need to now – and why?
3. When does the audience need this information?
4. How will the audience react to this information?
If the purpose is persuasive, also consider…
5. What questions or objectives will the audience have?
6. How will the audience benefit from the idea or proposal?
 Audience Benefits – what the recipient gains from agree with or acting on your message
o See FIGURE 2.7 , Item 6 for examples

Analyzing content ensures a complete message (see Exercise 2)

 FIGURE 2.6 – Primary and Secondary Audiences
 Do you know enough about the topic or situation to compose your message?
 Do you have enough data to support your main idea?
 If not, where can you find additional research?
o Primary Research – collecting your own data (e.g., phone calls, surveys, etc.)

Chapter 2 | Copyright © 2017 Pearson Education, Inc. P a g e | 2‐2

 o Secondary Research – using info other people have collected (e.g., books, articles, etc.)

Discussion Starter: Describe an example of a time when you sent a message that failed or was ineffective.
What could you have done to make the communication experience more successful?

Analyzing the medium helps you choose the best delivery option (see Exercise 3 )

 Choose a medium based on the needs of the audience, not what is most convenient for you
 See FIGURE 2.8 for a list of medium advantages and disadvantages

Discussion Starter: What are possible negative outcomes if you do not consider the audience when deciding
which medium to use to convey your message?

ETHICS: Ethics in Communication: Using O‐A‐R

(See Critical Thinking #6)

 When analyzing content, include information that both supports and contradicts your message
 Failing to address relevant information is an ethical error of omission
 Analyze contradictory information:
o Is it weak enough that you can argue against it?
o Does it bring up a problem that you can solve?
 Report the information, cite the source, then provide a solution
 Address negative information to demonstrate integrity, critical thinking, and problem solving

LEARNING OBJECTIVE 2.3

What is involved in composing?

Teaching Tip: Ask students to describe how they compose. What parts of the composing process in this section
do they already use? Which are new to them? Demonstrate that composing involves more than putting words
on the page by sharing examples of your own composing experiences – both good and bad.

 Composing involves:
o Deciding where and when to compose
o Organizing the message
o Drafting the content
o Designing a professional format and delivery
 Even simple message benefits from at least two drafts:
o First draft – used to get thoughts on paper
o Second draft – used to refine your thoughts and evaluate language and grammar
 More complex messages require multiple drafts

Chapter 2 | Copyright © 2017 Pearson Education, Inc. P a g e | 2‐3

Another random document with
no related content on Scribd:
avait le nez de son oncle, un nez camus de vigneron ; mais sur toute
sa face s’imprimait une sérénité pure et presque sacerdotale.
— Vous êtes peintre, monsieur, disait-il à M. Rude, et je sais que
vous rendez à l’art chrétien son naïf réalisme d’autrefois.
Connaissez-vous le Saint Pierre d’Alcantara de Zurbaran ? Si je
vous en parle, c’est que mon pauvre ami Rovère me l’avait décrit :
un vieillard décharné, puissant, dans un grand manteau de bure, qui
tient une plume entre ses doigts et lève ses yeux vers une colombe
volant au-dessus de sa tête. Par sainte Thérèse, — je la lis
passionnément, — je le vois encore mieux que par le tableau. Il
avait, nous apprend-elle, vécu quarante ans, sans dormir, tant de
nuit que de jour, plus d’une heure et demie ; pour vaincre le sommeil,
il se tenait perpétuellement à genoux ou debout ; il prenait son
repos, assis, la tête appuyée contre un morceau de bois fixé dans le
mur. Il demeurait à l’ordinaire trois jours de suite sans manger. Son
corps était tellement exténué qu’il semblait n’être formé que de
racines d’arbres. Quand il vit que son terme approchait, il récita le
psaume : Lætatus sum, et, s’étant mis à genoux, il expira…
Pauline regardait celui qui, d’un ton calme, faisait ce portrait
presque effrayant d’un ascète. Il lui révélait des splendeurs
mystiques que Julien eût admirées, et, dès ses premières paroles,
l’entraînait en des régions supérieures à celles où elle vivait.
La conversation vint sur la musique, grâce à laquelle Authelin
composait des paysages intérieurs plus luxuriants que tous les
spectacles de la mer et des monts. L’ineffable, pour ce philosophe,
ne pouvait avoir de symbole plus vrai que certaines mélodies
d’église ; et il exprimait son enchantement d’une messe grégorienne
exécutée, le dimanche de Pâques, par les séminaristes, dans la
cathédrale.
— Chantez-nous, Pauline, pria M. Rude, cet Alléluia que vous
apprenez aux jeunes filles de Saint-Pierre.
La voix de Pauline, avec une netteté parfaite d’articulation,
déroula les linéaments sonores, d’une grâce indéfinie et radieuse,
tels que les contours fuyants de figures angéliques. Gabriel, extasié,
la supplia de recommencer.
— Rien, comme ce chant, dit-il, ne m’a donné la présence d’un
ciel lumineux.
Lorsque Mme Authelin et lui se retirèrent, Pauline se trouva sur
son passage. Dans une pensée de compassion admirative, elle lui
tendit la main ; il ne vit pas son geste, et elle sentit alors seulement
qu’il était aveugle…
Quelques mois plus tard, les premiers jours d’octobre, par un
dimanche tiède et limpide, Victorien et sa fille se promenaient dans
les champs, proche le Moulin du Roy. Là, aux creux de berges
touffues, la Vanne, d’un flot pressé, descend vers l’Yonne assoupie.
Ils s’assirent, près d’un petit pont, devant l’eau noire et brillante où
roulaient des feuilles mortes. Les grands peupliers, dont les tiges
s’inclinent pour boire la fraîcheur du courant, y répétaient l’or des
feuillages excité par le soleil qui passait entre leurs branches. En
face d’eux, poudroyait une clairière, blondie, jonchée de la dépouille
de vieux ormes ; d’autres arbres jeunes, ténus, semblaient se
volatiliser dans le ciel tendre, et divisaient l’espace plus indécis
d’une plaine encore verte, jusqu’à des collines rousses entrevues
sous une brume.
— Quel charme léger, vaporeux a l’automne de ces régions ! fit
Victorien, s’abandonnant à la douceur des nuances qu’inscrivaient
ses yeux. C’est dommage que les gens y soient si médiocres.
— Ils ne l’ont pas toujours été, répondit Pauline. Rappelle-toi le
Village de Raitif de la Bretonne : la ferme patriarcale, le père lisant, à
ses quinze enfants, le soir, une page de la Bible. Et, il y a quarante
ans, dans des villages de Bourgogne, pas très loin d’ici, M. Rude se
souvient d’avoir vu la même coutume encore en honneur. J’ai
confiance que ce pays renaîtra…
— Tu ne sais pas, interrompit Victorien, puisque tu parles de
Rude, quelle proposition bizarre on lui a faite pour toi… Aurais-tu, en
principe, une totale répugnance à l’idée d’un mariage avec Gabriel
Authelin ?
 Pauline tressaillit, étant à mille lieues d’une pareille supposition.
— Me marier ! Je n’y songe guère… Avec la mort de Julien, tout
a été fini pour moi. Si j’acceptais un mariage, ce ne serait qu’un
mariage de dévouement. Voilà pourquoi je ne refuse pas tout de
suite, quand tu me parles de Gabriel Authelin. J’y réfléchirai…
— Je t’en ai dit un mot, reprit Victorien, parce que Gabriel est un
homme d’une haute valeur ; tu retrouveras difficilement quelqu’un qui
le vaille. Mais j’hésite à insister, parce que ce sera, pour toi et… pour
moi, un sacrifice quotidien, la vie avec un aveugle. Il ne connaîtra
jamais ton regard ni ta beauté.
— Oh ! dit-elle, ce n’est pas un obstacle invincible… A la
Résurrection, il me verra ; et, moi aussi, je verrai le jour dans ses
yeux. Alors, il n’y aura plus d’aveugles.

1909-1913.

ORLÉANS. — IMP. ORLÉANAISE, 68, RUE ROYALE

 *** END OF THE PROJECT GUTENBERG EBOOK LE BAPTÊME
DE PAULINE ARDEL ***

Updated editions will replace the previous one—the old editions will
be renamed.

Creating the works from print editions not protected by U.S.

copyright law means that no one owns a United States copyright in
these works, so the Foundation (and you!) can copy and distribute it
in the United States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part of
this license, apply to copying and distributing Project Gutenberg™
electronic works to protect the PROJECT GUTENBERG™ concept
and trademark. Project Gutenberg is a registered trademark, and
may not be used if you charge for an eBook, except by following the
terms of the trademark license, including paying royalties for use of
the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as
creation of derivative works, reports, performances and research.
Project Gutenberg eBooks may be modified and printed and given
away—you may do practically ANYTHING in the United States with
eBooks not protected by U.S. copyright law. Redistribution is subject
to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
 PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free

distribution of electronic works, by using or distributing this work (or
any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree
to and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be
bound by the terms of this agreement, you may obtain a refund from
the person or entity to whom you paid the fee as set forth in
paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be

used on or associated in any way with an electronic work by people
who agree to be bound by the terms of this agreement. There are a
few things that you can do with most Project Gutenberg™ electronic
works even without complying with the full terms of this agreement.
See paragraph 1.C below. There are a lot of things you can do with
Project Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project
Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright law in
the United States and you are located in the United States, we do
not claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™
mission of promoting free access to electronic works by freely
sharing Project Gutenberg™ works in compliance with the terms of
this agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms of
this agreement by keeping this work in the same format with its
attached full Project Gutenberg™ License when you share it without
charge with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the terms
of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project Gutenberg™
work (any work on which the phrase “Project Gutenberg” appears, or
with which the phrase “Project Gutenberg” is associated) is
accessed, displayed, performed, viewed, copied or distributed:
 This eBook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this eBook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived

from texts not protected by U.S. copyright law (does not contain a
notice indicating that it is posted with permission of the copyright
holder), the work can be copied and distributed to anyone in the
United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must
comply either with the requirements of paragraphs 1.E.1 through
1.E.7 or obtain permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted

with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works posted
with the permission of the copyright holder found at the beginning of
this work.

1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files containing a
part of this work or any other work associated with Project
Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg™ electronic works
provided that:

• You pay a royalty fee of 20% of the gross profits you derive
from the use of Project Gutenberg™ works calculated using
the method you already use to calculate your applicable
taxes. The fee is owed to the owner of the Project
Gutenberg™ trademark, but he has agreed to donate
royalties under this paragraph to the Project Gutenberg
Literary Archive Foundation. Royalty payments must be paid
within 60 days following each date on which you prepare (or
are legally required to prepare) your periodic tax returns.
Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at
the address specified in Section 4, “Information about
donations to the Project Gutenberg Literary Archive
Foundation.”

• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt
that s/he does not agree to the terms of the full Project
 Gutenberg™ License. You must require such a user to return
or destroy all copies of the works possessed in a physical
medium and discontinue all use of and all access to other
copies of Project Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full

refund of any money paid for a work or a replacement copy,
if a defect in the electronic work is discovered and reported
to you within 90 days of receipt of the work.

• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™

electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on, transcribe
and proofread works not protected by U.S. copyright law in creating
the Project Gutenberg™ collection. Despite these efforts, Project
Gutenberg™ electronic works, and the medium on which they may
be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a
copyright or other intellectual property infringement, a defective or
damaged disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except

for the “Right of Replacement or Refund” described in paragraph
1.F.3, the Project Gutenberg Literary Archive Foundation, the owner
of the Project Gutenberg™ trademark, and any other party
distributing a Project Gutenberg™ electronic work under this
agreement, disclaim all liability to you for damages, costs and
expenses, including legal fees. YOU AGREE THAT YOU HAVE NO
REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF
WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE
FOUNDATION, THE TRADEMARK OWNER, AND ANY
DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE
TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE
NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you

discover a defect in this electronic work within 90 days of receiving it,
you can receive a refund of the money (if any) you paid for it by
sending a written explanation to the person you received the work
from. If you received the work on a physical medium, you must
return the medium with your written explanation. The person or entity
that provided you with the defective work may elect to provide a
replacement copy in lieu of a refund. If you received the work
electronically, the person or entity providing it to you may choose to
give you a second opportunity to receive the work electronically in
lieu of a refund. If the second copy is also defective, you may
demand a refund in writing without further opportunities to fix the
problem.

1.F.4. Except for the limited right of replacement or refund set forth in
paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted
by the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the

Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and distribution
of Project Gutenberg™ electronic works, harmless from all liability,
costs and expenses, including legal fees, that arise directly or
indirectly from any of the following which you do or cause to occur:
(a) distribution of this or any Project Gutenberg™ work, (b)
alteration, modification, or additions or deletions to any Project
Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of

Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and
donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a
secure and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help,
see Sections 3 and 4 and the Foundation information page at
www.gutenberg.org.
 Section 3. Information about the Project
Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West,

Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to

the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can
be freely distributed in machine-readable form accessible by the
widest array of equipment including outdated equipment. Many small
donations ($1 to $5,000) are particularly important to maintaining tax
exempt status with the IRS.

The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and
keep up with these requirements. We do not solicit donations in
locations where we have not received written confirmation of
compliance. To SEND DONATIONS or determine the status of
compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where

we have not met the solicitation requirements, we know of no
prohibition against accepting unsolicited donations from donors in
such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make

any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of
other ways including checks, online payments and credit card
donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project

Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.

Project Gutenberg™ eBooks are often created from several printed

editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,

including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how
to subscribe to our email newsletter to hear about new eBooks.