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EASY NARRATIVE WRITING
SENTENCE, FABLE, AND NARRATIVE WRITING
Kimberly D. Garcia
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Acknowledgements
To my family, my friends, and my students, thank you for helping me create this resource.
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TABLE OF CONTENTS BACKGROUND ......................................................................................................................... ix
CHAPTER 1: WRITING SENTENCES .............................................................................. 3
Understanding Verbs .............................................................................................................. 3
Understanding Sentences ....................................................................................................... 7
Writing Compound Sentences ........................................................................................... 8
Understanding Complex sentences .................................................................................... 13
Writing Complex Sentences with Subordinating Conjunctions .............................. 14
Punctuating Complex Sentences ..................................................................................... 16
Writing Complex Sentences with Relative Pronouns ................................................ 20
Punctuating Clauses ........................................................................................................ 21
Writing Complex Sentences with Verbals .................................................................... 26
Writing with Participial Phrases .................................................................................... 27
Amplifying Sentences ......................................................................................................... 35
Amplifying Sentences with Strong Verbs ..................................................................... 37
Varying Sentence Openers ................................................................................................... 43
Paraphrasing: An Exercise in Choosing the Right Word ............................................. 63
CHAPTER 2: WRITING FABLES ...................................................................................... 69
Writing Dialogue ................................................................................................................... 70
MLA Format ....................................................................................................................... 74
From Direct to Indirect Dialogue ................................................................................... 78
From Indirect to Direct Dialogue ................................................................................... 82
Expanding a Fable ................................................................................................................. 84
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Paragraphing ..................................................................................................................... 94
CHAPTER 3: UNDERSTANDING POINT OF VIEW ................................................ 97
First Person Point of View of a Major Character ........................................................... 97
A Limitation of the First Person Point of View ........................................................... 99
The First Person Point of View of Some Minor Character ....................................... 99
Third Person Point of View ............................................................................................... 102
Third Person Omniscient ............................................................................................... 102
Third Person Limited ...................................................................................................... 102
Writing an Original Fable ............................................................................................. 113
CHAPTER 4: UNDERSTANDING NARRATIVES .................................................... 121
Understanding Plot Structure ........................................................................................... 122
Visualizing the Plot .......................................................................................................... 124
Type of Conflict ................................................................................................................ 124
Determining the Elements of Plot Structure ............................................................. 125
Finding the Theme ........................................................................................................... 127
Vertical Short Story Outline .......................................................................................... 128
Story Plot Table ............................................................................................................... 129
CHAPTER 5: SUMMARIZING A STORY ..................................................................... 145
Summarizing Guidelines .................................................................................................... 145
Summarizing Example ........................................................................................................ 146
CHAPTER 6: WRITING A NARRATIVE ..................................................................... 161
Rewriting aka Self-Editing ................................................................................................ 161
Showing versus Telling ...................................................................................................... 167
Slanting a Narrative ............................................................................................................ 175
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APPENDIX ............................................................................................................................. 187
Commonly Used Adverbs .................................................................................................. 189
Commonly Used Adjectives .............................................................................................. 190
Commonly Used Prepositions .......................................................................................... 191
Commonly Used Verbs (Helpful Synonyms) ................................................................. 192
Story Plot Table .................................................................................................................. 193
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BACKGROUND
Easy Narrative Writing
Easy Narrative Writing is the first book in the Easy Middle School Writing
Series, designed to teach students to write with skill and structure. Students using
Easy Narrative Writing develop foundational writing skills as they transition from
sentence to narrative writing.
To help students understand how words work within the sentence, some basic
level grammatical elements, such as dependent clauses, independent clauses,
coordinating conjunctions, subordinating conjunctions, and verbals, are covered.
The Progymnasmata
The progymnasmata are a series of writing exercises which were used during
ancient times. These exercises were designed to prepare students for the formal study
of rhetoric. Typically, they included the following:
Fable Commonplace Thesis Narrative Encomium (Praise) Law Proverb Vituperation (Blame) Anecdote Comparison Refutation Characterization (Speech-in-Character) Confirmation Description
Variations of these 14 exercises are still present in many modern writing
programs. They have remained popular because they begin at a level that is easily
accessible to students—writing about fables—and progress gradually to persuasive
arguments—defending or attacking a law.
In designing the Easy Middle School Writing series, the progymnasmata
exercises were used as a vehicle to introduce timeless writing skills to modern
students. ix
The primary focus of Easy Narrative Writing is on composing complex
sentences, writing with varied sentence openers, rewriting fables, writing dialogue,
expanding and condensing narratives, and writing slanted narratives.
Easy Narrative Writing may be used as a one year textbook for younger students
or a one semester textbook for more experienced writers.
Additional Resources Needed:
To adequately use this series, it is suggested that students have access to the
following:
MLA Handbook
Word Processing Software
A Thesaurus
Midway through this workbook, students are asked to place their writing
assignments in MLA format. If a student does not know how to type, he or she
should begin typing lessons as they begin this curriculum. Proper MLA format
dictates that written papers be typed.
The Easy Narrative Writing Text
To compile the exercises in this text, several composition and rhetoric textbooks
from the 19th and 20th centuries were referenced. A list of these resources can be
found on page 193 of the appendix.
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EASY NARRATIVE WRITING
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CHAPTER 1: WRITING SENTENCES A sentence is a group of words that make up a complete thought and is
composed of a subject and a predicate. The subject of the sentence is the name of the
person, place, thing, or idea that the sentence is about, and the predicate of the
sentence is the part of the sentence that tells about the subject.
UNDERSTANDING VERBS Every sentence has at its base a simple subject and a simple verb.
1. Cold winds blew from the north.
2. The young bird dove off the cliff.
If we reduce the two sentences above to the simple subject and the simple verb,
we are left with:
1. Winds blew.
2. Bird dove.
When the subject of the sentence takes action, the verb is said to be in the
active voice. In both examples above, the verb is in the active voice. The wind is
doing something—blowing. The bird is doing something—diving.
When the subject of the sentence is the receiver of the action, the verb is said to
be in the passive voice.
The hat was blown by the wind. The hat is being acted upon by the wind.
The wind is still blowing.
When relaying information through words, the active voice is generally
preferred. Read the sentences below:
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1. He raised the heavy log. Active
2. The heavy log was raised. Passive
3. Henry broke the window. Active
4. The window was broken. Passive
To make your writing more exciting, it is best to write in the active voice.
Writing in the active voice allows your readers to experience the story through the
eyes of the person taking action.
Writing in the passive voice, however, does have its place. As you can see in
sentence four, no person is being blamed for breaking the window. The passive voice
is frequently used when people are avoiding blame for unpopular or dangerous
incidents.
While strong verbs, created by the active voice, create strong sentences that
make strong statements, if you are writing about someone suffering as a victim, the
focus of the sentence should be on the victim.
My favorite toy was destroyed. The focus of this sentence is on the toy.
My dog destroyed my favorite toy. The focus of this sentence is on the dog.
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ASSIGNMENT 1.1 Understanding Voice: Read the sentences that follow. Change those that are written
in the active voice to the passive voice, and those that are written in the passive voice
to the active voice.
1. Narrow paths were shoveled through the drifts by the men.
_______________________________________________
_______________________________________________
2. The old trapper told us a thrilling story.
_______________________________________________
_______________________________________________
3. The hawk caught the fish.
_______________________________________________
_______________________________________________
4. All these experiences added new terms to my vocabulary.
_______________________________________________
_______________________________________________
5. Our food and clothing had been washed away by a flood.
_______________________________________________
_______________________________________________
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6. Boats were torn from their moorings by the angry waves.
_______________________________________________
_______________________________________________
7. An old settler guided the soldiers along the trail.
_______________________________________________
_______________________________________________
8. Mowgli drove the buffaloes to the edge of the plain.
_______________________________________________
_______________________________________________
9. All our fears were swept away by the cheering news.
_______________________________________________
_______________________________________________
10. The man was offered a good position by his employer.
_______________________________________________
_______________________________________________
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UNDERSTANDING SENTENCES
When a sentence has one subject and one predicate, it is called a simple sentence.
1) The cake is baking.
2) The ice cream and punch are frozen.
3) The children are playing and laughing.
The sentences above are all simple sentences. Sentence 1 obviously has only one
subject and one predicate. Sentence 2 has a compound subject: the ice cream and the
punch. Sentence 3 has a compound predicate: playing and laughing. Although it
might seem contradictory, all three sentences above are simple sentences.
Sentence 2 is a simple sentence because the two subjects—ice cream and
punch—both share the same verb.
2) The ice cream and punch are frozen.
The ice cream is frozen.
The punch is frozen.
Sentence 3 is a simple sentence because the two verbs—playing and laughing—
both share the same subject.
3) The children are playing and laughing.
The children are playing.
The children are laughing.
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Simple sentences are extremely important because with them we can make other
kinds of sentences. You may also have heard simple sentences referred to as
independent clauses.
A clause is a group of words that contain a subject and a predicate (verb). All of
the example sentences on the previous page are simple sentences because they have
one subject, which may or may not be a compound subject, and one predicate, which
may or may not be a compound predicate.
Writing Compound Sentences
When we combine two simple sentences, the result is a compound sentence. One
way to combine sentences is with a conjunction. Another way to combine simple
sentences is with a semi-colon (;). When we use a coordinating conjunction or a
semi-colon to connect simple sentences, we form compound sentences. Coordinating
conjunctions are the simple two and three letter words that join words, phrases, or
clauses that are equal.
The conjunctions we will use are:
for and nor but or yet so
(If we take the first letter of each of these, we get the acronym FANBOYS.)
If we choose not to use a conjunction, we may simply use a semi-colon (;)
between the simple sentences. When using a semi-colon between simple sentences, a
conjunction isn’t necessary.
Congress passed the bill, and the President signed it.
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Congress passed the bill; the President signed it.
Brag is a good dog, but Prince is better. Brag is a good dog; Prince is a better one.
WRITING WITH CONJUNCTIONS
Everyone uses conjunctions. When you have used them in the past, have you
ever paused and noticed that they’re not interchangeable? Let’s test it out. Read these
two simple sentences:
Rebecca likes cake.
Caleb likes broccoli.
CONJUNCTION SENTENCE
1 for Rebecca likes cake, for Caleb likes broccoli.
2 and Rebecca likes cake, and Caleb likes broccoli.
3 nor Rebecca likes cake, nor Caleb likes broccoli.
4 but Rebecca likes cake, but Caleb likes broccoli.
5 or Rebecca likes cake, or Caleb likes broccoli.
6 yet Rebecca likes cake, yet Caleb likes broccoli.
7 so Rebecca likes cake, so Caleb likes broccoli.
Even though the compound sentences above include the same simple sentences,
we change the meaning of the compound sentence when we use different
conjunctions.
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Sentence 2 says that Rebecca likes cake and Caleb likes broccoli. We are told
that both statements are true. But sentence 5 says that either Rebecca likes cake or
Caleb likes broccoli. In sentence 7, we read that the reason Caleb likes broccoli is
because Rebecca likes cake—which, of course, does not make sense.
When conjunctions are used, they are generally used as follows:
CAUSE OR EFFECT CONTRAST OR COMPARISON COMBINING
for, so but, nor, or, yet and
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ASSIGNMENT 1.2 Making Compound Sentences: For this assignment, you will edit a poorly written
paragraph primarily composed of simple sentences. Combine the simple sentences
into compound sentences. As you write the paragraph, you will probably find it very
limiting because there are so many ways that you are accustomed to combining
sentences. Even so, you are only allowed to make compound sentences by using the
following:
for and nor but
or yet so (;)
Remember when you use a conjunction, place the comma before the conjunction.
(Also make sure you use the right conjunction for the idea you want to communicate.)
Ex: A grasshopper was in the field one day, for it was summer.
Ex: A grasshopper was in the field one day; it was summer.
To complete the exercise, turn to the following page.
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for and nor but or yet so (;)
A grasshopper was in the field one day, for it was summer. He was singing, and
an ant passed him. The ant was tugging along a head of grain. The grasshopper
asked the ant to sing with him, but the ant refused.________________________
_________________________________________________________
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A grasshopper was in the field one day. It was summer. He was singing. An ant
passed him. The ant was tugging along a head of grain. The grasshopper asked the
ant to sing with him. The ant refused. He was busy. He was collecting supplies for
the winter. The grasshopper laughed at the ant. He thought it was foolish to work
so hard for the future. They had plenty for the present. The ant went on with his
work. Winter came. The grasshopper had nothing to eat. He asked the ant for
food. The ant had plenty for his own family. He had none for the grasshopper.
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UNDERSTANDING COMPLEX SENTENCES
In the earlier lesson, we covered simple sentences which are also known as
independent clauses. When you combine two simple sentences, you make a compound
sentence. Well, another type of sentence is the complex sentence. A complex sentence
is a sentence composed of an independent clause and a dependent clause.
If you remember independent clauses have a subject and a verb (predicate), and
they convey a complete thought. In other words, they stand alone.
Dependent clauses are very similar to independent clauses. Like independent
clauses, dependent clauses also have a subject and a verb; however, they do not
stand alone.
Subject Verb
When she returned home from work. she returned
What we had for dinner. we had
Where the fairy people dwell. the fairy people dwell
Because he doesn’t study enough. he does study
If he becomes king. he becomes
Although each of the above clauses contains a subject and a verb, they don’t make
sense as sentences. They can, however, be used to make thoughts more clear and
more complete.
When she returned home from work, she cooked dinner immediately.
I loved what we had for dinner.
I know where the fairy people dwell.
His grades are low because he doesn’t study enough.
The world will be more dangerous if he becomes king.
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When an independent clause is added to a dependent clause, the result is a
complex sentence which conveys a complete thought and gives additional
information. To make complex sentences, we may combine these different types of
clauses by using conjunctions.
Writing Complex Sentences with Subordinating Conjunctions
One way to join dependent clauses to independent clauses (simple sentences) is
to use a different kind of conjunction—the subordinating conjunction. On the
following page, you can find a table of subordinating clauses and examples of how
they are used.
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COMBINING CLAUSES WITH SUBORDINATING CONJUNCTIONS
TO SHOW CAUSE AND EFFECT
RELATIONSHIPS
TO SHOW CONDITIONS OR COMPARISONS
TO SHOW WHEN, WHERE, OR
HOW
because
since
so
for
although
if
since
unless
than
though
as
as
after
before
when
while
where
since
EXAMPLES
Because he was
ashamed, he left the
room.
If it rains, we will stay
home.
When hope is lost, all is
lost.
Since life requires work,
we must prepare.
Although it rained, we
went to the park.
Enjoyment stops where
laziness begins.
Caitlyn bought two
cupcakes so I could have
one also.
A man has no more
religion than he acts out
in his life.
As the twig is bent, the
tree inclines.
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Punctuating Complex Sentences
In the table given on the previous page, you may have noticed that some of the
example complex sentences contain commas after the dependent clauses. Others do
not.
• When the dependent clause is placed at the beginning of the sentence, you
place a comma after it.
• When the dependent clause is placed at the end of the sentence, generally, you
do not need a comma.
The dependent clauses in the example sentences below are in bold print. Notice
when the comma is used.
Because he was ashamed, he left the room.
He left the room because he was ashamed.
If it rains, we will stay at home.
We will stay at home if it rains.
When hope is lost, all is lost.
All is lost when hope is lost.
Where laziness begins, enjoyment stops.
Enjoyment stops where laziness begins.
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ASSIGNMENT 1.3
Writing Complex Sentences: Read and rewrite the paragraph in the textbox below.
This time use the subordinating conjunctions given to combine the simple sentences
and create complex sentences. Note: It is okay to have 1 or 2 sentences unchanged.
Do, however, make as many complex sentences as you can.
Subordinating Conjunctions
since for because although if unless whose
while so when before as where after than
Ex. 1: The grasshopper was in the field one day because it was summer. Correct
Ex. 2: The grasshopper was in the field for summer. Incorrect
Note: The first sentence is correct because it is the subject of the dependent clause
and was is the verb. In the second example, for summer is a prepositional phrase and
does not contain a verb. So although example 2 is a good sentence, it is incorrect for
this assignment. (For can be a preposition or a conjunction. Dependent clauses must
have a subject and a verb.)
To complete the assignment, turn to the following page.
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To complete the assignment, rewrite the paragraph on the lines provided. The
paragraph has been started for you. (If you need help remembering how to punctuate
a dependent clause, see page 16.)
since for because although if unless whose
while so when before as where after than
A grasshopper was in the field one day because it was summer. While he was
singing, an ant passed him. The ant was tugging along a head of grain. Although the
grasshopper asked the ant to sing with him, the ant refused._________________
_______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________
A grasshopper was in the field one day. It was summer. He was singing. An ant
passed him. The ant was tugging along a head of grain. The grasshopper asked the
ant to sing with him. The ant refused. He was busy. He was collecting supplies for
the winter. The grasshopper laughed at the ant. He thought it was foolish to work
so hard for the future. They had plenty for the present. The ant went on with his
work. Winter came. The grasshopper had nothing to eat. He asked the ant for
food. The ant had plenty for his own family. He had none for the grasshopper.
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_______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________ _______________________________________________
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Writing Complex Sentences with Relative Pronouns
Complex sentences may also be created with relative pronouns. Relative
pronouns stand for nouns or pronouns, and they act as nouns in dependent clauses.
When writing with relative pronouns, use the following guidelines:
Use who to represent people—the man.
The man who betrayed his country is a traitor.
The man is a traitor.
The man betrayed his country.
Use whose to show possession for people or objects—his weapon.
The mighty god, whose weapon was the thunder, rode on the wind.
The mighty god rode on the wind
His weapon was the thunder.
Use which to represent objects—Alex’s cookie.
Alex’s cookie, which was disgusting, was made with salt instead of sugar.
Alex’s cookie was made with salt instead of sugar.
Alex’s cookie was disgusting.
Use that to represent people or objects—the dog. The dog that lives next door barks
continuously. The dog barks continuously.
The dog lives next door.
The person or object a pronoun represents is called the antecedent of the pronoun:
The city which is located on the hill is beautiful.
City is the antecedent of the pronoun which.
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Punctuating Clauses
Some clauses in complex sentences are set apart by commas; others are not.
One way to remember when to use commas for your subordinate clauses is by
following these guidelines:
Use a comma if you can remove the clause and the sentence has the same
meaning.
Do not use a comma if you need the clause for the sentence to be correct.
Never use a comma before a clause that begins with that.
Ex. 1: Men who betray their country are traitors.
Ex. 2: Men, who betray their country, are traitors.
These two sentences—examples 1 and 2—do not have the same meaning. The
first sentence says that only men who betray their country are traitors. This sentence
makes sense. The second sentence says that all men are traitors. The second sentence
doesn’t make sense because we know that all men are not traitors.
When you place commas around the clause, you are basically saying that the
information between the commas can be removed.
Alex’s cookie, which was disgusting, was made with salt instead of sugar.
The fact that the cookie was disgusting is not important to the meaning of the
sentence.
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ASSIGNMENT 1.4 Creating Complex Sentences with Relative Pronouns: Read and rewrite the
poorly written paragraph that follows. Connect the simple sentences by using the
commonly used relative pronouns listed.
Note: It is okay to leave 1 or 2 sentences unchanged; however, do make as many
complex sentences as you can.
who that which
To complete the assignment, write the paragraph on the lines provided. The
paragraph has been started for you.
There are many common plants that are known to be poisonous. One poisonous
plant that grows upon rubbish heaps is called henbane. Another which sometimes
appears on heads of rye is called ergot. ______________________________
_____________________________________________________________________
There are many common plants. Many of them are known to be poisonous.
One poisonous plant is henbane. It grows upon rubbish heaps. Another is called
ergot. It sometimes appears on heads of rye. One poisonous plant is the deadly
nightshade. It is extremely lethal. It has a cherry-shaped fruit. And of course, there
is the famous hemlock. It is sometimes found in gardens and resembles parsley. In
ancient times, to poison prisoners, the Greeks used hemlock. The prisoners were
sentenced to death. Unfortunately, many common plants are extremely poisonous,
and great caution must be taken when selecting edible plants. For instance,
consider the mushroom. It is extremely common. Not all mushrooms are
poisonous. The most appealing are generally poisonous!
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ASSIGNMENT 1.5
Writing Simple, Compound, and Complex Sentences: Read and rewrite the
poorly written narrative below. Eliminate the words “and” and “then” as much as
possible. It is okay to use these words, but only sparingly. Hint: Remove “and” and
“then” from the beginning of the sentences.
In your rewrite, include at least one of each: a simple sentence, a compound
sentence, and a complex sentence with a relative clause. Underline each example.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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It was a cold winter day, and the ground was covered with ice. A poor old
woman stood at the corner, and she was afraid to cross the street, and so she
waited for a long time. The busy people took no notice of her, and the wagons and
cars went hurrying by so fast that she was afraid to try to cross.
And then there came down the street a group of schoolboys. They were
shouting and dashing along. And then one of the boys happened to see the old
woman. She was still standing there, waiting and trembling. And this boy stopped
and said that he would help her along. And then she thanked him, and he took hold
of her arm and led her safely across the street.
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Writing Complex Sentences with Verbals
Complex sentences can also be created with verbals. Verbals are words formed
from verbs. They act similar to verbs; however, unlike verbs, verbals are used as
adjectives, nouns, or adverbs.
The girl is my cousin. A Sentence
The girl wearing the sparkly plaid dress. Not a Sentence (A Fragment) The girl wearing the sparkly plaid dress is my cousin. A Sentence
The first and last statements above are sentences, but the middle one is not.
That is because the middle group of words does not express a complete thought. The
phrase wearing the sparkly plaid dress is a participial phrase and functions as an
adjective, describing the subject girl. The participial phrase acts as an adjective, not a
verb.
There are three types of verbals: participles, gerunds, and infinitives. See the
table below.
VERBALS EXAMPLE DEFINITION FUNCTION
PARTICIPLE
The garden growing
wild with weeds was an
eyesore.
present participle (verb ending in ing )
adjective
Overgrown with weeds,
the garden was an
eyesore.
past participle (verb often ending
with d, ed, n, ne)
adjective
Having overgrown with
weeds, the garden was an
eyesore.
perfect participle (having + past
participle)
adjective
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VERBALS EXAMPLE DEFINITION FUNCTION
GERUND Growing weeds was
always our plan. ing form of the verb noun
INFINITIVE We like to grow weeds
in our garden. to + simple verb
noun
adjective
adverb
Writing with Participial Phrases
Although participles, gerunds, and infinitives are more complex than the
previous table shows, writing with participles, gerunds, and infinitives is fairly easy.
In fact, writing with gerunds and infinitives occurs somewhat naturally because we
speak with gerunds and infinitives regularly. Read the sentences below:
Singing is so much fun. Gerund
I love to sing. Infinitive
Writing with participles is also pretty easy to do, but it does require a little
more diligence. First, you must realize that the participle is an “ing” verb or a past
tense verb functioning as an adjective. You must also realize that the participial
phrase is created by the participle and the rest of the phrase. Read the sentence
below.
Growing wild with weeds, the garden was an eyesore. Participial phrase
When writing with participial phrases, the hard part is making sure you avoid
dangling participles. To see why, read the example sentence that follows.
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Ex: Walking across the street, my ice cream fell.
The example sentence above has two meanings: the intended meaning and the
actual meaning. The intended meaning is obvious.
As I was walking across the street, my ice cream fell.
The sentence, however, as first written actually means:
My ice cream fell as it was walking across the street.
A sentence like the example given is incorrect and is described as having a
dangling participle. The participial phrase—walking across the street—is
dangling because the noun or pronoun it modifies is missing.
To avoid creating dangling participles, make sure that the word following the
phrase and the comma is the subject of the phrase itself and the subject of the main
clause. To correct the first sentence, and still keep the participial phrase as part of the
sentence, the sentence can be rewritten as follows:
I was walking across the street.
I dropped my ice cream.
Walking across the street, I dropped my ice cream.
To correct the sentence quite a few words had to be changed. In the following
assignment, you will have to do the same.
28
ASSIGNMENT 1.6
Creating Complex Sentences with Participles: Using the set of sentences below,
create complex sentences with participial phrases. The first one has been done or you.
1. The tide flowed through the bridge. Sweeping and eddying.
Ex. Sweeping and eddying, the tide flowed through the bridge.
_____________________________________________________________________
_____________________________________________________________________
2. We lay waste our powers. Getting and spending.
_____________________________________________________________________
_____________________________________________________________________
3. She ran to the door. Hearing a shout.
_____________________________________________________________________
_____________________________________________________________________
4. The spider inspired Bruce to renewed effort. Patiently spinning its web.
_____________________________________________________________________
_____________________________________________________________________
5. I saw a house proudly decorated with flags. Going down Main Street.
_____________________________________________________________________
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6. I was afraid of the bulldog. Being a stranger and alone.
_____________________________________________________________________
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7. The rain drenched the crowd. Pouring down suddenly without warning.
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_____________________________________________________________________
8. He came in from his farm work. Covered with perspiration and dust.
_____________________________________________________________________
_____________________________________________________________________
9. The tortoise passed the hare. Toiling slowly but surely on.
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10. I saw a man running down the street. Sitting by the window.
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ASSIGNMENT 1.7
Correcting Dangling Participles: For each sentence, rewrite the sentence so that
the participle is attached to the subject it modifies. As in the example on the previous
page, you will have to rewrite some of the sentences. (Note: Do not eliminate the
participial phrases.)
Ex.: Walking across the street, my ice cream fell.
Walking across the street, I dropped my ice cream.
Note: I was walking across the street, and I dropped my ice cream. I is the subject of
both sentences.
1. Running as fast as possible, the spot was quickly reached.
_____________________________________________________________________
_____________________________________________________________________
2. The ship could hardly reach her port damaged by the explosion.
_____________________________________________________________________
_____________________________________________________________________
3. Coming to the top of the hill, a beautiful view appeared.
_____________________________________________________________________
_____________________________________________________________________
4. Walking down the street, an automobile came suddenly round the corner.
_____________________________________________________________________
_____________________________________________________________________
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5. Eating grass by the side of the road, we saw a cow.
_____________________________________________________________________
_____________________________________________________________________
6. Getting up early in the morning, the first thing noticed is the eastern sky.
_____________________________________________________________________
_____________________________________________________________________
7. Coming nearer, the house seemed deserted.
_____________________________________________________________________
_____________________________________________________________________
8. Jumping onto the horse, my horse fell to the ground.
_____________________________________________________________________
_____________________________________________________________________
9. Passing down the hallway, a doorway is reached.
_____________________________________________________________________
_____________________________________________________________________
10. Ringing the bell, the gate opened quickly.
_____________________________________________________________________
_____________________________________________________________________
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ASSIGNMENT 1.8
Writing with Participles: For this assignment, rewrite the poorly written narrative
in the textbox. Include at least 1 participial phrase, and at least one of each: a simple
sentence, a compound sentence, and a complex sentence. Avoid using and and then as
much as possible, and write your verbs in the active voice unless writing about
someone as a victim. To review active and passive voice, see page 3.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
FRANK'S BICYCLE
Mr. Pilkins went to Springfield the other day and bought his son a bicycle and
told them to send it out to his farm, and they did not send it for two weeks and
Mr. Pilkins was angry and wrote a letter about it. The boy's name was Frank, and
he had never been on a bicycle and of course did not know how to ride, so when he
received his bike and for the first time tried it, he fell into a puddle of water, and
the next time he ran into a fence. But he was a plucky boy and he kept on trying
and the hired man helped him to learn and in a few days Frank could ride pretty
well, and now he rides his bicycle every day and enjoys riding it, and his mother
says he spends too much time with his bicycle and declares that he is no longer of
any use to her about the house, and Mr. Pilkins says he himself is sorry he bought
the bicycle.
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AMPLIFYING SENTENCES
Many years ago, when children were learning to write, they were given
illustrations that taught them to write sentences with who, what, when, where, why,
and how.
The left tree above shows the basic structure for writing a sentence that tells:
who, what, when, where, how, and why. The tree on the right fills in that
information.
Who the boys What played ball
When on Saturday Where in the field
Why because they had a holiday How enthusiastically
As you add the additional information, the sentence progressively grows:
35
The boys played ball.
The boys played ball on Saturday.
The boys played ball in the field on Saturday.
The boys played ball in the field on Saturday because they had a holiday.
Enthusiastically, the boys played ball in the field on Saturday because they had
a holiday.
To answer when, where, why, or how, students may use words, phrases, or clauses.
Detail Words Phrases Clauses
When Saturday Last Saturday After lunch ended
Where Here In the field Where the dogs play
Why Angry Filled with anger Because he was so
angry
How Happily Laughing and crying
at the same time As she wiped the tears
from her happy face
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Amplifying Sentences with Strong Verbs
Besides amplifying a sentence by adding additional information, we can
passively amplify a sentence by using strong verb synonyms that show more than the
common verbs we use every day. A synonym is a word that means the same or
almost the same as another word. The words below are synonyms.
ask beg look gaze walk stroll
By using verbs that have a stronger meaning than the common verbs, you can
amplify the meaning of the verb and help your reader to see more clearly what is
happening in the sentence.
The cat drank the milk. The cat sipped the milk.
The dog lay down in the dirt. The dog plopped down in the dirt.
The sunlight came through the window. The sunlight beamed through the window.
To find synonyms for common verbs, you may use the synonym table located
in the appendix on page 192. If the common verb you want to replace isn’t in the
table, refer to a thesaurus.
37
ASSIGNMENT 1.9 Amplifying Sentences: Following the steps outlined in the example below, amplify
the given simple sentence for numbers two through five. Number one has been done
for you.
1. Given Sentence: The cat ate the mouse.
Step 1: Brainstorm words, phrases, and clauses that tell when, where, why, and
how.
Ex: What: A synonym for the verb ate: ________devoured ____________________
Ex: When:
________Yesterday_____________________________________________________
Ex: Where: ___________Behind the barn___________________________________
Ex: Why: __________Because he was starving_______________________________
Ex: How: _________Ferociously___________________________________________
Step 2: Using at least 2 of your answers, write a new amplified sentence. Ex: Amplify the given sentence: Yesterday, the cat ferociously devoured the mouse
because he was starving._________________________________________________
Step 3: Make up new information to complete the sentence below.
It is okay to use common verbs for this exercise.
Given Noun: The cat ____________________
Ex: The cat was hiding behind the barn.______________________________________
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Step 4: Combine the sentences, creating an amplified sentence with an
introductory participial phrase. For the example below, hiding behind the barn
is the participial phrase.
Ex: Combined sentences: Hiding behind the barn, the cat ferociously devoured the
mouse.________________________________________________________________
2. Given Sentence: The girl moved the desk.
What: A synonym for the verb moved: _____________________________________
When: _______________________________________________________________
Where: _______________________________________________________________
Why: ________________________________________________________________
How: ________________________________________________________________
Amplify the given sentence: ______________________________________________
_____________________________________________________________________
_____________________________________________________________________
Write a second sentence: The girl was ______________________________________
Combine the sentences, creating an introductory participial phrase:
_____________________________________________________________________
_____________________________________________________________________
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3. Given Sentence: The teacher told the students to be quiet.
What: A synonym for the verb told: ________________________________________
When: _______________________________________________________________
Where: _______________________________________________________________
Why: ________________________________________________________________
How: ________________________________________________________________
Amplify the given sentence: ______________________________________________
_____________________________________________________________________
_____________________________________________________________________
Write a second sentence: The teacher was ___________________________________
Combine the sentences; include an introductory participial phrase:
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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4. Given Sentence: Each man walked with one shoe.
What: A synonym for the verb walked: _____________________________________
When: _______________________________________________________________
Where: _______________________________________________________________
Why: ________________________________________________________________
How: ________________________________________________________________
Amplify the given sentence: ______________________________________________
_____________________________________________________________________
Write a second sentence: Each man was ____________________________________
Combine the sentences; include an introductory participial phrase:
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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5. Given Sentence: I got a new toy.
What: A synonym for the verb got _________________________________________
When: _______________________________________________________________
Where: _______________________________________________________________
Why: ________________________________________________________________
How: ________________________________________________________________
Amplify the given sentence: ______________________________________________
_____________________________________________________________________
_____________________________________________________________________
Write a second sentence: I was ___________________________________________
Combine the sentences; include an introductory participial phrase:
_____________________________________________________________________
_____________________________________________________________________
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42
VARYING SENTENCE OPENERS More often than not, young writers begin sentences with the subject and then
follow with the verb. This is normal when we speak, but when writing, we must vary
the way we write sentences to add force and style.
Below is a table that demonstrates seven ways in which a sentence may be
varied.
Types of Sentence Openers
Adverb Silently, the man stood. A word that modifies a verb, an adjective, or another
adverb.
Adjective Sad, the man stood in silence.
A word that modifies a noun or pronoun. Prepositional Phrase
With a heavy heart, the man stood in silence. A phrase that contains a preposition and its object.
Participial Phrase Waiting for an answer to fall from the heavens, he stood in silence. (Present Participle) Saddened, the man stood in silence. (Past Participle)
A phrase composed of a participle and the rest of the phrase.
Dependent Clause Because he was devastated, the man stood in silence. A clause that contains a subject and a verb, but
cannot stand alone as a sentence.
(Table continued on the following page)
43
Types of Sentence Openers
Infinitive Phrase To avoid crying, the man
stood in silence. A phrase that begins with an infinitive (to + a verb), followed by the remainder of the phrase.
Short Sentence He stood.
Simple sentence composed of five or fewer words. (More important than the number of words is the number of syllables. Short sentences are more effective with smaller words.)
44
ASSIGNMENT 1.10A
Amplifying Sentences:
Part 1: In the textbox, a group of poorly written sentences tells about an old man
who falls into a pond. Using the information from the sentences, create seven new
sentences that have different sentence openers. (To help with this exercise, refer as
necessary to the table of adverbs, adjectives, prepositions, and verbs located in the
appendix on pages 189, 190, 191 and 192. Blend the information from the original
sentences as necessary to create your new sentences.)
Part 2: When you are done creating the sentence openers, rewrite the paragraph,
from memory! Try to include at least three of your sentence openers in your
paragraph. On the following page, assignment 1.10A has been completed for you.
Assignment 1.10B through 1.10F are to be completed the same way.
A rich old man was taking a walk on his land. He suddenly fell into a flooded pond.
A young man saw that the old man was very afraid. Quickly, the young man jumped
in the stream without a moment’s hesitation. The young man saved the old man’s
life. The old, rich man cried with tears of relief. The old man rewarded the young
man greatly. He rewarded him by writing him a check.
45
Adverb: 1. Unexpectedly, the rich man tumbled into the flooded pond.
Adjective: 2. Afraid, the old man panicked.
Prepositional Phrase: 3. Without hesitation, the young man jumped into the stream.
Participial Phrase: 4. Relieved, the old man thanked the young man.
Dependent Clause: 5. Because he was so grateful, he cried.
Infinitive: 6, To thank the young man, the old man rewarded him.
Short Sentence: 7. He gifted him a check.
When you rewrite the paragraph from memory, include at least three different
sentence openers in your paragraph. The first one has been done for you. (Although
you are only required to have three different sentence openers, the example below has
four.)
Example:
A rich old man was taking a walk on his land. Unexpectedly, he stumbled and
fell into a flooded pond. A young man who was walking by saw the old man
floundering in the water. Without hesitation, the young man kicked off his shoes
and dove into the pond. He pulled the old man to safety, saving his life. Because he
46
was so grateful, the old man cried tears of joy. To thank the young man, the old
man rewarded him by writing him a check.
47
ASSIGNMENT 1.10B
Amplifying Sentences: Part 1: Using the poorly written paragraph, write seven
sentences that have different sentence openers. If necessary, use the table of adverbs,
adjectives, prepositions, and verbs located in the appendix on pages 189, 190, 191 and
192. Blend the information from the original sentences as necessary to create your
new sentences. Use strong verbs that amplify! Part 2: Rewrite the paragraph, from
memory, and try to include at least three different sentence openers.
Adverb: 1. ____________________________________________________________
_____________________________________________________________________
Adjective: 2. ___________________________________________________________
_____________________________________________________________________
Prepositional Phrase: 3. _________________________________________________
_____________________________________________________________________
Participial Phrase: 4. ___________________________________________________
_____________________________________________________________________
Dependent Clause: 5. ____________________________________________________
_____________________________________________________________________
A completely unexpected ice storm blew in yesterday. Today the weather is very
cold and windy, and it bites at covered skin. The river isn’t completely frozen yet,
but more freezing conditions are expected tonight. The view is amazingly beautiful.
The trees sparkle with frost and shine in the moonlight. Rolling mounds of snow
cover the ground. Once the river is frozen, everyone plans to spend the day ice
skating. Some are planning to have a snow ball fight and are already planning their
snow forts.
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Infinitive: 6. ___________________________________________________________
_____________________________________________________________________
Short Sentence: 7._______________________________________________________
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ASSIGNMENT 1.10C
Amplifying Sentences: Part 1: In the textbox below, a group of poorly written
sentences tells about a hawk and a lark. Using the information from the given
sentences, write seven sentences—each with a different sentence opener. To help
with this exercise, use the table of adverbs, adjectives, prepositions, and verbs located
in the appendix on pages 189, 190, 191 and 192. Remember to use strong verbs! Part
2: Turn to the following page, and from memory, rewrite the paragraph. Try to
include at least three different sentence openers.
Adverb: 1. ____________________________________________________________
_____________________________________________________________________
Adjective: 2. ___________________________________________________________
_____________________________________________________________________
Prepositional Phrase: 3. _________________________________________________
_____________________________________________________________________
Participial Phrase: 4. ___________________________________________________
_____________________________________________________________________
A gentleman was walking in the fields one day. He heard the cries of a bird. He
looked up. He saw a hawk. The hawk was trying to catch a poor little lark. The lark
darted this way and that. He managed to keep out of the reach of the hawk. He was
plainly becoming tired out. The man felt sorry for the lark. He wished he could
save it from the hawk. Suddenly the lark darted down toward the man. It flew
straight into his hand. There it remained panting and trembling. The hawk saw
what had happened. He flew off as if in disgust.
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Dependent Clause: 5. ____________________________________________________
_____________________________________________________________________
Infinitive: 6. ___________________________________________________________
_____________________________________________________________________
Short Sentence: 7._______________________________________________________
_____________________________________________________________________
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ASSIGNMENT 1.10D
Amplifying Sentences: Part 1: In the textbox below, a group of poorly written
sentences tells about two mice. Using the information from the sentences, write
seven sentences that have different sentence openers. To help with this exercise, use
the table of adverbs, adjectives, prepositions, and verbs located in the appendix on
pages 189, 190, 191 and 192. Remember to use strong verbs. Part 2: From memory,
rewrite the paragraph and include at least three of your sentence openers.
Adverb: 1. ____________________________________________________________
_____________________________________________________________________
Adjective: 2. ___________________________________________________________
_____________________________________________________________________
Prepositional Phrase: 3. _________________________________________________
_____________________________________________________________________
Participial Phrase: 4. ___________________________________________________
_____________________________________________________________________
Dependent Clause: 5. ____________________________________________________
_____________________________________________________________________
A town mouse visited a country cousin, and found the food too simple for his
cultivated taste. He persuaded the country cousin to return with him to the city.
In the pantry of the city house they found many dainties. As they began to nibble
at them, a dog rushed in, and they were obliged to scamper for the hole. The
country mouse went home at once, preferring to eat his simple fare in peace.
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Infinitive: 6. ___________________________________________________________
_____________________________________________________________________
Short Sentence: 7._______________________________________________________
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ASSIGNMENT 1.10E
Amplifying Sentences: Part 1: In the textbox below, a group of poorly written
sentences tells about a Brownie living in the cellar. Using the information from the
sentences, write seven sentences that have varied sentence openers. Remember to use
the table of adverbs, adjectives, prepositions, and verbs located in the appendix on
pages 189, 190, 191 and 192. Use strong verbs.
Part 2: From memory, rewrite the paragraph and include at least three of your
sentence openers.
Adverb: 1. ____________________________________________________________
_____________________________________________________________________
Adjective: 2. ___________________________________________________________
_____________________________________________________________________
Prepositional Phrase: 3. _________________________________________________
_____________________________________________________________________
Participial Phrase: 4. ___________________________________________________
_____________________________________________________________________
Once there lived a little Brownie, about 6 inches tall. He lived in a coal-cellar. A
servant would frequently leave a bowl of milk for him. One time the Brownie
found nothing. It was ten o’clock at night. It was his usual hour for rising. He was
very hungry. He went smelling about for his milk. He ran all about the dark cellar.
At last he ran upstairs. He stole into the pantry. There he found heaps of good
things.
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Dependent Clause: 5. ____________________________________________________
_____________________________________________________________________
Infinitive: 6. ___________________________________________________________
_____________________________________________________________________
Short Sentence: 7._______________________________________________________
_____________________________________________________________________
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ASSIGNMENT 1.10F
Amplifying Sentences: Part 1: In the textbox below, a group of poorly written
sentences tells about a greedy dog. Using the information from the sentences, write
seven sentences that have different sentence openers. Use the table of adverbs,
adjectives, prepositions, and verbs located in the appendix on pages 189, 190, 191 and
192. Remember to use strong verbs! Part 2: From memory, rewrite the paragraph
and include at least three of your sentence openers.
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
There was once a dog. He was very greedy. One day he was on a bridge. The bridge
crossed a quiet brook. In his mouth he had a piece of meat. He was taking it home.
As he looked into the water he saw another dog. The other dog also had a piece of
meat. The greedy dog wanted the meat in the water, too. He jumped after the meat.
He saw it below the water. He lost his own piece and swam ashore without any meat
at all.
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ASSIGNMENT 1.11A
Weaving in Words: Read the following paragraph. Based upon your interpretation
of the short narrative, add descriptive adjectives for the list of nouns taken from the
paragraph. Remember an adjective is a word that describes or modifies a noun. See
the bolded example below. To help you find descriptive adjectives, see the
Commonly Used Adjectives Table in the appendix on page 190.
Ex. _____naughty________ lad
1. ___________________________ lad
2. ___________________________ farm
3. ___________________________ trees
4. ___________________________ coat
5. ___________________________ ladder
To complete the remainder of this assignment, continue onto the following
page where nouns from the tale above have been placed as the subjects of incomplete
Henry was a lad. He was eight years old. He lived on a farm. He was playful. He liked to climb trees. His mother warned him. Climbing is dangerous. His father warned him. He might injure himself. He forgot the advice. There was an apple tree. It was in the yard. It was an old one. He climbed it. He went up high. He found apples. He liked them. They tasted good. He lost his balance. He had gone out on a branch. He fell. His coat caught. It caught on a branch. He hung there. He could not move. He cried. His father heard the cries. His mother heard them. They came out. The father got a ladder. He climbed up. He got the boy. Henry was scolded. He is careful now.
58
sentences. Complete the sentences by adding information that tells something about
the subject. (You may make up new information.) Once you have written your
sentence, rewrite it as an introductory word, phrase, or clause.
Note: The goal of this exercise is to create sentences with varied openers. As you
compose your sentences, you will find many different options available to you. Below
is a list of example sentences and sentence openers that can be created about the
subject Henry.
Henry was oblivious to the dangers around him. Sentence
Oblivious to the dangers around him, Henry Sentence Opener
Henry was very quiet as he climbed the tree. Sentence
Quietly, Henry stole out of the house. Sentence Opener
Henry was afraid. Sentence
Afraid, Henry did not move a muscle. Sentence Opener
Henry climbed to the top of the tree. Sentence
At the top of the tree, Henry trembled in fear. Sentence Opener
Henry ignored his parents. Sentence
Ignoring his parents, Henry climbed the tree. Sentence Opener
Henry wanted to climb the apple tree because he was hungry. Sentence
Because he was hungry, Henry climbed the apple tree. Sentence Opener
Henry wanted to eat the delicious apples. Sentence
To eat the delicious apples, Henry ignored his fears. Sentence Opener
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Although many different sentence openers can be created, you only need to
create one sentence and one sentence opener for each noun below. (Use a different
type of sentence opener for each noun.)
6. The mother _________________________________________________________
_____________________________________________________________________
7. The father __________________________________________________________
_____________________________________________________________________
8. Now Henry _________________________________________________________
_____________________________________________________________________
For the next assignment, use the descriptive words and sentence openers you
have generated to help you write your story.
ASSIGNMENT 1.11B
Putting It All Together: Reread the following paragraph about Henry. This poorly
written paragraph contains only simple sentences and no descriptions, making this
tale more of an outline than a story. Rewrite the paragraph to make it interesting and
enjoyable to read. To do so, you will have to use simple sentences, compound
sentences, and complex sentences. To help your reader visualize your story, you must
weave in the descriptive words and introductory words, phrases, and clauses you
generated in the previous exercise.
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_______________________________________________
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_______________________________________________
Henry was a lad. He was eight years old. He lived on a farm. He was playful. He liked to climb trees. His mother warned him. Climbing is dangerous. His father warned him. He might lose his life. He forgot the advice. There was an apple tree. It was in the yard. It was an old one. He climbed it. He went up high. He found apples. He liked them. They tasted good. He lost his balance. He had gone out on a branch. He fell. His coat caught. It caught on a branch. He hung there. He could not move. He cried. His father heard the cries. His mother heard them. They came out. The father got a ladder. He climbed up. He got the boy. Henry was scolded. He is careful now.
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PARAPHRASING: CHOOSING THE RIGHT WORD
One way to gain variety and skill in expressing yourself is through
paraphrasing. When you paraphrase a passage, you rewrite it in your own words
while maintaining the original meaning. Your goal is to rewrite the original passage
so that it is easier to understand. The size of the passage should remain about the
same. Avoid using any phrases from the original passage. See the examples below:
Passage: Providence never intended that any state here should be either completely happy, or entirely miserable.
Paraphrase: God never designed that any condition in this life should be either
altogether fortunate, or completely wretched.
Paraphrase: It was never the will of God that men should enjoy in this life absolute felicity or misery.
When paraphrasing a passage, it is important to consider the denotation and the
connotation of the words in the original passage and the meaning of the passage as a
whole. Denotation is the dictionary definition of a word, and connotation is the
definition plus the idea or emotions associated with that word.
Read the following paragraph about the use of the word fist.
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ASSIGNMENT 1.12 Paraphrasing Sentences: For each sentence below, rewrite the sentence in your own
words while maintaining the original meaning. You will need to use a dictionary to
help you determine some of the more challenging words and a thesaurus to help you
find appropriate synonyms. Write the dictionary definition and appropriate
synonyms for the words in the tables provided. Remember to choose words that have
the appropriate connotation. The first has been done for you.
1. Passage: He imparted knowledge with much simplicity.
Word Definition Synonym(s) imparted pass on, communicate spread, give,
teach
knowledge facts, information, understanding understanding, command
simplicity clarity, plain, simple, easy to understand easy, clean
So we see that the word fist simply means “the hand with the fingers doubled up against the palm.” In the comparison “as big as your fist,” it is purely descriptive, and means nothing good or bad. The use of the word fist when talking about fighting however, has given a connotation to the term. We might say, “He hit his opponent with his clenched fist.” Similarly, we might also say, “The boy cried dismally, wiping his eyes with his filthy fist.” In both cases, the use of the word is appropriate because there is a certain kind of crudeness in one and clumsiness in the other. But we no longer use the word in the following manner: “The lady held a lily in her delicate fist.” In other words, when we talk about a fist it carries a connotation that suggests aggression, vulgarity, or humor.
— adapted from Greenough and Kittredge: Words and Their Ways in English
Speech.
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Ex: Paraphrase: He taught in an easy to understand manner.
_____________________________________________________________________
_____________________________________________________________________
2. Indolence is the cause of many evils.
Word Definition Synonym(s)
indolence
cause
evils
_____________________________________________________________________
_____________________________________________________________________
3. Wealth which is desired by all is accompanied by many troubles.
Word Definition Synonym(s) wealth
desired
accompanied
troubles
_____________________________________________________________________
_____________________________________________________________________
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4. Nothing great was ever achieved without enthusiasm.
Word Definition Synonym(s) achieved
enthusiasm
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
5. No man can produce great things who is not thoroughly sincere in dealing with
himself.
Word Definition Synonym(s) produce
thoroughly
sincere
dealing
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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6. It is much easier to be critical than correct.
Word Definition Synonym(s) critical
correct
_____________________________________________________________________
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7. The greatest efforts of the race have always been traceable to the love of praise, as
its greatest catastrophes to the love of pleasure.
Word Definition Synonym(s) efforts
race
traceable
catastrophes
pleasure
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CHAPTER 2: WRITING FABLES
A fable is a short allegorical story that teaches a moral which the author wishes
to explain or prove. So fables are both expository (meaning they explain) and
argumentative (meaning they attempt to prove an opinion). At the same time, fables
are narrative (story-like) in structure. The moral of the fable can be thought of as the
topic of the paragraph, and the fable itself can be considered an example used to
explain or prove the moral.
The characters of fables are often personified objects or animals. For example, the
characters of a fable might be foxes used to symbolize crafty men.
The characters are said to be personified because they behave and speak like
humans. Such is the case of the animals in the “The Hare and the Tortoise.”
THE HARE AND THE TORTOISE A Hare was making fun of the Tortoise one day for being so slow. “Do you ever get anywhere?” he asked with a mocking laugh. “Yes,” replied the Tortoise, “and I get there sooner than you think. I'll run you
a race and prove it.” The Hare was much amused at the idea of running a race with the Tortoise,
but for the fun of the thing he agreed. So the Fox, who had consented to act as judge, marked the distance and started the runners off.
The Hare was soon far out of sight, and to make the Tortoise feel very deeply how ridiculous it was for him to try a race with a Hare, he lay down beside the course to take a nap until the Tortoise should catch up.
The Tortoise meanwhile kept going slowly but steadily, and, after a time, passed the place where the Hare was sleeping. But the Hare slept on very peacefully; and when at last he did wake up, the Tortoise was near the goal. The Hare now ran his swiftest, but he could not overtake the Tortoise in time.
Slow and steady wins the race.
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When characters speak, we are able to determine who is speaking because their
words are placed in quotation marks. When two or more characters speak to each
other, they are engaged in dialogue.
WRITING DIALOGUE
When showing that the words spoken by a person or character are word for
word, exactly what was said, we use direct quotations. A direct quote includes an
open quote (“), the spoken words, punctuation, and an end quote (”). To indicate who
spoke, an attributive tag (tag) is added. The tag may be placed at the beginning, the
middle, or the end of the sentence.
Note: When writing dialogue, each time a different person speaks, a new
paragraph is begun.
TAGS AT THE BEGINNING OF THE SENTENCE:
1. Jim cried, “Yay! It’s snowing!”
2. Father said, “If you don’t clean the garage, you cannot go to the movies.”
3. The exhausted babysitter begged, “Please, go to sleep.”
If the tag comes before the quote, place a comma after the tag.
When using direct quotes, the first word within the quote is usually capitalized.
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TAGS IN THE MIDDLE OF THE SENTENCE:
4. “Yay!” cried Jim. “It’s snowing!” (Two separate sentences.)
5. “If you don’t clean the garage,” said Father, “you cannot go to the movies.”
6. “Please,” begged the exhausted babysitter, “go to sleep.”
When the tag is in the middle of the sentence, the first word of the second quote
is usually not capitalized. Read sentence 4. The second quote in sentence 4 begins
with a capital letter because it is a separate sentence from the exclamation “Yay!”
You can tell this because a period follows the word Jim.
Now Read sentence 5 above. In sentence 5, the word “you” in the second quote is
not capitalized. Sentence 6 is the same. The word “go” in the second quote is not
capitalized.
TAGS AT THE END OF THE SENTENCE:
7. “Yay! It’s snowing!” cried Jim.
8. “If you don’t clean the garage, you cannot go to the movies,” said Father.
9. “Are you going to go to sleep?” asked the exhausted babysitter.
If a sentence ends with a tag, place a comma, exclamation mark, or question mark
before the end quote (”) then follow up with the tag. Do not place a period between
the quote and the tag. See sentences 7, 8, and 9.
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NO TAG:
10. “Stop screaming!”
11. “I just love chocolate.”
12. “When can the twins come for a sleepover?”
Often, when dialogue occurs back and forth between characters, no tag is needed.
See sentences 10, 11, and 12.
When tags are not used, the author must make sure that the reader knows who is
speaking. Read the following conversation. Even though tags are not used, it is
obvious who is speaking.
“Where are you going?” With dark, sleepy eyes and a crying baby in her arms, Jeanne’s mom looked at
her. “To my room. Why?” “Could you please take your laundry with you? I don’t want you to leave it
downstairs.” Jeanne looked around her and, for the first time, saw their home through her
mother’s tired eyes. “I’m sorry, Mother. You look exhausted. Why don’t you take the afternoon
off? I’ll put Sammy to bed. Then I’ll cook dinner and clean up, too. It’s the least I can do. You’re the best mom in the whole entire world.”
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ASSIGNMENT 2.1
Punctuating Dialogue—Direct Quotations: The anecdote in the textbox below
was originally written with direct quotations, but the punctuation has been omitted.
Rewrite the anecdote and add any punctuation that is needed.
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
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A certain Scotch family cherishes this anecdote of a trip which Dr. Samuel Johnson made to Scotland. He had stopped at the house of this family for a meal, and was helped to the national dish. During the meal the hostess asked Dr. Johnson, what do you think of our Scotch broth
Madam was the answer in my opinion it is fit only for pigs
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MLA Format
In the next assignment you will rewrite another fable, but this time your fable
must be typed and placed in MLA format.
MLA is an acronym that stands for Modern Language Association. Many
organizations, for educational and commercial use, follow the MLA guidelines of
documenting a paper.
Below you will find some of the basic guidelines for placing your writing
assignments in proper MLA format.
MLA Format:
1. Type your paper, double spaced in 12-point Times New Roman font on
regular white paper.
2. On the upper left-hand side of your paper, type (double-spaced):
Your Name
Your Instructor’s Name
Subject or Class Name
The Date (day, month, year)
3. The date is written: day, month, and year. Example: 12 September 2017
4. The title of your paper should be centered, in the same font—12-point Times
New Roman. Do not bold it, italicize, underline, or place in all caps.
5. In the upper right margin of the paper, type your last name and the page
number. Begin this on page 1.
6. Make sure that your document contains 1” margins.
7. When you indent your paragraphs, indent .5 inches from the left margin.
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The guidelines of MLA formatting may seem a little foreign and maybe even
intimidating, but don’t worry. For now, you are to focus on formatting your paper
properly.
When formatted properly, the heading of your paper should look like the
following:
MLA Format Example
Note: Writing a paper in MLA format is more involved than simply
organizing the appearance of your paper, but that is the first step. From now on, all
writing assignments in this workbook will be typed and placed in MLA format.
Later, when you proceed to Easy Paragraph Writing, you will learn more about
MLA format—quoting from other sources, giving proper attribution for quotes, and
creating a Works Cited pages.
Your Last Name 1
Your First Name and Last Name
Your Instructor’s Name
Subject or Class Name
5 January 2025
Title of Essay Centered
The margins of your paper should be 1 inch on all sides. The first line of
every paragraph should be indented ½ inch. Remember to include your name,
your teacher’s name, the class or subject name, and the date in the header of the
first page.
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For a more complete guide to MLA format, you will need to purchase a
handbook such as this one: MLA Handbook for Writers of Research Papers (7th edition).
There are pocket guides available as well.
ASSIGNMENT 2.2
Punctuating Dialogue—Direct Quotations: On the following page, the sentences
in the fable, “The Cat, the Monkey, and the Chestnuts,” contain direct quotes, but the
punctuation has been omitted. Type the fable in MLA format, create a new title,
and add quotation marks, commas, or any additional punctuation that is
needed.
To place your fable in MLA format, follow the guidelines given on page 74.
Make sure you have the proper page numbering and the proper heading on the front
page. When you are finished, compare your typed fable to the snippet view on page
75. They should look very similar.
Also, to create a title for your fable, you want to choose words that hint at the
content. Since the fable is originally titled “The Cat, the Monkey, and the Chestnuts,”
you may want to reference the lesson taught or a phrase from the story. Your title
might look like one of the following:
Tricking the Cat When to Say No
Falling for Flattery A Pair of Burnt Paws
The Greedy Monkey and the Gullible Cat Don’t Be Gullible
Some of the titles above are about the animals. Others are about the moral. All,
however, hint at what the story is about.
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Try to create your own title, or for now, use one of the titles above. Make sure it
is properly centered.
THE CAT, THE MONKEY, AND THE CHESTNUTS
A cat was purring softly before an open fire where some chestnuts were roasting. A monkey who was hungrily eyeing the chestnuts said to the cat. Do you think you could pull a chestnut out of the fire? Your paws seem to be made for that.
The cat was flattered, and cleverly drew out one that had just burst. How do you manage to do it said the monkey it seems wonderful to me. Can
you reach that big one? Yes here it is but I have singed my paw a little. Oh, but what is that when you are making yourself so useful replied the
monkey One after the other the cat pulled the chestnuts out of the fire, and then found
that the sly monkey had eaten them all. The poor cat had no reward except a pair of burnt paws.
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From Direct to Indirect Dialogue
So far you have practiced writing direct dialogue, but as you are aware,
sometimes we don’t want to repeat the exact words that someone says. Instead, our
goal may be to communicate the meaning of the words without using the exact words
the person spoke. For those situations, we use indirect dialogue.
Direct Dialogue: The child said, “I am always playing.”
Indirect Dialogue: The child said that he was always playing.
In the example above, the direct dialogue is changed to indirect dialogue by:
1) changing the first person (I) to the third person (he).
2) changing the present tense of the verb (am playing) to the past tense (was
playing).
Read the following examples:
Direct Dialogue: “Paint me as I am,” said Cromwell, “with all my scars,
wrinkles, and warts, or I will not pay you a shilling.”
Indirect Dialogue: Cromwell said that the painter should paint him as he
was, with all his scars, warts, and wrinkles, or he
would not pay him even a shilling for his picture.
Direct Dialogue: “Have you heard the wonderful news?” cried the Fox
in a very joyful and excited manner.
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Indirect Dialogue: In a very joyful and excited manner, the Fox asked
the Rooster if he had heard the wonderful news.
The last example is taken from Assignment 2.3. For that assignment, you will
convert the direct dialogue to indirect dialogue.
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ASSIGNMENT 2.3
From Direct to Indirect Dialogue: Read “The Rooster and the Fox” below. When
you are finished, rewrite the fable replacing the direct dialogue with indirect dialogue.
For an example, see page 78. Type up your fable and place it in MLA format.
THE ROOSTER AND THE FOX One bright evening as the sun was sinking on a glorious world, a wise old
Rooster flew into a tree to roost. Before he composed himself to rest, he flapped his wings three times and crowed loudly. But just as he was about to put his head under his wing, his beady eyes caught a flash of red and a glimpse of a long pointed nose, and there just below him stood Master Fox.
“Have you heard the wonderful news?” cried the Fox in a very joyful and excited manner.
“What news?” asked the Rooster very calmly. But he had a queer, fluttery feeling inside him, for, you know, he was very much afraid of the Fox.
“Your family and mine and all other animals have agreed to forget their differences and live in peace and friendship from now on forever. Just think of it! I simply cannot wait to embrace you! Do come down, dear friend, and let us celebrate the joyful event.”
“How grand!” said the Rooster. “I certainly am delighted at the news.” But he spoke in an absent way, and stretching up on tiptoes, seemed to be looking at something afar off.
“What is it you see?” asked the Fox a little anxiously. “Why, it looks to me like a couple of Dogs coming this way. They must have
heard the good news and—” But the Fox did not wait to hear more. Off he started on a run. “Wait,” cried the Rooster. “Why do you run? The Dogs are friends of yours
now!”
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“Yes,” answered the Fox. “But they might not have heard the news. Besides, I have a very important errand that I had almost forgotten about.”
The Rooster smiled proudly, for he had succeeded in outwitting a very crafty enemy.
The trickster is easily tricked.
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From Indirect to Direct Dialogue
Sometimes, when writing narratives or biographies, we want to move from
indirect to direct dialogue.
Indirect dialogue tells, but direct dialogue shows what is happening. When
writing, we typically try to show rather than tell, thereby making our writing come
alive for our readers.
Example:
Indirect Dialogue: The child said that he was always playing.
Direct Dialogue: The child said, “I am playing.”
Indirect Dialogue: The Fox invited the Stork to dine with him.
Direct Dialogue: The Fox smiled warmly, saying, “Mr. Stork, would
you so kindly dine with me for dinner?”
The last example is taken from Assignment 2.4. For that assignment, you will
convert the indirect dialogue to direct dialogue.
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ASSIGNMENT 2.4 From Indirect to Direct Dialogue: Read “The Fox and the Stork” below. When
you are finished, rewrite the fable replacing the indirect dialogue with direct dialogue.
See the last example on page 82. Type up your fable and place it in MLA format.
THE FOX AND THE STORK
The Fox one day thought of a plan to amuse himself at the expense of the Stork, at whose odd appearance he was always laughing.
So the Fox invited the Stork to dine with him. As he did, he laughed to himself at the trick he was going to play. The Stork gladly accepted the invitation and arrived in good time and with a very good appetite.
For dinner the Fox served soup. But it was set out in a very shallow dish, and all the Stork could do was to wet the very tip of his bill. Not a drop of soup could he get. But the Fox lapped it up easily, and, to increase the disappointment of the Stork, made a great show of enjoyment.
The hungry Stork was much displeased at the trick, but he was a calm, even-tempered fellow and saw no good in flying into a rage. Instead, not long afterward, he invited the Fox to dine with him in turn. The Fox arrived promptly at the time that had been set, and the Stork served a fish dinner that had a very appetizing smell. But it was served in a tall jar with a very narrow neck. The Stork could easily get at the food with his long bill, but all the Fox could do was to lick the outside of the jar, and sniff at the delicious odor. And when the Fox lost his temper, the Stork said calmly:
Do not play tricks on your neighbors
unless you can stand the same treatment yourself.
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EXPANDING A FABLE
Read “The Hare and the Tortoise” below. When you are done, turn to the following
page and read “The True Story of the Hare and the Tortoise.” You will see that the
second is an expanded version of the first. It contains more details, descriptions,
explanations, and dialogue. It also contains a creative ending.
THE HARE AND THE TORTOISE
A Hare was making fun of the Tortoise one day for being so slow. “Do you ever get anywhere?” he asked with a mocking laugh. “Yes,” replied the Tortoise, “and I get there sooner than you think. I'll run you
a race and prove it.” The Hare was much amused at the idea of running a race with the Tortoise,
but for the fun of the thing he agreed. So the Fox, who had consented to act as judge, marked the distance and started the runners off.
The Hare was soon far out of sight, and to make the Tortoise feel very deeply how ridiculous it was for him to try a race with a Hare, he lay down beside the course to take a nap until the Tortoise should catch up.
The Tortoise meanwhile kept going slowly but steadily, and, after a time, passed the place where the Hare was sleeping. But the Hare slept on very peacefully; and when at last he did wake up, the Tortoise was near the goal. The Hare now ran his swiftest, but he could not overtake the Tortoise in time.
Slow and steady wins the race.
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THE TRUE HISTORY OF THE HARE AND THE TORTOISE
For a long time there was doubt with acrimony among the beasts as to
whether the Hare or the Tortoise could run the swifter. Some said the Hare was the swifter of the two because he had such long ears, and others said the Tortoise was the swifter because anyone whose shell was so hard as that should be able to run hard too. And lo, the forces of estrangement and disorder perpetually postponed a decisive contest.
But when there was nearly war among the beasts, at last an arrangement was come to, and it was decided that the Hare and the Tortoise should run a race of five hundred yards so that all should see who was right.
“Ridiculous nonsense!” said the Hare, and it was all his backers could do to get him to run.
“The contest is most welcome to me,” said the Tortoise, “I shall not shirk it.” O, how his backers cheered. Feeling ran high on the day of the race; the goose
rushed at the fox and nearly pecked him. Both sides spoke loudly of the approaching victory up to the very moment of the race.
“I am absolutely confident of success,” said the Tortoise. But the Hare said nothing, he looked bored and cross. Some of his supporters
deserted him then and went to the other side, who were loudly cheering the Tortoise’s inspiriting words. But many remained with the Hare.
“We shall not be disappointed in him,” they said. “A beast with such long ears is bound to win.” “Run hard,” said the supporters of the Tortoise. And “run hard” became a kind of catch-phrase which everybody repeated to
one another. “Hard shell and hard living. That’s what the country wants. Run hard,” they said. And these words were never uttered but multitudes cheered from their hearts.
Then they were off, and suddenly there was a hush. The Hare dashed off for about a hundred yards; then he looked round to see
where his rival was.
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“It is rather absurd,” he said, “to race with a Tortoise.” And he sat down and
scratched himself. “Run hard! Run hard!” shouted some. “Let him rest,” shouted others. And “let him rest” became a catch-phrase too. And after a while his rival drew near to him. “There comes that blasted Tortoise,” said the Hare, and he got up and ran as
hard as could be so that he should not let the Tortoise beat him. “Those ears will win,” said his friends. “Those ears will win; and establish upon
an incontestable footing the truth of what we have said.” And some of them turned to the backers of the Tortoise and said: “What about
your beast now?” “Run hard,” they replied. “Run hard.” The Hare ran on for nearly three hundred yards, nearly in fact as far as the
winning-post, when it suddenly struck him what a fool he looked running races with a Tortoise who was nowhere in sight, and he sat down again and scratched.
“Run hard. Run hard,” said the crowd, and “Let him rest.” “Whatever is the use of it?” said the Hare, and this time he stopped for good.
Some say he slept. There was desperate excitement for an hour or two, and then the Tortoise
won. “Run hard. Run hard,” shouted his backers. “Hard shell and hard living: that’s what has done it.” And then they asked the
Tortoise what his achievement signified, and he went and asked the Turtle. And the Turtle said, “It is a glorious victory for the forces of swiftness.” And then the Tortoise repeated it to his friends. And all the beasts said
nothing else for years. And even to this day, “a glorious victory for the forces of swiftness” is a catch-phrase in the house of the snail.
And the reason that this version of the race is not widely known is that very few of those that witnessed it survived the great forest-fire that happened shortly after. It came up over the weald by night with a great wind. The Hare and the
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Tortoise and a very few of the beasts saw it far off from a high bare hill that was at the edge of the trees, and they hurriedly called a meeting to decide what messenger they should send to warn the beasts in the forest.
They sent the Tortoise.
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ASSIGNMENT 2.5A
Expanding a Fable: Proceed to the next page. Read the fable and answer the
brainstorming questions that follow.
THE CAT, THE ROOSTER, AND THE YOUNG MOUSE
A very young Mouse, who had never seen anything of the world, almost came to grief the very first time he ventured out. And this is the story he told his mother about his adventures.
“I was strolling along very peaceably when, just as I turned the corner into the next yard, I saw two strange creatures. One of them had a very kind and gracious look, but the other was the most fearful monster you can imagine. You should have seen him.
“On top of his head and in front of his neck hung pieces of raw red meat. He walked about restlessly, tearing up the ground with his toes, and beating his arms savagely against his sides. The moment he caught sight of me he opened his pointed mouth as if to swallow me, and then he let out a piercing roar that frightened me almost to death.”
Can you guess who it was that our young Mouse was trying to describe to his mother? It was nobody but the Barnyard Rooster and the first one the little Mouse had ever seen.
“If it had not been for that terrible monster,” the Mouse went on, “I should have made the acquaintance of the pretty creature, who looked so good and gentle. He had thick, velvety fur, a meek face, and a look that was very modest, though his eyes were bright and shining. As he looked at me he waved his fine long tail and smiled.
“I am sure he was just about to speak to me when the monster I have told you about let out a screaming yell, and I ran for my life.”
“My son,” said the Mother Mouse, “that gentle creature you saw was none other than the Cat. Under his kindly appearance, he bears a grudge against every one of us. The other was nothing but a bird who wouldn’t harm you in the least.
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Answer the following questions to brainstorm ideas for your expanded fable.
1. What does the next yard look like? What is in it? _____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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_____________________________________________________________________
2. If you choose to make the two creatures speak to the young Mouse, what do you
think the Cat says?
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_____________________________________________________________________
3. What do you think the Barnyard Rooster says?
_____________________________________________________________________
As for the Cat, he eats us. So be thankful, my child, that you escaped with your
life, and, as long as you live, never judge people by their looks.”
Do not trust alone to outward appearances.
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_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
4. In your version, will the Bird succeed in scaring away the mouse? If so, what does
the Cat do? Is he content to leave the young Mouse and Mother Mouse alone?
_____________________________________________________________________
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_____________________________________________________________________
5. If the Cat does hunt the Mouse family, how does he hunt them? Does he speak?
_____________________________________________________________________
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6. What happens to the young Mouse and the Mother Mouse?
_____________________________________________________________________
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7. What happens to the Barnyard Rooster and the Cat?
_____________________________________________________________________
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ASSIGNMENT 2.5B Weaving in Words: Based upon your interpretation of the short story, generate
descriptive adjectives for the list of nouns taken from the fable.
Ex. _____hyperactive________ lad
1. ___________________________ Mouse
2. ___________________________ Mother Mouse
3. ___________________________ Cat
4. ___________________________ yard
5. ___________________________ bird
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For the nouns below, add a predicate to finish the sentence. Once you have
written your sentence, rewrite it as an introductory word, phrase, or clause. Create
four different sentence openers. (Review openers on page 43.)
Ex. The Mouse wanted to explore the barnyard without his mother.
To explore the barnyard without his mother,
6. The Mouse _________________________________________________________
_____________________________________________________________________
7. The Barnyard Rooster ________________________________________________
_____________________________________________________________________
8. The Cat ____________________________________________________________
_____________________________________________________________________
As you expand the fable, remember to weave in the descriptive words and
introductory words, phrases, and clauses you generated. Remember to use strong
verbs that amplify.
Note: When you add a dependent clause to a sentence, place a comma after the
clause.
ASSIGNMENT 2.5C Writing Your Expanded Fable: Using the answers to the brainstorming questions,
rewrite the fable with more details, description, and dialogue. Place your expanded
fable in MLA Format.
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To review MLA format, follow the guidelines given on page 74. Make sure you
have the proper page numbering and the proper heading on the front page. If you
haven’t already done so, create a new title for your fable.
Note: If you are unfamiliar with where to place paragraph breaks in your fable,
read the following page on paragraphing before you write your expanded fable.
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Paragraphing
When writing fiction, paragraph breaks help the reader to follow the story
more easily. When there is a paragraph break, the reader knows that a change of
topic is occurring.
When you are writing fiction a good paragraphing rule is the following:
Each time the who, what, when, where, why, or how of the story changes,
begin a new paragraph.
The Penny-Wise Monkey Retold by Ellen C. Babbitt
Once upon a time the king of a large and rich country gathered together his army to take a faraway little country. The king and his soldiers marched all morning long and then went into camp in the forest.
When they fed the horses, they gave them some peas to eat. One of the Monkeys living in the forest saw the peas and jumped down to get some of them. He filled his mouth and hands with them, and up into the tree he went again, and sat down to eat the peas.
As he sat there eating the peas, one pea fell from his hand to the ground. At once, the greedy Monkey dropped all the peas he had in his hands and ran down to hunt for the lost pea. But he could not find that one pea. He climbed up into his tree again and sat still looking very glum. “To get more, I threw away what I had,” he said to himself.
The king had watched the Monkey, and he said to himself, “I will not be like this foolish Monkey, who lost much to gain a little. I will go back to my own country and enjoy what I now have.”
So he and his men marched back home.
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Paragraph 1: King and his men march until they camp
focus on the king (There is a change in the who.)
Paragraph 2: Monkey steals peas from the horses
focus on how monkey steals peas (There is a change in the what.)
Paragraph 3: Monkey loses all of the peas
focus on monkey losing peas (There is a change in the who.)
Paragraph 4: King learned from watching monkey
focus on king watching monkey (There is a change in the what.)
Paragraph 5: King returns home
focus on king marches home
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CHAPTER 3: UNDERSTANDING POINT OF VIEW
Stories may be told from two points of view, the internal and the external. If
the story is narrated (told) from an internal point of view, it’s told by one of the
characters. If it is narrated from an external point of view, it is told by someone that
is not a part of the story.
FIRST PERSON POINT OF VIEW OF A MAJOR CHARACTER
First of all, a story may be told from an internal point of view by the main
character. This point of view is especially important in stories in which the action is
the main focus. When someone does something amazing or unbelievable, we want to
learn about it from the person who did it. This point of view is also useful in
communicating emotions. Read the following paragraph from “Kidnapped” (Chapter
X):
“I do not know if I was what you call afraid; but my heart beat like a bird’s, both quick and little; and there was a dimness came before my eyes which I continually rubbed away, and which continually returned. As for hope, I had none; but only a darkness of despair and a sort of anger against all the world that made me long to sell my life as dear as I was able. I tried to pray, I remember, but that same hurry of my mind, like a man running, would not suffer me to think upon the words; and my chief wish was to have the thing begin and be done with it.”
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Now, Read the following version, rewritten so that the pronoun “he” replaces
the pronoun “I.”
Notice how much is lost in the second version. The character seems more
distant, and the reader must observe the story from a distance.
“He was hardly what is called afraid; but his heart beat like a bird's, both quick and little; and there was a dimness came before his eyes which he continually rubbed away, and which continually returned. As for hope, he had none; but only a darkness of despair and a sort of anger against all the world that made him long to sell his life as dear as he was able. He tried to pray, he remembers, but that same hurry of his mind, like a man running, would not suffer him to think upon the words; and his chief wish was to have the thing begin and be done with it.”
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A Limitation of the First Person Point of View
Although the first person point of view can increase the intensity of the story, the
first person point of view prevents the main character from examining the emotions
and thoughts of the other characters. The hero can only tell us what the other
characters said and did, how they looked when moving or speaking, and what they
seemed, from his opinion, to think and feel.
But the first person narrator cannot enter the minds of the other characters. Nor
can the first person narrator examine their motives. Furthermore, the first person
narrator cannot describe himself nor see himself the way other characters see him.
The reader has to grow to know the main character from the things he does, and
says, and from the way he speaks and acts.
One advantage of telling the story in first person through the hero is that his
presence as the central figure in every scene gives the story unity, but one main
disadvantage is that it is often difficult to place the hero in every scene.
The hero cannot see events happening at the same time in different places, and it
is hard to explain how he knows about events he did not experience or witness.
The First Person Point of View of Some Minor Character
Many of the disadvantages of the first person point of view may be overcome by
telling the story from the point of view of a minor character rather than the hero. In
this case, the minor character can describe the hero directly, through description and
exposition. (Exposition explains and gives important background information to the
reader.)
When the hero of a story is an extraordinary person with extraordinary abilities,
he cannot comment about his special abilities without sounding arrogant. Because of
that, it is often advantageous to tell the story from the point of view of an admiring
99
friend. For example, Sir Arthur Conan Doyle invented Dr. Watson to tell the tales of
Sherlock Holmes and his extraordinary powers of observation and deduction.
ASSIGNMENT 3.1 Writing from a Different Point of View: Using the first person point of view,
rewrite the fable “The Farmer and His Sons.” To tell the story, you must write from
the perspective of one of the sons. Examine your story carefully to determine whether
or not you have introduced any incidents that do not belong. Place your rewrite in
MLA format, and give it a new title. Review page 74 if needed.
Note: If you were to rewrite the story from the father’s point of view, the story would end after the second paragraph.
Original 3rd person: A rich old farmer, who felt that he had not many more days to live, called his sons to his bedside.
Rewritten in First Person My rich old father, who felt that he had not many more days to live, called me and my brother to his bedside.
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THE FARMER AND HIS SONS
A rich old farmer, who felt that he had not many more days to live, called his sons to his bedside.
“My sons,” he said, “heed what I have to say to you. Do not on any account part with the estate that has belonged to our family for so many generations. Somewhere on it is hidden a rich treasure. I do not know the exact spot, but it is there, and you will surely find it. Spare no energy and leave no spot unturned in your search.”
The father died, and no sooner was he in his grave than the sons set to work digging with all their might, turning up every foot of ground with their spades, and going over the whole farm two or three times.
No hidden gold did they find. At harvest time, however, when they had settled their accounts and had pocketed a rich profit far greater than that of any of their neighbors, they understood that the treasure their father had told them about was the wealth of a bountiful crop and that in their industry had they found the treasure.
Industry is itself a treasure.
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THIRD PERSON POINT OF VIEW
To avoid some of the limitations associated with writing in the first person,
some authors write in the third person. Stories written in the third person refer to all
of the characters via third person pronouns—he, she, they. There is more than one
way to write in the third person; we will look at two of them.
Third Person Omniscient
In the third person omniscient point of view, the narrator is separate from all
the characters and knows everything that happens in the world of the story. The
story, in this case, is told by a narrator who knows the past, the present, and the
future. The third person narrator also sees into the minds and hearts of all the
characters at the same time, and the narrator understands the characters better than
the characters understand themselves.
The main advantage of writing in the third person is that the narrator never
has to explain his knowledge of details. He can observe events which happen at the
same time but in different places. The narrator can even see in the dark and in locked,
closed rooms. He can even be with a character when that character is totally alone.
Third Person Limited
To successfully write in the third person, it is usually wiser to limit the
narrator’s knowledge. So while keeping the option to enter the mind of any character,
the writer limits his point of view to only one character.
Imagine for a moment two rooms with a locked door between them. Pretend
there is a character in each room, and the characters, although they cannot see each
other, are thinking about each other. Now an author writing in the third person
omniscient point of view could tell us what both of them are thinking at the same
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time; however, an author telling the story from the third person limited point of view
will only tell us what one of them is thinking.
One of the greatest benefits to using the third person limited point of view is
that it imitates real life. In our daily life, we see the world from one limited point of
view—our own.
The example below, taken from The Old Man and the Sea, is written in third
person limited point of view. The bolded section shows how the narrator tells about
the character’s deepest thoughts.
In the third person limited point of view above, we are able to hear the old
man’s thoughts even though the other characters cannot.
“I am a strange old man.” “But are you strong enough now for a truly big fish?” “I think so. And there are many tricks.” “Let us take the stuff home,” the boy said. “So I can get the cast net and go
after the sardines.” They picked up the gear from the boat. The old man carried the mast on his
shoulder and the boy carried the wooden boat with the coiled, hard-braided brown lines, the gaff and the harpoon with its shaft. The box with the baits was under the stern of the skiff along with the club that was used to subdue the big fish when they were brought alongside. No one would steal from the old man but it was better to take the sail and the heavy lines home as the dew was bad for them and, though he was quite sure no local people would steal from him, the old man thought that a gaff and a harpoon were needless temptations to leave in a boat.
from The Old Man and the Sea
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“…though he was quite sure no local people would steal from him, the old man
thought that a gaff and a harpoon were needless temptations to leave in a boat.”
The boy walking with the old man sees that he is removing his gaff and
harpoon, but the boy doesn’t know why the old man is removing them. The boy
doesn’t know that the old man doesn’t want to tempt anyone by leaving those items
in the boat.
Because this novel is in third person limited, we as readers are told about the
old man’s thoughts and motives.
Also because this is written in the third person, the author uses third person
pronouns such as he, him, his, she, her, hers; however, when a character is speaking
within direct quotes, he may use first person pronouns such as: I, me, my, mine, we,
us, our, ours.
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ASSIGNMENT 3.2A
Writing in the Third Person Limited: The fable below is written in the third
person limited point of view. In this assignment you are to expand the fable while
maintaining the point of view of the man on the ground.
Read the fable and answer the brainstorming questions that follow.
TWO TRAVELERS AND A BEAR
Two men were traveling in company through a forest, when, all at once, a huge bear crashed out of the brush near them.
One of the men climbed a tree. The other, unable to fight the savage beast alone, threw himself on the
ground and lay still, as if he were dead. He had heard that a bear would not touch a dead body.
It must have been true, for the bear sniffed at the man's head awhile, and then, seeming to be satisfied that he was dead, walked away.
With the bear gone, the man in the tree climbed down and joined his companion.
“It looked as if that bear whispered in your ear,” he said. “What did he tell you?”
“He said,” answered the other, “that it was not at all wise to keep company with a fellow who would desert his friend in a moment of danger.”
Misfortune is the test of true friendship.
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1. What do the two men look like? Describe them.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
2. What does the bear look like? Describe it.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
3. What does the ground smell like to the man on the ground? Can he feel the dirt on
his skin? Or is he lying in itchy grass?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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4. As the bear sniffs the man, does he make noises? Does he touch the man on the
ground with his nose? If so, where does his nose touch the man?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
5. For the man that lies on the ground, what are his thoughts and feelings as the bear
hovers above him? Is his heart racing? Does his heart pound in his ears? Does he
hold his breath?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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6. For the man on the ground, are his eyes closed? What sounds can he hear? What
smells?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
7. In your version, does the bear simply walk away? If not, what does he do? Where
does he go? Since you are writing from the limited point of view of the man on the
ground, he may not be able to see the bear walking away.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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8. What do the two men do after the bear leaves? How does the man on the ground
feel toward his friend? How do they behave? Does one man angrily point his finger at
the other? Do any of the men dust off their clothes?
Remember not to include the thoughts and feelings of the bear nor the man in the
tree.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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ASSIGNMENT 3.2B
Weaving in Words: Based upon your interpretation of the short story, generate
descriptive adjectives for the list of nouns taken from the paragraph.
Ex. _____scraggly old________ bear
1. _____________________________ bear
2. _____________________________ man (tree)
3. _____________________________ man (ground)
4. _____________________________ ground
5. _____________________________ forest
Below is a list of sentences (and possible sentence openers) about the bear.
The bear lumbered about slowly. Sentence
Slowly, the bear Adverb Sentence Opener
The bear was hungry. Sentence
Hungry, the bear Adjective Sentence Opener
The bear came from the bushes. Sentence
From the bushes, the bear Prepositional Phrase Sentence Opener
The bear sniffed the man’s hair. Sentence
Sniffing the man’s hair, the bear Participial Phrase Sentence Opener
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The bear sniffed as mucous dripped from his nostrils. Sentence
As mucous dripped from his nostrils, the bear Dependent Clause Sentence
Opener
The bear wanted to see if the man was alive. Sentence
To see if the man was alive, the bear Infinitive Phrase Sentence
Opener
Directions: Following the example from the previous page, create one sentence
opener for each noun below. Use a different type of sentence opener for each of the
three nouns.
6. The bear __________________________________________________________
_____________________________________________________________________
7. The man in the tree __________________________________________________
_____________________________________________________________________
8. The man on the ground _______________________________________________
_____________________________________________________________________
ASSIGNMENT 3.2C
Writing Your Expanded Fable: As you write your expanded fable, weave in the
words, phrases, and clauses you have generated. Remember to write in the third
person limited and use strong verbs. To review third person limited, see the excerpt
from The Old Man and the Sea on page 105. Place your assignment in MLA format.
111
Note: Although you have answered all of the brainstorming questions, you do
not have to use all of this information in your fable. Only include the details that are
necessary for you to tell the story from the third person limited point of view.
112
WRITING AN ORIGINAL FABLE
Read the fable below.
In the fable, “The Donkey and the Race Horse,” there are only two paragraphs.
The first paragraph tells that a donkey, trying to outdo a race horse, brags that
he is faster and then loses the race, causing the other animals to laugh at him.
The second paragraph tells us that the donkey tries to excuse his failure by
saying something foolish and false.
ASSIGNMENT 3.3A
Writing an Original Fable: Imitating the fable in the textbox above, write a two
paragraph fable, also in the third person, about a falcon and a sparrow. In the first
paragraph, tell how the sparrow boasted and lost. In the second paragraph, tell
how the sparrow tried to cover his defeat with a lie or a foolish comment such as:
“I fell out of the nest when I was a baby bird and hurt my wing.”
“I lost some feathers from my right wing and could not fly straight.”
THE DONKEY AND THE RACE HORSE
A Donkey boasted that he could outrun a horse. The horse consented to run a
race with the foolish beast. Of course the donkey was defeated and loudly laughed
at by the other animals.
“I now see what was the matter with me,” he said. “I ran a thorn into my foot
some months ago and it still pains me.”
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“The sun was shining in my eyes, and I could not see the goal.”
Place your fable in MLA format, and give it a title. Review MLA format on
page 74 if needed.
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ASSIGNMENT 3.3B
Expanding Your Original Fable: Using the worksheet below, create content to
expand your original fable.
1. What does the Falcon look like? Describe it. _____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
2. What does the Sparrow look like? Describe it.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
3. Do you know the thoughts and feelings of either animal?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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4. Describe the environment in which the birds fly.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
5. What does the Sparrow feel as he loses? Is he struggling or in pain? What does he
see and think?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
6. How does the Falcon feel as he wins? Does he pity or laugh at the Sparrow? What
does he think?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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7. How do the animals land? Where do they land?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
8. What does the Falcon say after his big win?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
9. What does the Sparrow say after his big defeat?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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Assignment 3.3C
Weaving in Words: Generate descriptive adjectives for the list of nouns taken from
your fable.
Ex. _____hyperactive________ lad
1. ________________________ Sparrow
2. ________________________ Falcon
3. ________________________ ______________ (Add a noun from your fable.)
4. ________________________ ______________ (Add a noun from your fable.)
5. ________________________ sky
For the nouns below, compose a sentence that tells about the noun. Once you
have written your sentence, rewrite it as sentence opener.
Ex. Henry was oblivious to the dangers around him
Oblivious to the dangers around him,
6. The Sparrow ________________________________________________________
_____________________________________________________________________
7. The Falcon _________________________________________________________
_____________________________________________________________________
8. The _______________________________________________________________
_____________________________________________________________________
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ASSIGNMENT 3.3D
Writing Your Expanded Fable: As you expand your original fable, weave in the
words and phrases you have generated and use amplifying strong verbs. Remember
to give your fable a new title and place your paper in MLA format.
Note: Although you have answered all of the brainstorming questions, you do
not have to use all of this information in your fable. Only include the details that are
necessary for you to tell the story from the third person limited point of view.
119
120
CHAPTER 4: UNDERSTANDING NARRATIVES
The purpose of narration is to tell a story, real or fictional. The details of the
story are relayed one after another, and the plot is the main focus.
Every narrative has three elements: characters, action (conflict), and setting.
Corresponding to these three elements are six questions which we can ask.
Characters Who?
Conflict What happened?
How?
Why?
Setting When?
Where?
Read the following summary, “Nothing is Useful Which Is Not Honest.”
Notice how each event in the summarized narrative appears in the order in which it
happened, and notice how the summarized narrative tells who, what, when, where,
why, and how.
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UNDERSTANDING PLOT STRUCTURE
Plot is defined as the sequence of events in a story that move it from beginning to
end. Most stories begin with an explanation of the characters, their relationships, and
the setting. This is called the exposition.
When the exposition is given, the foundation for the conflict is laid. The conflict
actually begins with the inciting incident. This incident is the event which brings
the protagonist (the person who wants something) into conflict with another person,
himself, or an external force such as society, fate, or nature. All events, including the
inciting incident, from the exposition to the climax of the conflict is called the rising
action. The climax, or turning point of the conflict which brings about the
NOTHING IS USEFUL WHICH IS NOT HONEST
There was a salt-marsh that bounded part of the mill-pond, on the edge of which, at high water, we used to stand to fish for minnows. By much trampling we had made it a mere quagmire. My proposal was to build a wharf there, fit for us to stand upon, and I showed my comrades a large heap of stones, which were intended for a new house near the marsh, and which would very well suit our purpose. Accordingly, in the evening, when the workmen were gone, I assembled a number of my playfellows, and working with them diligently like so many emmets, sometimes two or three to a stone, we brought them all away and built our little wharf. The next morning the workmen were surprised at missing the stones, which were found in our wharf. Inquiry was made after the removers. We were discovered and complained of. Several of us were corrected by our fathers; and, though I pleaded the usefulness of the work, mine convinced me that nothing was useful which was not honest.
— FRANKLIN, Autobiography
122
resolution of the conflict, is usually the point at which the circumstances for the
protagonist change, either for the better or the worse, and is the height of the
conflict.
The setting includes where and when the story occurs, and the characters are
the people within the story. The two most important characters are typically the
protagonist and the antagonist. The protagonist is usually the hero, but more
accurately he or she is the character that moves the action forward. In other words,
the protagonist is the character that makes things happen because he or she wants
something. The antagonist, on the other hand, is typically the bad guy; but more
accurately, he or she is the character in conflict with the protagonist, our hero.
The antagonist can be non-human. In some cases, such as in survival stories, the
setting is the antagonist. Making stories more complicated and thereby more
interesting, there can also be more than one conflict in a story and more than one
protagonist or antagonist.
After the climax occurs, the falling action begins. After the falling action, we
encounter the denouement. The denouement is the ending of the story and typically
wraps up the loose ends.
A final important element of the story is the theme. The theme is the statement
that sums up the universal message or idea the story addresses. The theme is the
statement that the author relays through the story. Common themes address ideas
about honesty, ambition, wisdom, trust, good vs. evil, importance of family, definition
of God, and love.
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Falling Action
Visualizing the Plot
For most authors, having an outline makes writing a story much easier. This is
especially true for students. For most stories, an outline is composed of the elements
that make up the plot structure.
A graph of the plot structure looks like the following:
Type of Conflict
The conflicts of most stories fall in to five general categories:
Man vs. Self When a character (male or female) is in conflict with
himself--where he is both the protagonist and the
antagonist—the conflict is said to be internal.
Man vs. Man When a character is in conflict with another character, the
conflict is said to be man versus man.
Inciting Incident
Setting
Exposition
Rising Action
Characters
Climax
Denouement
Conflict
Theme
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Man vs. Society When a character is in conflict with the expectations of the
world in which he lives, the conflict is said to be man versus
society.
Man vs. Fate When a character is in conflict with destiny, the protagonist
battles forces that are outside the control of man yet
determine the character’s future.
Man vs. Nature When a character is in conflict with nature, the protagonist
is in conflict with the physical world such as hurricanes or
earthquakes.
Determining the Elements of Plot Structure
To determine the various elements of the story, you ask yourself the following
questions:
Finding the Protagonist:
Question: Who is the character that makes things happen? Be careful; this can be
tricky. The protagonist is the character that changes the most or is most affected by
the events of the story.
Finding the Antagonist:
Question: Who is in conflict with the protagonist?
Determining the Conflict:
Question: What is the struggle between the protagonist and the antagonist?
Determining the Inciting Incident:
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Question: What is the first incident that begins the conflict and leads toward the
climax?
Determining the Rising Action:
Question: What are the major events in the story that lead from the inciting
incident to the climax?
Determining the Climax:
Question: At what point do the protagonist and antagonist have their ultimate
clash, resolving the conflict? This event should have some impact on the protagonist,
either good or bad.
Determining the Falling Action:
What happens after the climax?
Determining the Denouement:
Now that the story is finished, what happens to the characters? (Sometimes they
live happily ever after.)
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Finding the Theme
As stated before, the theme of a story is the universal message or general idea
that the story addresses. Common themes include honesty, ambition, wisdom, trust,
good vs. evil, importance of family, definition of God, and love.
Determining the theme of a story can be challenging. Knowing where themes
hide makes identifying them easier. A fable typically expresses the theme as a moral
or lesson. The theme of a longer literary work is the idea upon which the story is
built. The author may state the theme directly through the actions or dialogue of one
of the characters. Sometimes, the author leaves it up to the reader to figure out the
theme.
Ask the following questions to find a story’s theme:
• Who is the main character (protagonist)?
• What does the protagonist want?
• What is the major conflict in the story?
• What does the protagonist learn from experiencing the conflict?
• If the protagonist learns something that can be applied to real life, this is the
universal message.
Compiling the same information in a vertical outline format is sometimes easier
to understand. An example of such an outline is on the following page.
127
Vertical Short Story Outline A vertical outline of the short story plot graph looks like the following:
I. The Exposition (Story Background Information)
A. Characters
1. Protagonists
2. Antagonists
II. Setting
III. The Rising Action
A. Inciting Incident
B. Series of Events (Include 3 to 4 details)
1. Event 1
2. Event 2
3. Event 3
4. Event 4
IV. The Climax
V. The Conclusion
A Falling Action
A. Denouement
The same information displayed in the outline can also be organized with a
table.
For the remaining exercises in this text, you will use the Story Plot Table.
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Story Plot Table
BA
CK
GR
OU
ND
IN
FOR
MA
TIO
N
Title
Author
Genre
Where It Was Written
When It Was Written
PLO
T S
TRU
CTU
RE
SE
TTIN
G
(WH
EN
W
HE
RE
) Place
Time
CH
AR
AC
TER
S
(WH
O)
Protagonist (Main character/wants
something)
Antagonist (Works against Protagonist)
STO
RY
Type of Conflict (Man vs. ____________)
Exposition
CO
NFL
ICT
WH
AT,
WH
Y, H
OW
Inciting Incident
Rising Action (Events that lead to the
climax)
Climax
Falling Action
Denouement
Theme
129
ASSIGNMENT 4.1A Identifying the Story’s Plot Structure: Read the selection from Benjamin
Franklin’s autobiography. When you are done, answer the questions that follow.
Finding the Protagonist:
1. Who is the protagonist—the character that makes the story happen? ___________
_____________________________________________________________________
_____________________________________________________________________
NOTHING IS USEFUL WHICH IS NOT HONEST
There was a salt-marsh that bounded part of the mill-pond, on the edge of
which, at high water, we used to stand to fish for minnows. By much trampling we had made it a mere quagmire. My proposal was to build a wharf there, fit for us to stand upon, and I showed my comrades a large heap of stones, which were intended for a new house near the marsh, and which would very well suit our purpose. Accordingly, in the evening, when the workmen were gone, I assembled a number of my playfellows, and working with them diligently like so many emmets, sometimes two or three to a stone, we brought them all away and built our little wharf. The next morning the workmen were surprised at missing the stones, which were found in our wharf. Inquiry was made after the removers. We were discovered and complained of. Several of us were corrected by our fathers; and, though I pleaded the usefulness of the work, mine convinced me that nothing was useful which was not honest.
— FRANKLIN, Autobiography
130
Finding the Antagonist:
2. Who is in conflict with the protagonist identified in the above? (Often, the
antagonist is the bad guy.) _______________________________________________
_____________________________________________________________________
Identifying the Conflict:
3. Which type of conflict exists between the protagonist and the antagonist? _______
man vs. self
man vs. man
man vs. society
man vs. nature
man vs. fate
Identifying the Inciting Incident:
4. What is the first incident that leads the life of the protagonist toward the climax?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
Identifying Rising Action:
5. List the major events in the story that lead from the inciting incident to the climax.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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_____________________________________________________________________
_____________________________________________________________________
Identifying the Climax:
6. At what point do the protagonist and antagonist have their ultimate clash? This
event should have some impact on the protagonist, either good or bad. ____________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
Identifying the Falling Action:
7. List the major events that occur after the climax.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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Determining the Denouement:
8. Now that the story is finished, what happens to the characters? (Sometimes they
live happily ever after.)
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
133
ASSIGNMENT 4.1B Finding the Theme: Answer the following questions to find the story’s theme.
When you are done, proceed to the next page and complete the Story Plot Table.
9. What does the protagonist want?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
10. What does the protagonist learn from experiencing the conflict?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
11. What does the protagonist learn that can be applied to real life? This is the
universal message or theme.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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Story Plot Table
BA
CK
GR
OU
ND
IN
FOR
MA
TIO
N
Title Nothing Is Useful Which Is Not Honest
Author Benjamin Franklin
Genre Autobiography
Where It Was Written England, France, America
When It Was Written Began in 1771
PLO
T S
TRU
CTU
RE
SE
TTIN
G
(WH
EN
W
HE
RE
) Place
Time
CH
AR
AC
TER
S
(WH
O)
Protagonist (Main character/wants
something)
Antagonist (Works against Protagonist)
STO
RY
Type of Conflict (Man vs. ____________)
Exposition
CO
NFL
ICT
WH
AT,
WH
Y, H
OW
Inciting Incident
Rising Action (Events that lead to the
climax)
Climax
Falling Action
Denouement
Theme
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ASSIGNMENT 4.2A Identifying the Story’s Plot Structure: Read the fairy tale below. When you are
done, answer the questions that follow.
THE FOUR FRIENDS Adapted from the Brothers Grimm
Once upon a time a man had a donkey. His donkey had worked for him
many years. At last the donkey grew so old that he was no longer of any use for work, and his master wished to get rid of him. The donkey, fearing he might be killed, ran away.
He took the road to Bremen, where he had often heard the street band playing. He liked music, so he thought he might join the band. He had not gone far when he came upon an old dog. The dog was panting, as if he had been running a long way.
“Why are you panting, my friend?” asked the donkey. “Ah,” said the dog, “I am too old for the hunt. My master wished to have me
killed. So I ran away. But how I am to find bread and meat, I do not know.” “Well,” said the donkey, “come with me. I am going to play in the band at
Bremen. I think you and I can easily earn a living by music. I can play the lute, and you can play the kettledrum.”
The dog was quite willing, and so they be walked on. They had not gone far when they saw a cat sitting in a yard. He looked as sad as three days of rainy weather.
“What's the matter with you, old Tom?” asked the donkey. “You would be sad, too,” said the cat, “if you were in my place; for now that I
am getting old and cannot catch mice, they wish to drown me. I have run away, but how I am going to live, I do not know.”
“Come with us to Bremen,” said the donkey. “We are going to play in the band. I know you love music, as you sing so well at night. You too can join the band.”
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“That is just what I should like to do,” said the cat. So the donkey, the dog, and the cat all walked on together. After a time the
three came to a farmyard. There on the gate sat a rooster, crying, “Cock-a-doodle-doo” with all his might.
“Why are you making so much noise?” asked the donkey. “Ah,” said the rooster, “I find I must have my head cut off so that I may serve
as a dinner for Monday. I'm crowing as hard as I can while my head is still on.” “Come with us, old Red Comb,” said the donkey. “We are going to Bremen to
join the band. You have a fine voice. You can join, too.” “Ah,” said the rooster, “that is just what I should like to do.” And they all went on their way to Bremen. At evening the four friends came to a wood, where they stopped for the
night. The donkey and the dog lay down under a large tree. The cat climbed up on one of the branches. And the rooster flew to the very top of the tree, where he felt quite safe. From his perch on the top of the tree the rooster saw a light.
Calling to his friends, he said, “We are not far from a house. I can see a light.”
“Let us go on,” said the donkey, “for it may be just the house for us.” As they drew near, the light grew larger and brighter. At last they could
see that it came from the window of a robber's house. The donkey, who was the tallest, went up and looked in. “What do you see, old Long Ears?” asked the rooster. “What do I see?” answered the donkey. “Why, a table spread with plenty to
eat and drink, and the robbers having their supper.” “We should be there, too, if we had our rights,” said the rooster. “Ah, yes,” said the donkey; “if we could only get inside.” Then the four friends talked over what they had better do in order to drive
the robbers out of the house. At last they hit upon a plan. The donkey stood upon his hind legs and placed his front feet on the
window sill. The dog then stood on the donkey's back. The cat climbed upon the dog, while the rooster perched upon the cat's head. The donkey gave a signal, and they began all at the same time, to make their loudest music.
The donkey brayed, the dog barked, the cat mewed, and the rooster crowed, all with such force that the windowpane shook and was almost broken.
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The robbers had never heard such a noise. They thought it must come from witches, or giants, or goblins, and they all ran as fast as they could to the wood behind the house.
Then our four friends rushed in and ate what the robbers had left upon the table. It did not take long, for they acted as if they had been hungry for a month.
When the four had eaten, they put out the light, and each went to sleep in the spot which he liked the best. The donkey lay down in the yard. The dog lay behind the door. The cat curled himself in front of the fire, while the rooster flew up on a high beam.
They soon fell fast asleep. When all was still and the light was out, the robber chief sent one of his
bravest men back to the house. The man found the house quiet, so he went into the kitchen to strike a light. Seeing the great fiery eyes of the cat, he thought they were live coals and held a match to them.
Cat was so angry that he flew up and scratched the man's face. This gave the robber a great fright, and he ran for the door. As he went by, the dog sprang up and bit him in the leg. In the yard the robber ran into the donkey, who gave him a great kick. The rooster on the beam was waked by the noise, and cried, “Cock-a-doodle-doo!”
The man ran as fast as his legs could carry him back to the robber chief. “Ah!” he cried. “In that house is a wicked witch, who flew at me and
scratched my face with her long nails. By the door stood a man, with a knife, who cut me in the leg. Out in the yard lay a great black giant, who struck me a blow with his wooden club. Upon the roof sat the judge, who cried, 'What did he do? What did he do?' When I heard this I ran off as fast as I could.”
The robbers never went near the house again. The four friends liked the place so well that they would not leave it, and so
far as I know, they are there to this day.
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Finding the Protagonist:
1. Who is the protagonist—the character that makes the story happen? ___________
_____________________________________________________________________
_____________________________________________________________________
Finding the Antagonist:
2. Who is in conflict with the protagonist identified in the above? (Often, the
antagonist is the bad guy.) _______________________________________________
_____________________________________________________________________
Identifying the Conflict:
3. Which type of conflict exists between the protagonist and the antagonist?
_____________________________________________________________________
man vs. self
man vs. man
man vs. society
man vs. nature
man vs. fate
Identifying the Inciting Incident:
4. What is the first incident that leads the life of the protagonist toward the climax?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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Identifying Rising Action:
5. List the major events in the story that lead from the inciting incident to the
climax? _______________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
Identifying the Climax:
6. At what point do the protagonist and antagonist have their ultimate clash,
resolving the conflict? This event should have some impact on the protagonist, either
good or bad. __________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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Identifying the Falling Action:
7. List the major events that occur after the climax.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
Determining the Denouement:
8. Now that the story is finished, what happens to the characters? (Sometimes they
live happily ever after.)
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
141
ASSIGNMENT 4.2B Finding the Theme: Answer the following questions to find the story’s theme.
When you are done, proceed to the next page and complete the Story Plot Table.
9. What does the protagonist want?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
10. What does the protagonist learn from experiencing the conflict?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
11. What does the protagonist learn that can be applied to real life? This is the
universal message or theme.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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Story Plot Table
BA
CK
GR
OU
ND
IN
FOR
MA
TIO
N Title The Four Friends
Author The Brothers Grimm Genre Fairy Tale
Where It Was Written Germany When It Was Written 1812
PLO
T S
TRU
CTU
RE
SE
TTIN
G
(WH
EN
W
HE
RE
) Place
Time
CH
AR
AC
TER
S
(WH
O)
Protagonist (Main character/wants
something)
Antagonist (Works against Protagonist)
STO
RY
Type of Conflict (Man vs. ____________)
Exposition
CO
NFL
ICT
WH
AT,
WH
Y, H
OW
Inciting Incident
Rising Action (Events that lead to the
climax)
Climax
Falling Action
Denouement
Theme
143
In addition to the elements of the story’s plot, the Story Plot Table provides
space for the story’s background information and theme. When writing a summary of
your own, you will need both of these pieces of information. The background
information is typically available on-line or in reference books. The theme, however,
you will have to determine on your own.
144
CHAPTER 5: SUMMARIZING A STORY
In the last assignment you began with the condensed version of a story (a
summary) and expanded it into a short story. Sometimes, however, you will need to
do the opposite. You will start with a story and condense it into a summary.
SUMMARIZING GUIDELINES
To summarize a story, you will:
1. Carefully read your selection until you have a clear “mental picture” of people,
places, and events.
2. Take notes from the story that identify the following:
• characters
• setting
• inciting incidents
• rising action
• climax
• conclusion
3. Write your grammatically correct summary in the present tense.
4. Limit your number of sentences to ten.
(Because your summary should be as brief as possible, limit the number of sentences
in your summary to ten. Use the first sentence to introduce your background
information and the remainder to summarize the story. To limit your number of
sentences, you will have to combine the details of your summary into compound and
complex sentences and use clauses to begin your sentences. See Understanding
Complex Sentences on page 13.)
145
SUMMARIZING EXAMPLE Now that you can identify the plot structure of a story, you need to know how to
properly summarize the information.
Below, Benjamin Franklin’s summary has been re-written in the present tense, in
third person, and with background information.
The original paragraph is an excellent example of a story summary with the
exception of three details. First, because the original is an autobiography (a
biography written by the author about himself), it is written in first person. Second,
because Benjamin Franklin wrote it, it is in the past tense. And third, the original
does not contain background information about the author or the story.
ASSIGNMENT 5.1A
NOTHING IS USEFUL WHICH IS NOT HONEST
In Benjamin Franklin’s autobiography, which he began in 1771, Franklin relays the story of one of the greatest lessons he learned from his father. Franklin tells of a salt-marsh that bounded part of the mill-pond (Place), where he would, at high water (Time), often fish for minnows (Exposition). One day, he and his friends trample the area into a quagmire (Inciting Incident). Upon speculation, Franklin (Main Character) proposes that he and his friends build a wharf in this area upon which they can stand. He shows his comrades a large heap of stones, intended for a new house near the marsh, but which will suit their purpose nicely. That evening, when the workmen are gone, Franklin assembles a number of his friends to carry the stones away and build their little wharf. The next morning the workmen learn about the missing stones, which are later found in the boys’ wharf (List of Rising Action Events). Eventually, Franklin and his friends are identified, and their parents are informed (Climax), and several of the boys are disciplined by their fathers (Falling Action). Though young Franklin pleads the usefulness of their work, his father convinces him that nothing is useful which is not honest (Denouement which includes the theme).
146
Summarizing a Story: Read “Little Red Riding Hood,” on the next page. When you
are done, answer the questions that follow and complete the Story Plot Table for
“Little Red Riding Hood.”
LITTLE RED RIDING HOOD Author Unknown
Once upon a time there was a little village girl, the prettiest that had ever
been seen. Her mother doted on her. Her grandmother was even fonder, and made her a little red hood, which became her so well that everywhere she went by the name of Little Red Riding Hood.
One day her mother, who had just made and baked some cakes, said to her, “Go and see how your grandmother is, for I have been told that she is ill. Take her a cake and this little pot of butter.”
Little Red Riding Hood set off at once for the house of her grandmother, who lived in another village.
On her way through a wood, she met old Father Wolf. He would have very much liked to eat her, but dared not do so on account of some woodcutters who were in the forest. He asked her where she was going. The poor child, not knowing that it was dangerous to stop and listen to a wolf, said, “I am going to see my grandmother, and am taking her a cake and a pot of butter which my mother has sent to her.”
“Does she live far away?” asked the Wolf. “Oh yes,” replied Little Red Riding Hood; “it is yonder by the mill which
you can see right below there, and it is the first house in the village.” “Well now,” said the Wolf, “I think I shall go and see her too. I will go by
this path, and you by that path, and we will see who gets there first.” The Wolf set off running with all his might by the shorter road, and the
little girl continued on her way by the longer road. As she went, she amused herself by gathering nuts, running after the butterflies, and making nosegays of the wild flowers which she found.
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The Wolf was not long in reaching the grandmother’s house. He knocked. Toc Toc. “Who is there?” “It is your little daughter, Red Riding Hood,” said the Wolf, disguising his
voice, “and I bring you a cake and a little pot of butter as a present from my mother.”
The worthy grandmother was in bed, not being very well, and cried out to him, “Pull out the peg and the latch will fall.”
The Wolf drew out the peg, and the door flew open. Then he sprang upon the poor old lady and ate her up in less than no time, for he had been more than three days without food.
After that, he shut the door, lay down in the grandmother’s bed, and waited for Little
Red Riding Hood. Presently she came and knocked. Toc Toc. “Who is there?” Now Little Red Riding Hood, on hearing the Wolf’s gruff voice, was at first
frightened, but thinking that her grandmother had a bad cold, she replied, “It is your little daughter, Red Riding Hood, and I bring you a cake and a little pot of butter from my mother.”
Softening his voice, the Wolf called out to her, “Pull out the peg and the latch will fall.”
Little Red Riding Hood drew out the peg, and the door flew open. When he saw her enter, the Wolf hid himself in the bed beneath the
counterpane. “Put the cake and the little pot of butter on the bin,” he said, “and come up
on the bed with me.” Little Red Riding Hood took off her little red hood, but when she climbed
up on the bed, she was astonished to see how her grandmother looked in her nightgown.
“Grandmother dear!” she exclaimed, “what big arms you have!”
148
Finding the Protagonist:
1. Who is the protagonist—the character that makes the story happen? ___________
_____________________________________________________________________
_____________________________________________________________________
Finding the Antagonist:
2. Who is in conflict with the protagonist identified in the above? (Often, the
antagonist is the bad guy.) ______________________________________________
_____________________________________________________________________
“The better to embrace you, my child!” “Grandmother dear, what big ears you have!” “The better to hear with, my child!” “Grandmother dear, what big eyes you have!” “The better to see with, my child!” “Grandmother dear, what big teeth you have!” “The better to eat you with!” With these words, the wicked Wolf leapt upon Little Red Riding Hood and
gobbled her up. Just then a hunter came by and heard the screams of Little Red Riding
Hood. Without a moment of hesitation, the hunter ran into the house and killed the Wolf with his axe.
When he cut the wolf open, out jumped Little Red Riding Hood and her grandma.
After that, Little Red Riding Hood, her grandmother, and the huntsman sat down and shared the delicious cake that Little Red Riding Hood had brought.
149
Identifying the Conflict:
3. Which type of conflict exists between the protagonist and the antagonist?
_____________________________________________________________________
man vs. self man vs. man
man vs. society man vs. nature
man vs. fate Identifying the Inciting Incident:
4. What is the first incident that leads the life of the protagonist toward the climax? _
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
Identifying Rising Action:
5. List the major events in the story that lead from the inciting incident to the
climax? ____________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
150
Identifying the Climax:
6. At what point do the protagonist and antagonist have their ultimate clash? This event should have some impact on the protagonist, either good or bad. This event should begin to resolve the conflict.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
Identifying the Falling Action:
7. List the major events that happen after the climax?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
Determining the Denouement:
8. Now that the story is finished, what happens to the characters? (Sometimes they
live happily ever after.)
_____________________________________________________________________
_____________________________________________________________________
151
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
Answer the following questions to find the story’s theme:
9. What does the protagonist want?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
10. What does the protagonist learn from experiencing the conflict?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
11. What does the protagonist learn that can be applied to real life? This is the
universal message or theme.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
Using your answers from the questions above, complete the Story Plot Table
on the following page. (The background information has been supplied for you.)
152
Stor
y B
ackg
roun
d In
form
atio
n Title Little Red Riding Hood
Author Unknown Genre Fairy Tale
Where It Was Written originally in France by Charles Perrault
When It Was Written in 1600s
Plot
Str
uctu
re Se
tting
(W
hen
Whe
re) Place
Time
Cha
ract
ers
(Who
)
Protagonist (Main character/wants
something)
Antagonist (Works against
Protagonist)
Stor
y Type of Conflict (Man vs. ____________)
Exposition
Con
flict
W
hat,
Why
, How
Inciting Incident
Rising Action (Only those events that
lead to the climax)
Climax
Falling Action
Denouement
Theme
153
ASSIGNMENT 5.1B Summarizing a Story: Using the information from the table, write a one paragraph
summary of no more than ten sentences. Be sure that your paragraph is written in
the present tense.
ASSIGNMENT 5.2A
Summarizing a Story: 1) Read the story below. 2) Complete the Story Plot Table
that follows.
THE EMPEROR'S NEW CLOTHES
Many years ago there lived an Emperor who was so exceedingly fond of fine new clothes that he spent all his money on rich garments. He did not care for his soldiers, nor for the theatre, nor for driving about, except for the purpose of showing his new clothes.
He had a dress for every hour of the day, and just as they say of a king, “He is in Council,” they always said of him, “The Emperor is in his Wardrobe.”
Well, the great town in which he lived was very busy. Every day a number of strangers arrived.
One day two rogues came along, saying they were weavers, and that they knew how to weave the finest stuff one could imagine. Not only, said they, were the colors and designs exceedingly beautiful, but the clothes that were made of their material had the wonderful quality of being invisible to everybody who was either unfit for his position, or was extraordinarily stupid.
“They must be splendid clothes,” thought the Emperor; “by wearing them I could easily discover what persons in my kingdom are unfit for their posts. I could distinguish the wise from the stupid. I must have that stuff woven for me at once!” So he gave the two rogues a large sum of money, in order that they might begin their work without delay.
The rogues put up two looms, and pretended to be working, but they had nothing at all in the frames. Again and again they demanded the finest silks and the most
154
magnificent gold thread, but they put it all in their own pockets, and worked at their empty looms late into the night.
“Now, I should like to know how far they have got on with that stuff,” thought the Emperor; but he felt quite uncomfortable when he remembered that those who were stupid or unfit for their positions could not see it. He did not think for a moment that he had anything to fear for himself; but, nevertheless, he would rather send somebody else first to see how the stuff was getting on.
Everybody in the town knew what a remarkable quality the stuff possessed, and each was anxious to see how bad or stupid his neighbors were.
“I will send my honest old minister to the weavers,” thought the Emperor; “he can judge best how the stuff looks, for he is intelligent, and no one is better fit for his office than he.”
So the clever old minister went out into the hall, where the two rogues were sitting at work at their empty looms.
“Goodness me!” he thought, and opened his eyes wide; “I cannot see anything,” but he did not say so. Both of the rogues begged him to be so kind as to step nearer, and asked him if it was not a pretty design, and were not the colors beautiful, and they pointed to the empty looms.
But the poor old minister kept on opening his eyes wider and wider: he could not see anything for there was nothing there.
“Goodness me!” he thought; “am I really stupid? I never thought so, and nobody must know it. Am I really unfit for my office? No; I must certainly not tell anybody that I cannot see the stuff.”
“Well, what do you think of it?” asked the one who was weaving. “Oh, it is beautiful! Most magnificent!” replied the old minister, and looked
through his spectacles. “What a pattern! And what colors! Yes, I must tell the Emperor that I like it very much indeed.”
“Ah! We are very glad of that,” said both weavers, and then they described the colors, and explained the strange patterns.
The old minister listened attentively, so as to be able to repeat it all when he returned to the Emperor, and this he did.
155
The rogues now asked for more money, and for more silk and gold thread, which they required for weaving. They put everything into their pockets, and not a thread went on the frames, but nevertheless they continued to work at the empty looms.
Soon afterward the Emperor sent another clever statesman to see how the weaving was getting on, and whether the stuff was nearly ready. The same thing happened to him as to the minister; he looked and looked, but as there was nothing on the empty frames, he could not see anything.
“Now, is not that a beautiful piece of stuff?” said both rogues, and described the beauty of the pattern, which did not exist at all.
“I am not stupid,” thought the statesman, “so it must be that I am unfit for the high position I hold; that is very strange, but I must not let anybody notice it.” So he praised the piece of stuff which he could not see, and said how pleased he was with the beautiful colors and the pretty pattern.
“Oh! It is really magnificent!” he said to the Emperor. All the people in the town were talking about the beautiful stuff, and the Emperor
himself wished to see it while it was still on the loom. With a whole suite of chosen courtiers, among whom were the two honest old statesmen who had been there before, the Emperor went to the two cunning rogues, who were now weaving as fast as they could, but without thread or shuttle.
“Well! Is it not magnificent?” cried the two clever statesmen; “does your majesty recognize how beautiful is the pattern, how charming the colors?” and they pointed to the empty looms, for they thought that the others could see the stuff.
“What?” thought the Emperor; “I cannot see anything; this is terrible! Am I stupid; or am I not fit to be Emperor? This would be the most dreadful thing that could happen to me!”
“Yes, it is very beautiful,” he said at last; “we give our highest approbation!” and he nodded as if he were quite satisfied, and gazed at the empty looms.
He would not say that he saw nothing, and the whole of his suite looked and looked; but, like the others, they were unable to see anything. So they said, just like the Emperor, “Yes, it is very pretty,” and they advised him to have some clothes made from this magnificent stuff, and to wear them for the first time at the great procession that was about to take place. “It is magnificent! beautiful! excellent!” they said one to
156
another, and they were all so exceedingly pleased with it that the Emperor gave the two rogues a decoration to be worn in the buttonhole, and the title “Imperial Weavers.”
The rogues worked throughout the whole of the night preceding the day of the procession, and had over sixteen candles alight, so that people should see how busy they were in preparing the Emperor's new clothes.
They pretended to take the stuff off the looms, cut it in the air with great scissors, and sewed with needles without thread, and at last they said:
“See! Now the clothes are ready!” The Emperor, followed by his most distinguished courtiers, came in person, and
the rogues lifted their arms up in the air, just as if they held something, and said, “See! Here are the trousers, here is the coat, here is the cloak,” and so forth. “It is as light as a cobweb; one might imagine one had nothing on, but that is just the beauty of it!”
“Yes,” said all the courtiers; but they could not see anything, because there was nothing.
“Will your imperial highness condescend to undress?” said the rogues. “We will then attire your majesty in the new clothes, here in front of the mirror.”
“Oh! How well they look! How beautifully they fit!” said everyone. “What a pattern! What colors! It is indeed a magnificent dress.”
“They are standing outside with the canopy which is to be carried over your majesty in the procession,” announced the Master of Ceremonies.
“Well, I am ready,” said the Emperor. “Does it not fit me well!” and he turned again to the mirror, for he wanted it to appear that he was admiring his rich costume.
The chamberlains who were to carry the train fumbled with their hands on the floor just as if they were holding the train up; they raised their hands in the air, but dared not let anybody notice that they saw nothing; and so the Emperor went in procession beneath the magnificent canopy, and all the people in the street and at the windows said: “Oh! How beautiful the Emperor's new clothes are; what a splendid train, and how well everything fits!”
No one would admit that he could see nothing, for that would have shown that he was either unfit for his post or very stupid. None of the Emperor's costumes had ever been so much admired.
157
“But he has no robe on at all!” said a little child. “Just hear the voice of the innocent,” said his father, and one whispered to the
other what the child had said. “He has no robe on,” cried the whole of the people at last; and the Emperor
shivered, for it seemed to him that they were right. But he thought to himself, “I must go through with the procession,” and he
walked with even greater dignity than before; and the chamberlains followed, carrying the train which did not exist at all.
158
THE EMPEROR’S NEW CLOTHES STORY PLOT TABLE
St
ory
Bac
kgro
und
Info
rmat
ion Title The Emperor’s New Clothes
Author Hans Christian Andersen Genre Fairy Tale
Where It Was Written Denmark
When It Was Written 1837
Plot
Str
uctu
re
Setti
ng
(Whe
n W
here
) Place
Time
Cha
ract
ers
(Who
)
Protagonist (Main character/wants
something)
Antagonist (Works against
Protagonist)
Stor
y Type of Conflict (Man vs.
____________)
Exposition
Con
flict
W
hat,
Why
, How
Inciting Incident
Rising Action (Only those events that
lead to the climax)
Climax
Falling Action
Denouement
Theme
159
ASSIGNMENT 5.2B
Summarizing a Story: Using the information from your completed table, write a
summary of “The Emperor’s New Clothes.” Be sure it is no longer than ten sentences.
160
CHAPTER 6: WRITING A NARRATIVE
REWRITING AKA SELF-EDITING
The most important step in writing is putting words on the paper. The second
most important step is rewriting or editing those words.
For any type of writing, you must edit your work. This statement is true for all
types of writing, but it is especially necessary for school or work related writing.
Everyone makes mistakes, regardless of how old or young they are, and
regardless of the tasks they are completing. Because mistakes are unavoidable, we
must, when trying to communicate through the written word, edit our work to
ensure that when someone reads what we have written, they understand exactly what
we intended to say.
To help you accomplish that, you are going to rewrite your remaining
assignments. These self-edits have been added as separate assignments to ensure that
you edit your work. In future assignments, whether you are asked to edit your work
or not, you should always edit your assignments.
EDITING GUIDELINES:
ELIMINATE UNNECESSARY WORDS
1. There is, There was, started to, began to
When we write a sentence that begins with “There,” we are not making our
sentences as strong and meaningful as we can. It is beneficial to begin sentences with
the subject unless you purposefully want to avoid mentioning the subject.
161
When we speak, we frequently add in unnecessary words such as started or
began. She “started to stand” or “began to cry.” In stories, these extra words are
unnecessary because when someone reads the story, they will understand that when
the person stood, she transitioned from sitting to standing.
2. Passive Voice
Eliminate the passive voice when possible as long as it doesn’t change the
story. (Review Understanding Verbs on page 3.)
You can identify the passive voice because it looks like the following:
“was + ing verb” was+flying = was flying was + flipping = was flipping
3. Conjunctions at the beginning of a sentence
When possible, eliminate conjunctions at the beginning of a sentence.
Although this isn’t a hard and fast rule, eliminating the conjunctions will give your
writing more impact. Placing a conjunction at the beginning of a sentence will make
your sentences read as if they are compound sentences. This may create an effect that
you do not want. (All writing should be intentional.)
She went to the store, and she bought a ton of candy.
She went to the store. And she bought a ton of candy.
She went to the store. She bought a ton of candy.
The first two sentences read the same. The third sentence reads differently.
4. Dangling participles
162
To review dangling participles, turn to page 27. When participial phrases are
not followed by the subject they modify, your readers will get confused. Remember:
Walking across the street, my ice cream melted.
(The ice cream did not walk.)
163
ADD WORDS THAT AMPLIFY (AMPLIFY, AMPLIFY, AMPLIFY)
1. Add Verb Synonyms
Weak verbs like the ones listed in the appendix on page 192 don’t help tell a
story. Replace everyday verbs with synonyms that paint a picture in your reader’s
mind and help you tell your story.
2. Add Descriptive Adjectives
Because adjectives modify nouns, adding adjectives can help us to communicate
much more information about the nouns in our stories. Adding adjectives amplify
meaning. Amplify, amplify, amplify.
3. Add a Variety of Sentence Openers
To review Sentence Openers and their effect, see page 43.
4. Add a Variety of Sentence Types.
To review simple sentences, compound sentences, and complex sentences, see page 7.
To become proficient at editing, you must practice editing your work. For the
following assignment, on page 165, you will write a story which you will later edit.
164
ASSIGNMENT 6.1
Changing Point of View: Rewrite “The Emperor’s New Clothes” from the point of
view of one of the rogues. Write the story in 1st person, telling the story as it unfolds
from the rogue’s perspective, including only his thoughts, not the emperor’s.
When you write your story, use the Story Plot Table you completed on page
159 as your outline. Your story will begin with the exposition with which you
introduce the setting (place and time) and the characters. You will then add the
inciting incident followed by the rising action, climax, falling action, and
denouement. All events will be told from the rogue’s point of view, meaning the
beginning of your story will focus on the rogue, and he will tell about the emperor.
You may use the story prompt below to help you.
New Clothes for the Emperor
It was my proudest moment. Sometimes when I look back on it, I can’t believe that
I actually pulled it off. It was a difficult task, and dangerous to carry out, but someone had
to do it. Some people think what I did was a crime, but what I did was an act of public
service, for the good of the kingdom.
Several years ago, the Emperor at the time, the father of our current ruler, was only
concerned with how he looked. The most important man in the kingdom spent all of his
time, energy, and funds on finding the best robes and the most magnificent outfits that
would ensure that he would be remembered as the grandest emperor of all times.
Did he, like other rulers, provide for the welfare of the royal army? Did he, like
other great rulers, exercise his mind with historical theatre? Did he, like his ruling
forefathers travel his kingdom, taking the time to meet and understand the people of his
kingdom?
No he did not! Except to be seen in his royal garment, the great emperor had no
reason to travel! So to teach this great man a lesson, I devised a plan.
165
ASSIGNMENT 6.2
Editing Your Narrative: Return to your expanded narrative. Edit, correct, and reprint your paper using the following checklist. As you follow the checklist, highlight or cross off the tasks you have completed.
Word Editing
Eliminate
There was, There were
Began to, started to “was + ing verb”
(Keep “was + ing verb” if you want the focus of your sentence to be on the person that had something done to him or her.
“And” “Then” “And then” “But” as sentence openers These can be used, but only sparingly. Best to eliminate.
Add Verb
Synonyms Descriptive Adjectives
Check every word. Did you say what you meant to say?
Sentence Editing Eliminate Dangling Participles
Add
Variety of Sentence Openers
Simple Sentences Compound Sentences Complex Sentences
Paragraph Editing
Add
Paragraph breaks after changing: who, what, when, where, why, how
A paragraph break after a different character speaks
Overall Paper
Check spelling Check Punctuation
Change verbs ending with:“s”
and “is + ing” to the past tense
Read your paper out loud.
166
SHOWING VERSUS TELLING
In the summary “Nothing Is Useful Which Is Not Honest,” Benjamin Franklin
has summarized an event from his childhood, telling us what happened rather than
showing us each moment, step-by-step, as it occurred. In writing about the event, he
has organized it into a short summary. See the following paragraph.
The difference between this type of writing (summaries) and short stories such
as your recent rewrite of “The Emperor’s New Clothes” is that summaries tell us
about the major events of a story rather than show us the events as they occur.
Basically, stories that show are much longer than stories that tell because they give
NOTHING IS USEFUL WHICH IS NOT HONEST
There was a salt-marsh that bounded part of the mill-pond (Place), on the
edge of which, at high water (Time), we used to stand to fish for minnows. (Exposition) By much trampling we had made it a mere quagmire (swamp). (Inciting Incident) My (Main Character) proposal was to build a wharf there, fit for us to stand upon, and I showed my comrades a large heap of stones, which were intended for a new house near the marsh, and which would very well suit our purpose. Accordingly, in the evening, when the workmen were gone, I assembled a number of my playfellows, and working with them diligently like so many emmets (ants), sometimes two or three to a stone, we brought them all away and built our little wharf. The next morning the workmen were surprised at missing the stones, which were found in our wharf. Inquiry was made after the removers. (List of Rising Action Events)We were discovered and complained of. (Climax) Several of us were corrected by our fathers (Falling Action); and, though I pleaded the usefulness of the work, mine convinced me that nothing was useful which was not honest. (Denouement which includes the theme)
167
details, description, and dialogue that take us from one moment or event in the story
to the next. To see the difference between telling and showing, see the two versions of
the “Hare and the Tortoise” on page 84. The shorter version tells, and the second
version shows.
Note: There are varying degrees of showing versus telling. The more details
that are included in a story, the more the story shows.
Ex: Telling:
There was a salt-marsh that bounded part of the mill-pond, on the edge of
which, at high water, we used to stand to fish for minnows.
Ex: Showing:
Tall blades of bright green grass sprouted up between the naturally occurring
salt-marsh and the man-made mill-pond which was used to supply water to power the
mill. Right in between the two, where the ground was the driest, my buddies and I,
with our homemade fishing nets and week old bread, frequently gathered to fish for
minnows.
ASSIGNMENT 6.3A Brainstorming to Expand a Narrative: Turn to page 167 and reread the condensed
narrative from Franklin’s Autobiography—”Nothing is Useful Which Is Not Honest.”
Answer the questions on the following page to help you brainstorm additional details
so that you may expand Franklin’s summary into a short story.
168
1. How many boys are there? What are the boys’ names?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
2. Do any of them disagree with young Benjamin Franklin? Which one? What does
he say to him?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
3. If any of the boys disagree, how does Young Ben convince them to go along with
him?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
169
4. Are the boys excited or nervous during their project? If they are nervous, how do
they act?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
5. How do the boys feel when the project is completed? What do they say or do?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
6. Who confronts the boys about their stealing?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
170
7. What happens to the boys? What punishments do they receive?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
8. What exact words does Young Ben’s father tell him? Does he punish him also?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
ASSIGNMENT 6.3B
Weaving in Words: Based upon your interpretation of the short story, generate
descriptive adjectives for the list of nouns taken from the original summary.
Ex. _____hyperactive________ lad
1. ___________________________ salt marsh
2. ___________________________ workmen
171
3. ___________________________ playfellows
4. ___________________________ stones
5. ___________________________ work
For the nouns below, write a sentence that tells more about the noun. Once
you have written your sentence, rewrite it as an introductory word, phrase, or clause.
Ex. Henry was oblivious to the dangers around him
Oblivious to the dangers around him,
6. Benjamin Franklin __________________________________________________
_____________________________________________________________________
7. The workmen _______________________________________________________
_____________________________________________________________________
8. The playfellows _____________________________________________________
_____________________________________________________________________
As you expand the fable, weave in the descriptive words and sentence openers you
have generated.
172
ASSIGNMENT 6.3C
Expanding a Narrative: Write your expanded narrative that shows rather than tells.
Your typed narrative should be longer than the condensed summary and should
include descriptive details and dialogue.
Remember to do the following:
1) Weave in your descriptive words, phrases, and clauses.
2) Use strong verbs which amplify.
3) Give your short story a creative title and place it in MLA format.
173
ASSIGNMENT 6.4
Editing Your Expanded Narrative: Return to your expanded narrative. Edit,
correct, and reprint your paper using the following checklist.
Word Editing
Eliminate
There was, There were
Began to, started to “was + ing verb”
(Keep “was + ing verb” if you want the focus of your sentence to be on the person that had something done to him or her.
“And” “Then” “And then” “But” as sentence openers These can be used, but only sparingly. Best to eliminate.
Add Verb
Synonyms Descriptive Adjectives
Check every word. Did you say what you meant to say?
Sentence Editing Eliminate Dangling Participles
Add
Variety of Sentence Openers
Simple Sentences Compound Sentences Complex Sentences
Paragraph Editing
Add
Paragraph breaks after changing: who, what, when, where, why, how
A paragraph break after a different character speaks
Overall Paper
Check spelling Check Punctuation
Change verbs ending with: “s”
and “is + ing” to the past tense
Read your paper out loud.
174
SLANTING A NARRATIVE
Often, when narrating a story or tale, the narrator has a particular opinion
about the events he is relaying. Those opinions are evident through the slant the
narrator puts on the narrative. When a narrator slants a tale, he makes the characters
or the events appear as he would like others to interpret them. The slanting of a
narrative can be accomplished via rhetorical techniques such as the ones below.
1. Euphemism—a statement concerning a negative or disagreeable fact
communicated in terms that make it appear less negative.
Ex. He passed away in his sleep. died
2. Dysphemism—a statement concerning a positive or pleasant fact communicated in
terms that reduce the positive aspects and make the fact appear more negative.
Ex. He is a terrorist. (soldier, freedom fighter)
3. Weasel Words—words or phrases that qualify a statement or allow the speaker a
way to weasel out of the comment. (up to, almost, %, maybe, might, could, almost,
possible, perhaps)
Ex. He might be the best student in this school.
4. Stereotypes—generalizations made about a group of people.
Ex. Girls aren’t good at math.
5. Sarcasm—a cutting remark that is meant to insult.
Ex. Was there a lack of graves in Egypt, that you took us away to die in the
wilderness? Exodus 14:11
6. Hyperbole—exaggeration.
Ex. He was a man of unlimited knowledge.
175
As you read, you will find two accounts told by fighting brothers. In each, one of
the boys tells his father what happened. As you can see, in both cases, each brother
exaggerates the details that make him look innocent, and de-emphasizes, or even
completely omits, the details that make him look guilty.
Situation: Two brothers, sharing a bedroom, have an argument, and Michael,
the younger brother, becomes injured.
(In situations such as these, slanted narratives are completely natural and
effortless. As the narratives demonstrate, children slant events frequently to get out
of trouble. In fact, so do adults.)
Michael’s Version or Point of View
MICHAEL’S SLANTED VERSION
A ten year-old boy named Michael told his father that his fourteen-year-old
brother, David, had pushed him out of the bedroom they shared. Michael admitted to his father that he might (weasel word) have had his background music (euphemism) on a little louder than normal. He pleaded, however, that the volume of his music wasn’t an excuse for his brother to act like a dictator (dysphemism). And when Michael had tried to reason with his selfish teenage brother (stereotype), David had completely lost his mind (hyperbole) and gone berserk. Michael told his father that he had no other choice but to leave his own room, and as he was on his way out, David shoved Michael so hard that he tripped, fell, and slit his lip. To make matter’s worse, when David saw Michael bleeding all over the floor, David only laughed, and said, “Nice balance.” (sarcasm)
176
David’s Version or Point of View:
DAVID’S SLANTED VERSION
Fourteen year old David told his father that his bratty little brother, Michael, had purposely turned the radio in their bedroom up as loud as possible. At the time, David had been trying to study for an exam that was so important it could (weasel) mean the difference between passing or failing the class for the year. Considering that failing this test could ruin his life forever (hyperbole), David said he had tried to plead with Michael to turn off the obnoxious noise (dysphemism) blaring through the radio, but Michael had only laughed and said, “Who died and made you king?” (sarcasm) Then the little brat started prancing and dancing around the bedroom. In fact, Michael had acted so wildly that he forgot all about the mess of toys he had left strewn across the floor and fell, scratching (euphemism) his lip. When David had tried to grab his arm and help him up, Michael had run out of the room, crying and screaming for his mommy (stereotype).
177
ASSIGNMENT 6.5 Slanting with Rhetoric. For an earlier assignment, you had to read and summarize
“Little Red Riding Hood.” That version of the story is obviously told from Little
Red’s point of view; however, the Wolf must have had a different, although similar,
version of the story. Reread the story and write twelve sentences incorporating the
rhetorical techniques on slanting a narrative. Refer to the lesson on slanting a
narrative on page 175 if you need help. Write your slanted narrative in 3rd person.
Write sentences that make the Wolf seem less guilty.
1. Euphemism- For this euphemism, you will acknowledge that the Wolf did
something wrong, but make it sound harmless.
Hint: What weaker, less dangerous sounding synonym can you use to replace the word bite? Use that word in a sentence to describe how the Wolf attacked the grandmother.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
2. Euphemism- For this euphemism, you will use a synonym for the Wolf that will
make him sound less dangerous.
Hint: What adjective can you use to describe the wolf that would make him
sound helpless, harmless, or at the mercy of the world? Write a sentence about
the wolf and use that adjective to describe him.
_____________________________________________________________________
_____________________________________________________________________
178
_____________________________________________________________________
_____________________________________________________________________
3. Dysphemism- For this dysphemism, make the Wolf appear to be less guilty. To
accomplish that, we will try to make the huntsman appear bad, taking the focus off of
the Wolf’s behavior.
Hint: What word or phrase can you use as a synonym for the huntsman? Choose one that sounds mean, dangerous, or evil.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
4. Dysphemism- For this dysphemism, we will make the Wolf sound good by making
Little Red sound bad.
Hint: Choose an adjective to describe Little Red Riding Hood. Make sure it makes her sound selfish and corrupt.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
179
5. Weasel Words- Say something nice about the wolf, and preface it with a word such
as: up to, almost, %, maybe, might, could, almost, possible, perhaps.
Hint: Write a sentence that says something positive about wolves, in general;
something that is true only sometimes. Instead of saying that it is true
sometimes, write it so that it sounds as if it is true all of the time.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
6. Weasel Words- Say something bad about Little Red, and preface it with a word
such as: up to, almost, %, maybe, might, could, almost, possible, perhaps.
Hint: Do you think Little Red was trying to trick the wolf? Maybe she was
mean to him. Even if she didn’t, write a statement about something bad she
could have done. Add a weasel word to the statement—like perhaps.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
180
7. Stereotypes- Something everyone believes to be true but isn’t.
Hint: What bad things do we know about wolves? Write a sentence saying that
is what wolves do all the time.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
8. Stereotypes- Use all, always, or never with a statement that is only true sometimes.
Hint: Write a sentence that says something negative about little girls such as
Red Riding Hood; something that is true sometimes. Instead of saying that it is
true sometimes, write it so that it sounds as if it is true all of the time.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
9. Sarcasm- To create sarcasm, you can use an “If-must” statement.
Example: If I am a girl, then I must like pink.
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_____________________________________________________________________
_____________________________________________________________________
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181
10. Sarcasm- Another way to create sarcasm is to use “Of course” plus a false
statement.
Example: Of course dogs should be running around loose in the neighborhood.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
11. Hyperbole- Exaggerate something good about the Wolf or exaggerate something
bad about everyone else.
Hint: Start a so statement. Little Red Riding Hood was so sneaky that she…
(Finish the rest of the sentence. After you are done, eliminate the so
statement.)
Example: He was so smart that he read every book in the library. (Use the
exaggeration for your hyperbole.) He read every book in the library.
_____________________________________________________________________
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_____________________________________________________________________
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182
12. Hyperbole- (Make the Wolf appear to be helplessly hungry with no other
options. Use an exaggeration.)
Hint: Start a so statement. Old Father Wolf was so weak from hunger… (Finish
the rest of the sentence. After you are done, eliminate the given statement.)
Example: I am so hungry that I could eat a horse. Exaggeration = hyperbole = I
could eat a horse.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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ASSIGNMENT 6.6A Weaving in Words: Based upon your interpretation of the short story, generate
descriptive adjectives for the list of nouns taken from the paragraph.
Ex. _____hyperactive________ lad
1. ____________________________ Wolf
2. ____________________________ Little Red Riding Hood
3. ____________________________ Grandmother
4. ____________________________ Forest
5. ____________________________ huntsman
For the nouns below, compose a sentence that tells more about the subject.
Once you have written your sentence, rewrite it as an introductory word, phrase, or
clause.
Ex. Henry was oblivious to the dangers around him
Oblivious to the dangers around him,
6. Little Red Riding Hood________________________________________________
_____________________________________________________________________
7. The Wolf __________________________________________________________
_____________________________________________________________________
8. The grandmother ____________________________________________________
_____________________________________________________________________
184
9. The forest __________________________________________________________
_____________________________________________________________________
ASSIGNMENT 6.6B Slanting a Short Story. Re-write “Little Red Riding Hood” from Old Father Wolf’s
point of view. To help slant the story from Old Father Wolf’s point of view weave in
the slanted sentences and phrases which you created in Assignments 6.1 and 6.2A.
When necessary, manipulate the sentences so that they flow naturally in your
rewritten narrative. Remember the goal is to make Father Wolf seem innocent and
Little Red Riding Hood appear not so innocent.
Also, feel free to omit (leave out) details that incriminate the wolf and add in new,
but plausible, details that support the wolf’s innocence.
(Note: Do not move too far away from the story line. The events should be very
similar. If you change the details, you will make the Wolf appear to be a liar.
Also, do not pattern your slanted narrative after the one paragraph examples of
the fighting brothers. Your slanted narrative should be a short story that shows
rather than tells. See page 167.
As with your other assignments, type your story in MLA format and create a new
title.
185
ASSIGNMENT 6.6C
Editing Your Expanded Narrative: Return to your expanded narrative. Edit,
correct, and reprint your paper using the following checklist.
Word Editing
Eliminate
There was, There were
Began to, started to “was + ing verb”
(Keep “was + ing verb” if you want the focus of your sentence to be on the person that had something done to him or her.
“And” “Then” “And then” “But” as sentence openers These can be used, but only sparingly. Best to eliminate.
Add Verb
Synonyms Descriptive Adjectives
Check every word. Did you say what you meant to say?
Sentence Editing Eliminate Dangling Participles
Add
Variety of Sentence Openers
Simple Sentences Compound Sentences Complex Sentences
Paragraph Editing
Add
Paragraph breaks after changing: who, what, when, where, why, how
A paragraph break after a different character speaks
Overall Paper
Check spelling Check Punctuation
Change verbs ending with: “s”
and “is + ing” to the past tense
Read your paper out loud.
186
APPENDIX
187
188
COMMONLY USED ADVERBS
Manner Place Time Frequency
angrily above again again
anxiously anywhere afterward annually
awkwardly below before continually
carefully between by and by continuously
cheerfully beyond heretofore daily
deliberately here instantly frequently
eagerly in immediately occasionally
eventually on now often
fortunately outside lately periodically
gracefully there then randomly
hastily towards today rarely
painfully under tomorrow seldom
quickly up soon twice
well where yesterday yearly
189
COMMONLY USED ADJECTIVES
Appearance Condition Emotions Senses
adorable alive angry abrasive
any color clever agitated bitter
broad dead brave cool
colossal gifted confused damp
clean harsh dazed faint
crooked impatient eager greasy
glamorous inexpensive embarrassed gritty
hollow powerful faithful hissing
immense sensitive fierce juicy
magnificent shy haughty rotten
massive strong lazy sweet
scrawny wealthy mischievous screeching
straight weak mysterious tart
wimpy wrong obnoxious thundering
190
COMMONLY USED PREPOSITIONS
about before from to
above behind in toward
across below into under
after beneath of until
against beside off unto
along between on up
among beyond over upon
around by through with
at for till within
191
COMMONLY USED VERBS (HELPFUL SYNONYMS)
Verb Synonym
ask beg, demand, grill, implore, inquire, invite, plead, pray, question, quiz, request, seek
come advance, appear, approach, arrive, join, occur, materialize, reach,
give administer, assign, deliver, donate, enter, furnish, hand, move, present, provide, pass, transfer
get achieved, acquire, attained, catch, contract, earn, experience, gain, hold, obtain, receive, suffer, take, win,
have accept, , acquired, attained, contracted, experience, gain, hold, keep, obtain, own, possess, receive, retain, take
look behold, eye, face, gaze, glance, inspect, observe, peer, scrutinize, stare, study, survey, view, watch
run bolt, chase, dart, dash, fly, hasten, hurry, jog, race. rush, scamper, sprint
see behold, discern, envision, detect, glimpse, notice, perceive, sight, spot, survey, watch
walk creeps, hike, marched, parade, roam, slog, step, stride, tiptoe, traipse, trek, trod, trolled, wandered,
was + ing verb
eliminate the was and change the verb to the past tense
was running= ran was coughing= coughed was laughing = laughed
started to + verb
remove the started to and change the verb to the past tense
started to sing = sang started to walk = walked =>(sauntered)
began to + verb
remove the began to and change the verb to the past tense
began to dream = dreamed=> (fantasized) began to fall = fell =>(plummeted)
192
STORY PLOT TABLE
Stor
y B
ackg
roun
d In
form
atio
n Title
Author Genre
Where It Was Written
When It Was Written
Plot
Str
uctu
re
Setti
ng
(Whe
n W
here
) Place
Time
Cha
ract
ers
(Who
)
Protagonist (Main character/wants
something)
Antagonist (Works against
Protagonist)
Stor
y Type of Conflict (Man vs.
____________)
Exposition
Con
flict
W
hat,
Why
, How
Inciting Incident
Rising Action (Only those events that
lead to the climax)
Climax
Falling Action
Denouement
Theme
193
Republished Public Domain Works
Albright, Evelyn May. Descriptive Writing. New York: Macmillan, 1911. Web.
Brooks, Stratton D. English Composition. Vol. 2. London: American Book, 1912. Web.
Bryce, Catherine T., and Frank E. Spaulding. Aldine Second Language Book: For
Grades Five and Six. New York: Newson &, 1914. Print.
Claxton, Philander P., and James McGinniss. Effective English, Junior. Boston: Allyn
and Bacon, 1921. Print.
Clippinger, Erle Elsworth. Illustrated Lessons in Composition and Rhetoric. Boston:
Silver, Burdett and, 1912. Web.
Dalgleish, Walter Scott. Introductory Text-book of English Composition, Based on
Grammatical Synthesis. Halifax, N.S.: A. & W. Mackinley, 1883. Print.
Foerster, Norman. Sentences and Thinking: A Practice Book in Sentence Making. Boston:
Houghton Mifflin, 1919. Web.
Gardiner, J. H., George Lyman Kittredge, and Sarah Louise Arnold. Manual of
Composition and Rhetoric. Boston: Ginn &, 1907. Web.
Gerrish, Carolyn M., and Margaret Cunningham. Practical English Composition.
Boston: D.C. Heath, 1912. Print.
Hamilton, Clayton Meeker. Manual of the Art of Fiction: Prepared for the Use of Schools
and Colleges. New York: Doubleday, 1920. Web.
194
Herrick, Robert, and Lindsay Todd Damon. New Composition and Rhetoric for Schools.
Chicago: Scott, Foresman and, 1911. Print.
Hodge, Lamont Foster, and Arthur Lee. Elementary English, Spoken and Written. New
York: Charles E. Merrill, 1928. Web.
Holmes, Henry Wyman, and Oscar Charles Gallagher. Composition and Rhetoric. New
York: D. Appleton and, 1917. Web.
Huntington, Tuley Francis. Elements of English Composition, Designed for Use in
Secondary Schools. New York: Macmillan, 1904. Print.
Huntington, Tuley Francis. Elements of English Composition, Designed for Use in
Secondary Schools. New York: Macmillan, 1904. Web.
Laertius, Diogenes, and Charles Duke Yonge. The Lives and Opinions of Eminent
Philosophers. London: H. G. Bohn, 1853. Web.
Merkley, George Earle, and Arthur C. Ferguson. Composition-rhetoric. New York:
Newson, 1913. Web.
Rainolde, Richard. A Booke Called the Foundacion of Rhetorike. London: University of
Cambridge, 1563. Print.
Scott, Fred Newton, and Joseph Villiers Denney. The New Composition-rhetoric:
Edition of 1911. Boston: Allyn and Bacon, 1911. Print.
Shackford, Martha Hale, and Margaret Judson. Composition--rhetoric--literature; a
Four Year's Course for Secondary Schools. Boston: B.H. Sanborn &, 1908. Print.
195
Smith, George James. Longmans' English Lessons. New York, London: Longmans,
Green, and, 1907. Print.
Spaulding, Frank E. Aldine Third Language Book Language, Grammar, Composition:
Grades Seven and Eight and Junior High Schools. New York: Newson &, 1917.
Print.
Tanner, William M. Composition and Rhetoric. Boston: Ginn &, 1922. Print.
Taylor, C. Ralph. Vital English. New York: F.M. Ambrose &, 1919. Web.
Williams, William. Composition and Rhetoric by Practice: With Exercises Adapted for Use
in High Schools and Colleges. Boston: D.C. Heath &, 1891. Print.
196
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