Many people watch football however (1) some do not. With (2) those who do not watch this sport (3) football is an incomprehensible pastime. Non football (4) fans cannot understand what is so exciting about watching two packs of grown men running away or toward each other, while (5) clinging for dear life to a piece of pigskin. It also makes from little to no sense (6) why those whom (7) play the sport gets (8) paid the exorbitant amounts that they do, even though he is (9) in effect doing the same thing that high school and college students do on a daily bases (10). But as the French would say, "Chacun à son goût" (11) though its (12) highly doubtful that most football fans (or even people who are not fans) would know what that means.

Choose from the following four options the answer that best corrects the underlined mistake preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

Ivan and Oscar, two little white mice living in Mrs. Wiggins house (1), were desperate for some cheese, but the only way to get to the kitchen was climbing down (2) the old suit of armor that Mrs. Wiggins brought (3) back from England after her honeymoon. Ivan had went down (4) to the kitchen many times before, but Oscar was new to it all and (5) he was more nervous than he would admit. They came out at the hole in the wall above the suit of armors (6) left shoulder, and Oscar watched as Ivan slipped fast (7) into the joins between the steel plates. He then heard Ivan scuttling down through the shoulder, chest, and the left leg (8) before emerging through the left foot below. "Come on down Oscar (9)" called the courageous mouse. Oscar made his way into the shoulder just as his friend had done, but (10) somehow got mixed up and ended up in the right arm. The twists and turns inside the armor were too complicated for his tiny, mousy (11) mind. Finally he called out, "Help, Ivan! Help! Wont (12) you help me make it through the knight?"

Choose from the following four options the answer that best corrects the underlined mistake preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

John was realizing (1) that if he ever wanted to get any work done (2) he needed to turn off his phone. Putting it on vibrate was not going to be enough (3). If it weren't (4) a message from a disgruntled student or an update to an app, it would be (5) a call from a relative or from a creditor. He has only recently realized (6) how ironic it is that "creditor" rhymes with "predator." (7) When the phone is on vibrate, he could feel it (8) from across the room which (9) makes it difficult for him to ignore it. Eventually he instituted a rule by which (10) he would only turn the phone on during certain hours of the day. At night he would turn it completely off, and he caught up (11) with his messages at lunchtime or dinnertime, but only if he were dining (12) alone. After that, he felt a little bit happier—but only a little bit.

Choose from the following four options the answer that best corrects the underlined mistake preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

John was realizing (1) that if he ever wanted to get any work done (2) he needed to turn off his phone. Putting it on vibrate was not going to be enough (3). If it weren't (4) a message from a disgruntled student or an update to an app, it would be (5) a call from a relative or from a creditor. He has only recently realized (6) how ironic it is that "creditor" rhymes with "predator." (7) When the phone is on vibrate, he could feel it (8) from across the room which (9) makes it difficult for him to ignore it. Eventually he instituted a rule by which (10) he would only turn the phone on during certain hours of the day. At night he would turn it completely off, and he caught up (11) with his messages at lunchtime or dinnertime, but only if he were dining (12) alone. After that, he felt a little bit happier—but only a little bit.

Choose from the following four options the answer that best corrects the underlined mistake preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

The Wowzer 25 (or W25) was regarded to be the best (1) video game system of all time when it came out. Wowzer released the Wowzer 25 in America during the year 1996 (2) as a follow-up to their last system, the Superduper Wowzer that (3) was released (4) in America five years before. The W25 derives its name from its resolution being 25-bit (5) which is something no other console had done before. (6) With 25-bit resolution, a player could finally roam a 3-D world with Wowzer’s mascot WowMan. Being able to play in a 3-D world was groundbreaking; it was an experience gamers at the time would not forget. (7) The W25’s graphics were good and then became even better after Wowzer had released (8) an expansion pack that increased the W25’s RAM from 4 megabytes to 8. (9) As the console grew, the graphics were becoming (10) better and better since (11) developers became more comfortable developing their games for it. (12)

Choose from the following four options the answer that best corrects the underlined mistake preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

Adapted from “Authority: The Unavoidable” in What’s Wrong with the World by G.K. Chesterton (1912)

The important point here is only that you cannot get rid of authority in education. It is not so much that parental authority ought to be preserved. The more, important truth, is that such authority cannot be destroyed. Mr. Bernard Shaw once said that he had hated the idea of forming a child's mind. In that case, Mr. Bernard Shaw had better hang himself, for he hates something inseparable from human life. I only mentioned [earlier in the book] the drawing out of the child’s abilities in order to point out that even this mental trick does not avoid the idea of parental or scholastic authority. The educator drawing out is just as arbitrary and coercive as the instructor’s action, for he draws out what he chooses. He decides what in the child shall be developed and what shall not be developed.

The only result of all this pompous distinction between the “educator” and the “instructor” is who the instructor pokes where he likes and the educator pulls where he likes. Exactly the same intellectual violence is done to the creature whom is poked and pulled. We must all except the responsibility of this intellectual violence, whether from poking or from pulling.

Education is violent; because it is creative. It is such because it is human. It is as reckless as playing on the fiddle, as dogmatic as drawing a picture, as brutal as building a house. In short, it is what all human action is, it is an interference with life and growth. After that it is a trifling and even a jocular question whether we say of this tremendous tormentor, the artist Man, that he puts things into us like a pharmacist or draws things out of us.

Which of the following is the best form of the underlined section?

Adapted from "The Philosophy of Composition" by Edgar Allan Poe (1846)

Charles Dickens in a note now lying before me (1) alluding to an examination I once made of the mechanism of [the novel] Barnaby Rudge (2), says (3) "By the way, are you aware that Godwin wrote his 'Caleb Williams' backwards? He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting for what had been done" (4)

I cannot think this the exacting (5) mode of procedure on the part of Godwin — and indeed what he himself acknowledges, is not altogether in accordance with Mr. Dickens idea (6) — but the author of “Caleb Williams” was too good an artist not to perceive the advantage derivative (7) from at least a somewhat similar process. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable (8) air of consequence, or causation, by making the incidents (9) and especially the tone at all points, tend to the development of the intention.

There is a radical error I think (10) in the usual mode of constructing a story. Either history affords a thesis — or one is suggested by an incident of the day — or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative — designing, generally, to fill in with description, dialogue, or autorial (11) comment, whatever crevices of fact, or action, may from page to page (12) render themselves apparent.

Choose from the following four options the answer that best corrects the underlined mistake preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

Adapted from "The Philosophy of Composition" by Edgar Allan Poe (1846)

Charles Dickens in a note now lying before me (1) alluding to an examination I once made of the mechanism of [the novel] Barnaby Rudge (2), says (3) "By the way, are you aware that Godwin wrote his 'Caleb Williams' backwards? He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting for what had been done" (4)

I cannot think this the exacting (5) mode of procedure on the part of Godwin — and indeed what he himself acknowledges, is not altogether in accordance with Mr. Dickens idea (6) — but the author of “Caleb Williams” was too good an artist not to perceive the advantage derivative (7) from at least a somewhat similar process. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable (8) air of consequence, or causation, by making the incidents (9) and especially the tone at all points, tend to the development of the intention.

There is a radical error I think (10) in the usual mode of constructing a story. Either history affords a thesis — or one is suggested by an incident of the day — or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative — designing, generally, to fill in with description, dialogue, or autorial (11) comment, whatever crevices of fact, or action, may from page to page (12) render themselves apparent.

Choose from the following four options the answer that best corrects the underlined mistake preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

Adapted from "The Philosophy of Composition" by Edgar Allan Poe (1846)

Charles Dickens in a note now lying before me (1) alluding to an examination I once made of the mechanism of [the novel] Barnaby Rudge (2), says (3) "By the way, are you aware that Godwin wrote his 'Caleb Williams' backwards? He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting for what had been done" (4)

I cannot think this the exacting (5) mode of procedure on the part of Godwin — and indeed what he himself acknowledges, is not altogether in accordance with Mr. Dickens idea (6) — but the author of “Caleb Williams” was too good an artist not to perceive the advantage derivative (7) from at least a somewhat similar process. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable (8) air of consequence, or causation, by making the incidents (9) and especially the tone at all points, tend to the development of the intention.

There is a radical error I think (10) in the usual mode of constructing a story. Either history affords a thesis — or one is suggested by an incident of the day — or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative — designing, generally, to fill in with description, dialogue, or autorial (11) comment, whatever crevices of fact, or action, may from page to page (12) render themselves apparent.

Choose from the following four options the answer that best corrects the underlined mistake preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

Adapted from "The Philosophy of Composition" by Edgar Allan Poe (1846)

Charles Dickens in a note now lying before me (1) alluding to an examination I once made of the mechanism of [the novel] Barnaby Rudge (2), says (3) "By the way, are you aware that Godwin wrote his 'Caleb Williams' backwards? He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting for what had been done" (4)

I cannot think this the exacting (5) mode of procedure on the part of Godwin — and indeed what he himself acknowledges, is not altogether in accordance with Mr. Dickens idea (6) — but the author of “Caleb Williams” was too good an artist not to perceive the advantage derivative (7) from at least a somewhat similar process. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable (8) air of consequence, or causation, by making the incidents (9) and especially the tone at all points, tend to the development of the intention.

There is a radical error I think (10) in the usual mode of constructing a story. Either history affords a thesis — or one is suggested by an incident of the day — or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative — designing, generally, to fill in with description, dialogue, or autorial (11) comment, whatever crevices of fact, or action, may from page to page (12) render themselves apparent.

Choose from the following four options the answer that best corrects the underlined mistake preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."