16.03.2017 Views

12.Practice.Tests.for.the.SAT_2015-2016_1128p

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

12 Practice <strong>Tests</strong> <strong>for</strong> <strong>the</strong> <strong>SAT</strong><br />

Practice Test Eight Answers and Explanations<br />

751<br />

I<br />

him ignore those irregularities. Cordiality would not make<br />

someone ignore inconsistencies in accounting, and if <strong>the</strong><br />

manager ignored accounting rules, that wouldn't indicate<br />

frankness. In fact, it would indicate <strong>the</strong> opposite.<br />

5. D<br />

Difficulty: High<br />

The second blank must have something to do with <strong>the</strong> few<br />

jokes, so humor is a good prediction. The word though<br />

indicates contrast, so <strong>the</strong> first blank might be serious.<br />

Choice (D) is a good match. In (A), cleverness and grim<br />

both work fine by <strong>the</strong>mselves, but <strong>the</strong>y don't contrast with<br />

one ano<strong>the</strong>r, so <strong>the</strong>y don't work. In (B), it seems unlikely<br />

that <strong>the</strong> inauguration would be particularly exciting, but even<br />

if it were, <strong>the</strong> word curiosity doesn't provide <strong>the</strong> contrast<br />

that <strong>the</strong> sentence demands. In (C), humor is great <strong>for</strong> <strong>the</strong><br />

second blank, but mirthful doesn't give <strong>the</strong> contrast you<br />

need. Similarly, in (E), sober works fine, but jokes wouldn't<br />

provide gravity.<br />

6. D<br />

Difficulty: High<br />

The aristocracy was actually frugal, so <strong>the</strong> first blank should<br />

contrast with frugality. Choices (B) and (E) do not do this.<br />

Luxury and excess are both good predictions, making (D) a<br />

good match. Choices (A) and (C) are <strong>the</strong> opposite of what<br />

you're looking <strong>for</strong>.<br />

Questions 7-19<br />

The author of Passage 1 believes that <strong>the</strong> writer experiences<br />

his writing as an act of discovery that is not in his power to<br />

control. When <strong>the</strong> writer finds <strong>the</strong> proper tone of voice <strong>for</strong><br />

his writing, he enters some sort of magical state in which<br />

sentences mysteriously shape <strong>the</strong>mselves right be<strong>for</strong>e<br />

his eyes. After he is finished, he will feel that <strong>the</strong>re is an<br />

order to things, and that he himself is part of that order.<br />

The author of Passage 2, on <strong>the</strong> o<strong>the</strong>r hand, approaches<br />

his writing as if it were a job like any o<strong>the</strong>r. He ascribes<br />

dangerous notions like that of <strong>the</strong> author of Passage<br />

1 to <strong>the</strong> influence of <strong>the</strong> nineteenth-century Romantic<br />

movement. Writing to him is hard labor with no guaranteed<br />

reward Although being a good writer takes talent, it also<br />

requires a lot of difficult learning and, <strong>for</strong> him at least, an<br />

enormous amount of bruising self-questioning.<br />

7. c<br />

Difficulty: Low<br />

The author of Passage 1 says that unless a writer is<br />

writing mechanically, he experiences his writing as an act<br />

of discovery. Mechanically is used here in <strong>the</strong> sense of<br />

unimaginatively, (C). None of <strong>the</strong> o<strong>the</strong>r choices works in<br />

<strong>the</strong> context of <strong>the</strong> sentence.<br />

8. E<br />

Difficulty: Low<br />

Reading a few lines up from <strong>the</strong> reference to unlocking<br />

<strong>the</strong> floodgates, you find <strong>the</strong> author asserting that creative<br />

writing is not within <strong>the</strong> power of [<strong>the</strong> writer's] will to<br />

summon <strong>for</strong>th or to resist. When he talks about how to<br />

unlock <strong>the</strong> floodgates, <strong>the</strong>n, he is suggesting that creative<br />

writing is in part beyond <strong>the</strong> writer's conscious control, (E).<br />

The author of Passage 1 never says that almost anyone can<br />

be a writer, that writing derives its power from depicting<br />

dramatic events, or that it requires a rigid sense of structure<br />

and <strong>for</strong>m. He does suggest that writing can be very difficult,<br />

(B), but not until <strong>the</strong> end of <strong>the</strong> passage.<br />

9. c<br />

Difficulty: Medium<br />

The author describes his vision of what happens when <strong>the</strong><br />

writer finds <strong>the</strong> right tone of voice <strong>for</strong> his writing: he sits<br />

and watches as sentences and paragraphs mysteriously<br />

<strong>for</strong>m <strong>the</strong>mselves, etc. What is being conveyed here is <strong>the</strong><br />

writer's sense of wonder at <strong>the</strong> seemingly magical process<br />

of creation, (C). You probably could have picked out (C)<br />

without going back to <strong>the</strong> passage simply by eliminating<br />

<strong>the</strong> o<strong>the</strong>r choices. The author of Passage 1 never talks<br />

about frustration at <strong>the</strong> unpredictability of writing or about<br />

discovering an unsuspected talent. A writer is driven by a<br />

dim vision and does not seem to need to plan a project.<br />

Writing is hard labor to <strong>the</strong> author of Passage 2, not <strong>the</strong><br />

author of Passage 1 .<br />

10. A<br />

Difficulty: Medium<br />

Look at <strong>the</strong> context in which dim appears. The author<br />

is poetically describing what happens during creative<br />

writing: . .. paragraphs begin to shape <strong>the</strong>mselves into an<br />

organically coherent pattern that corresponds only better,<br />

much better to <strong>the</strong> dim vision which had driven him to his<br />

desk in <strong>the</strong> first place. Cutting through <strong>the</strong> flowery language,

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!