short story analysis

DICTIONARY OF FIRST CONCEPTS

TEN ELEMENTS AND CONCEPTS OF LITERATURE

1. PLOT: Series of events which make a story

2. POINT OF VIEW: The eyes through which a story is told

3. SETTING: The time and place of a story

4. CONFLICT: The nature of the problems faced

5. CHARACTERIZATION: Nature and type of characters and their developments

6. SYMBOL: When the concrete takes on abstract values

7. THEME: The central insight, or meaning, in the story

8. ALLLUSION: Reference in literature to other literature or history

9. STYLE: Writer’s choice and use of words; writer’s choice and use of elements

10. IRONY: A break in natural logic in a story

GENRE (Literary Form)

1. FICTION: Literature based on invented characters and events

2. NON-FICTION: Literature which is “factual”, non-imaginary

3. POETRY: Literature of concentrated language and managed lines

4. DRAMA: Literature of the theater, full of characters and dialog

5. NOVEL: Long, fictitious prose narrative

6. SHORT STORY: Complete fictional narrative of one focus and that can be read at one sitting.

7. BIOGRAPHY: A non-fiction account of a person’s life written by another

8. AUTOBIOGRAPHY: A non-fiction account of a person’s life written by the subject

9. ESSAY: literally “to attempt,” a short, prose composition in which a writer explores a topic of interest

10. EDITORIAL: A newspaper or magazine article that expresses the views and opinions of the editor or writer

FIGURES OF SPEECH

1. A Figure of Speech is language which is not intended to be taken literally.

2. A metaphor is any comparison between two unlike things. (It may be used as a larger, encompassing term for other figures, such as similes, personifications, symbols, and oxymorons.)

3. A simile is a metaphorical expression which uses “like” or “as” to establish a comparison.

4. Personification is a form of comparison attributing human qualities to animals or abstrations.

5. Oxymoron is a unique form of comparison juxtaposing two words, usually with contrasting meanings, for effect.

6. Symbols are figures of speech in which a concrete object begins to take on abstract significance.

SENTENCE STARTS AND STYLES

1. The short sentence style of six words or less. (Seven words sound long) Violence kills. Remember the Alamo! He couldn’t get it right.

2. The prepositional phrase start. (List of prepositions: aboard, above, about, across, after, against, along, among, around, at, before, behind, below, beneath, beside, besides, between, beyond, by, concerning, down, during, except, for, from, in, inside, into, like, near, of, off, on, out, over, past, since, through, throughout, till, to, toward, under, underneath, until, up, upon, with, within, without) Through a thousand setbacks she kept her hopes.

3. Adjectives (singular or multiple) start. Weather-beaten, wind-blown, and remote, the lighthouse clung to the cape like a tired child cleaves to a comforting mother. Shy and reserved, the young boy could not bring himself to look at his teacher.

4. Adverbs (singular or multiple) start. Gracefully the Heron took flight. Fearlessly, the diminutive quarterback went to the ball and barked out his signals.

5. Infinitive start. (An infinitive is the word “to” placed before a verb.) To win the game, defend. To make a mark on the world, do not neglect character.

6. Transitional word start. (A list of transitional words: accordingly, also, besides, consequently, finally, first, for example, for instance, furthermore, however, in addition in conclusion, in summary, indeed, in fact, in other words, likewise, meanwhile, moreover, nevertheless, on the contrary on the other hand, on the whole, second, similarly, therefore, third, thus) Moreover, the protagonist broke his own rules. On the other hand, a vacation camping in the mountains doesn’t seem too bad either.

7. Subordinating conjunction start. (List of subordinate conjunctions: after, although, as, as if , as long as, before, if, in order that, since, so that, then, though, unless, until, when whenever, where, wherever, while) Before time slips away, let’s get the chores done.

8. Side-by-side short sentence style. The king laughs; the peasant weeps.

9. Noun with appositive start. (Appositives rename the noun, usually within a modifying phrase.) His hair, a white shock of curly links, gave him the mad scientist look.

10. Participle start. (participles are verb forms which serve the function of adjectives.) Kicking and Screaming, the protestors would not be consoled. Encouraged by the poll results, the candidate found new energies.

11. Gerund starts. (Gerunds are verb forms which act like nouns.) Training for the US Marine Corp is no picnic. Sketching realistic human hands is a significant challenge.

12. Parallel style. (Putting things in balanced series.) Everybody needs something to do, something to dream, and something to love. In everything he did he was firm, fair, friendly, and usually first.

10 ELEMENTS OF LITERATURE (FROM A TO Z)

1 PLOT (series of events which make-up a story)

A 5-POINT PLOT SEQUENCE:

Exposition: initial part of a story where readers are exposed to setting and characters.

Situation: event in the story which kicks the action forward and begs for an outcome.

Complication: difficulties faced by characters as they experience internal and external conflicts.

Climax: watershed moment when it becomes apparent that major conflicts will be resolved.

Resolution: (Denouement): tying up of the loose ends of the story.

B SUB-PLOTS: PLOTS BENEATH AND AROUND THE MAJOR PLOT.

Foreshadowing: hints and clues of plot.

Flashback: portion of a plot when a character relives a past experience.

Frame story: plot which begins in the present, quickly goes to the past for story, then returns.

Episodic plot: a large plot sequence that is made up of a series of minor plot sequences.

Plausibility: likelihood that certain events within a plot can occur.

Soap Opera: multiple stories told along the sequence and spaced to sustain continual interest.

2 POINT OF VIEW (eyes through which a story is told)

C First Person major (participant major): narrator is the major character in the story.

First Person minor (participant minor): narrator is a minor character in the story.

Third Person omniscient (non-participant omniscient): narrator is outside the story and capable of seeing into the heart, mind and motivations of all characters.

Third Person limited (non-participant limited): narrator is outside the story and capable of seeing, at most, into the heart, mind, and motivations of one character. Narrator is objective if not omniscient.

3 SETTING (time and place of a story, both physical and psychological)

D Physical (external) Setting: the time and place of a story, general and specific.

Psychological (internal) Setting: mood, tone, and temper of story.

E Major Tempers: Romanticism: man is free to choose against moral, spiritual backdrops. If you make good decisions, you will be rewarded. There is a God that is in control

Existentialism: man is free to choose absent backdrops other than his own. If he feels it is right, then it is right.

Naturalism: man is largely trapped, a cog in the impersonal machinery. He has no real way of changing his circumstances.

Realism: eclectic view, but leaning toward the naturalistic position. Sometimes good things happen to bad people, and sometimes bad things happen to good people. That is just the way it is.

F Other Tempers: Classicism: Man is free, but appears to be trapped due to conflicting codes.

Transcendentalism: Offshoot of romanticism, nature is a window to divine.

Nihilism: Fallout of either extreme existentialism or naturalism. Life is horrible and painful. It lacks meaning.

4 CONFLICT (nature of the problems faced)

G Four Universal Conflicts: Man versus himself

Man versus man

Man versus society

Man versus nature

H Other Conflicts: Man versus meaning/ God/ Machine/ the Unknown

5 CHARACTERIZATION (nature, type, and development of characters)

I Protagonist: central figure in a story, character who absorbs brunt of the burden and conflicts.

Antagonist: Character (or force) opposing the protagonist.

J Stock: basic “fill-in” character used to make scenes realistic.

Flat: Character with some, but not extensive dimension and development.

Round: multi-sided, multi-dimensional, fully-developed character.

K Static: character whose basic values remain consistent from story’s start to finish.

Dynamic: character whose basic values undergo change from story’s start to finish.

L Coded Character: code indicates a character who is self-aware for an internal pattern for the behavior. Coded characters must be willing to exercise discipline and personal sacrifice in service to the pattern.

M Character Traits: Physical, emotional, mental, spiritual, social? Fear or love? Virtues? Vices? Governing tendencies?

N Character Trends: Is the character moving toward love or fear; identity or disintegration; conformity or non-conformity; self-mastery or solitude; contentment or disillusionment.

O Character Purpose: what is the character trying to obtain, retain, regain, or explain?

P Character and Forces: Is the character entrapped by outside forces?

Is the character entrapped by inside forces?

Is the character free with clear choices?

Is the character free with murky choices?

Q Method of development: events, actions, narrator’s analysis, personal dialogue, object of dialogue.

6 SYMBOL (when the concrete takes on abstract values)

R An object remains true to itself, but begins to take on connotations of meaning derived from the work.

7 THEME (Central insight in the work, the meaning beneath the plot, the life comment)

S Universal Themes: Love

Disillusionment

Self-mastery/ Self-realization

8 ALLUSION (reference in literature to literature or history)

T The two great sources of allusion in Western Literature are the Bible and Shakespeare.

9 STYLE (combination of words and elements that produce a unique personality)

U Writers choice and use of words.

V Nature of the language employed: language of images, language of ideas, language of metaphor.

W Writer’s palette is the blending of other elements, such as symbols, characterization, allusion, setting, etc.

10 IRONY (break in the natural logic with a story, a logical inconsistency)

x Verbal Irony: spoken inconsistencies.

Y Dramatic Irony: inconsistencies between perception and reality-the audience knows what the characters do not.

Z Situational Irony: circumstances work at cross-purposes to common sense

STORY SEARCH

1. How are we encouraged to identify with the protagonist?

2. What is the protagonist’s defining or governing characteristic?

3. What external conflicts are present?

4. What internal conflicts are present?

5. What potential approaches to conflict resolution exist?

6. What complications, or tensions, arise?

7. Is the final resolution plausible? Believable? Satisfying?

8. Who, what is changed by the action of the story?

9. What impact does the “place” of setting offer?

10. What impact does the “time” of setting offer?

11. What symbols emerge?

12. What minor characters are vital to thematic development and why?

13. What does (insert minor character) represent to the protagonist?

14. How do the universal themes proportion themselves in the story? (love, disillusionment, self-mastery/realization, fabric of time)

15. What insights surface about such themes as beauty, justice, nature, conscience, technology, fate, or God?

16. Do any codes emerge through a character or characters?

17. Do any codes emerge through a society, or through nature?

18. Do any codes dissipate?

19. Are any codes replaced by others?

20. What fundamental ironies and inconsistencies are present in the story?

21. Are there any capturing quotations that corral important themes or ideas?

22. In what ways is this work a statement about design in the life of man?

23. In what ways is this work a statement about the accidental in the life of man?

24. What does this work say about establishing a sense of personal identity?

25. What does this work say about the balance between solitude and community?

26. What does this work say about contentment? Happiness? Fulfillment?

27. Is the shaping of the main character consistent or inconsistent with events?

28. What are three human values and priorities of the protagonist?

29. If the story has an antagonist, which of his/her values conflict with the protagonist?

30. Does the protagonist believe that truth can be discovered and employed, or that truth is based solely upon points of view and opinion?

31. What is the defining moment in the work and what does it define?

32. What does this work say about human freedom?

33. What does this work say about human responsibility?

34. Does the story contain allusions to other pieces of literature or well-known historical events?

35. What is the single most memorable scene, and why?

STORY FILL

The story 1) _____________________, written by 2) __________________, is set in 3) ______________________, is about 4)______________________.

The main character 5)_________________________, is a protagonist whose outstanding characteristic of personality 6), _____________________ is proven when 7)_____________________________. Perhaps more that any other quality, the protagonist values 8)__________________________ in life. In the course of events, he/she has the most difficult time dealing with 10) _________________________. Another important character is 11)______________________, who 12)___________________. Of the other characters, 13)_______________________ may be the most important because 14)__________________________. Other characters include 15)_____________________________.

The main conflict in the story is triggered when 16)________________________. The action rises and complications occur when 17)__________________________. The climax of the story occurs when 18)_______________________________. Speculating beyond the end of the story, we might think that if the story continued 19)___________________________.

The story is told from the 20)________________ point-of-view which specifically affects the story by 21)______________________.

Stories are often enhanced by symbolism and irony. In this story a certain object, 22)_______________________, serves as a symbol for 23)_______________________. Another object, 24)_____________________, may also serve as a symbol for 25)_______________________. Irony surfaces in the story when 26)_______________________.

Good stories will often contain a handful of unforgettable scenes or events, but the single most memorable scene here is 27)_____________________________. The central most theme of the story emerges from the character of 28)_____________________ as he/she struggles with 29)______________________ and suggest that in the life of man 30)__________________________________.

WRITING MODES (FOUR MODELS)

While all writing is a mixture of elements, four generalized purposes for writing, called “modes”, can be identified. Description is painting word pictures, but these pictures should be considered multi-sensory. In description, the writer, in assorted combinations communicates moods and movements, sights and sounds and smells, tastes and textures. Narrative often contains serious elements of description, but goes further, including characters placed in situations of interest that require some resolution, or at least beg for resolution. In short, when people are put in a place with problems, and are in search of solutions, drama results. Writing to explain, sometimes called expository writing, is text that seeks to inform or teach. Argument no doubt will include explanation, and may include description and narrative, but maintains a first purpose of persuasion. Of course, the argument mode may also seek to inspire. While no piece of writing is completely void of endorsement, certainly there are special times when movement, persuasion and conversion are openly sought.

GRAMMAR BASICS

1. NON-FUNCTIONING SENTENCES are those without one or more of the criteria which make sentences function: subject, verb, complete thought.

2. The DEPENDENT CLAUSE is a group of related words containing a subject and its verb which is incapable of standing alone as a complete-thought sentence. (When the scholar first read the Constitution.)

3. A SIMPLE SENTENCE is comprised of a single independent clause. (The students read the document.)

4. A COMPOUND SENTENCE is composed of two or more independent clauses. (The students read the document and each prepared a report.)

5. A COMPLEX SENTENCE is comprised of a single independent clause with one or more attached dependent clauses. (When the scholar first read the constitution, he was surprised by the terseness of the document.)

6. A COMPOUND-COMPLEX SENTENCE is comprised of two or more independent clauses, with at least one of them having an attached dependent clause. (When the scholar first read the Constitution, he was surprised by the terseness of the document, and later he wrote an essay reflecting upon his observations.

THE COMMA:

1. Used to set off explanatory elements in a sentence. (Einstein, the great physicist, was present during the discussion.)

2. Used to set off parenthetical words. (The physicist, however, didn’t speak.)

3. Used to set off introductory material. (Seeing him stand, the audience rose to its feet.)

4. Used between an independent and dependent clause. (After the judge read the argument, his decision was made quickly.)

5. Used to separate items in a list of three or more items. (He had the job of separating arguments, evidence, and circumstantial events.)

6. Used between two identical words. (Whatever it was, was wrong.)

THE COLON:

1. Used to introduce statements. (The Senator began his speech with these words: “Greed must go.”)

2. Used to introduce formally announced lists, when the last word before the list is a noun. (We shall teach the following subjects: reading, writing and arithmetic.)

3. Used between the basic sentence and a closely related explanatory note. (The magazine attempts to serve in a double capacity: as entertainment and as instruction.)

THE SEMI-COLON:

1. Used between independent clauses which do not have a coordinating conjunction. (Mrs. Jones may dodge the issue; Mrs. Jones won’t.)

2. Used as a “major comma” to set off a series of items when one or more of the items contains a comma. (The Sports Hall of Fame inducted three new members: Larry Plane, the basketball star; John Seat, the great baseball catcher; and Wayne Jetski, the hockey sensation.)

THE DASH:

1. Used between changes in thought. (If you should find yourself in such a predicament—please don’t—be sure to call.)

2. Used as a “super comma” for emphasis. (She was the statesman—the statesman the entire nation needed.)

THE PARENTHESIS:

1. Used around non-essential explanatory material within a sentence. (The dentist from Russia (formally the Soviet Union) gave the lecture.)

2. Used for clarifying insertions. (The foul shot expert (a 95% shooter) offered some tips.)

THE QUOTATION MARK:

1. Used to indicate quoted material. (“Hey,” she said, “look out!”)

2. Used to enclose titles of materials that are considered as “parts of wholes.” (The article “Government and the Public” from Time caused quite a stir.)

VOCABULARY LIST

1

ABASE to humiliate; degrade ABATE to lesson; diminish

ABET to aid; encourage ABHOR to hate ABOMINATE to abhor ABROGATE to abolish ABSCOND to flee secretly ABSOLVE to pardon ABSTRUSE hard to understand; recondite ACCRUE to accumulate AGGRANDIZE to enlarge

AGILITY quickness; nimbleness AGNOSTIC one who believes God is unknowable AGRARIAN pertaining to farming ALACRITY liveliness

2

ALLAY to reduce the intensity of; to calm

ALLEGORY narrative using figurative language ALLOCATE to set aside; to apportion ALLUDE to refer to indirectly ALTERCATION angry dispute ALTRUISM unselfish devotion AMELIORATE to improve AMIABLE pleasant; kind AMNESTY pardon ACERBITY bitterness, severity ACRIMONY acerbity ADAMANT immovable; unyielding ADJUDICATE to decide (a case) ADJUNCT assistant ADMONISH to warn

3 ADROIT skillful ADULATION praise ADVOCATE to recommend AESTHETIC pertaining to beauty AFFABLE friendly; courteous AFFINITY attraction AFFLUENCE wealth AFFRONT insult ANACHRONISM something out of its proper time ANARCHY absence of government ANATHEMA ban; curse ANIMOSITY hatred ANOMALY irregularity; straying from the norm ANTIPATHY dislike ANTIPODES opposite side of the earth

4 ANTITHESIS direct opposite APATHY indifference; lack of interest APHORISM brief statement; proverb APLOMB self-confidence APPALL to terrify; to shock ARCHAIC no longer in use ARDUOUS difficult ARREARS (in arrears) in debt ARTICULATE (adj.) distinct; (V) to express clearly ARTIFICE trickery ASCENDANT rising ASPERSION slanderous remark ASSAY to analyze chemically; to test ASSIDUITY care; diligence ASSUAGE to make less severe; to calm

5

ASTUTE shrewd ATHEIST one who denies existence of God ATROPHY to waste away ATTEST to confirm AUDACIOUS bold AUGMENT to increase AUGUR to predict AUGUST majestic; imposing AUSPICES protection AUSPICIOUS favorable AUSTERITY severity AUTOCRATIC arrogant AUTONOMY self-government AVARICE greed BADGER to harass; to nag

6 BANAL meaningless; commonplace BELLICOSE warlike BENIGNANT kindly; gentle

BICKER to quarrel BIENNIAL occurring every two years BLAND mild BLATANT objectionably BLITHE carefree BLUSTER to speak boastfully BOTCH to ruin through clumsiness BOURGEOIS pertaining to the middle class BROACH to introduce a topic BRUSQUE abrupt in manner BUFFOON clown BURNISH to polish

7 CAJOLE to coax CALUMNY a false accusation; a slander CAPITULATE to surrender CAPRICE an impulsive change of mind CAPTIOUS finding fault CAPTIVATE to fascinate CAREEN to swerve CARP to complain constantly CASTIGATE to punish CATHARTIC cleansing CAVIL to quibble CENSURE to criticize sharply CHAFF worthless matter CHAGRIN embarrassment CHARLATAN faker

8 CHIDE to scold CLANDESTINE secret COERCE to force COGENT convincing COGITATION act of reflecting; meditation COGNATE related COGNIZANT aware COLLATE to put together in proper order COLLUSION secret agreement to defraud another COMMENSURATE proportionate COMMODIOUS spacious COMPASSION pity for distress of another COMPLACENT content COMPUNCTION uneasiness; remorse

CONCLAVE secret meeting

9

CONCOMITANT accompanying

CONDOLENCE expression of sympathy CONGENITAL existing at birth but not inherited CONGRUENT agreeing CONJECTURE to guess; to suppose CONNOTE to suggest; to imply CONSTERNATION sudden confusion; panic CONSTRICT to constrain; bind CONTIGUOUS adjacent; touching CONTINGENT conditional; dependent; possible CONTUMELY rudeness CONUNDRUM riddle CONVIVIAL sociable; jovial CONVOKE to call together COPIOUS abundant

10 COROLLARY inference; result

CORPULENT fat CORROBORATE to strengthen; to confirm COVERT concealed; secret COWER to cringe in fear CREDIBLE believable CULPABLE deserving blame CURSORY superficial DANK chilly and wet DAUNT to discourage DEBASE to lower in rank DEBAUCH to corrupt DEBILITY weakness DECREPIT weakened by age DEFERENCE respect

11 DELETERIOUS harmful DELINEATE to describe

DEMEANOR behavior DEMURE shy DEPLORE to regret DEPRAVED sinful DEPRECATE to disapprove of DERISION ridicule DESIST (desist from) to stop doing something DESULTORY disconnected; rambling DICHOTOMY division into two parts DIDACTIC instructive DIFFIDENT lacking confidence DIGRESS to stray from the main subject DILEMMA difficult situation

12 DILIGENT industrious DISCONCERT to disturb DISCONSOLATE without hope DISDAIN to scorn DISPARAGE to belittle DISPARITY difference DISSEMINATE to spread widely DISSIDENT disagreeing DIVEST to deprive DOCILE easy to handle; submissive DOGGEREL poorly written verse DOGMATIC dictatorial DOLOROUS mournful DOLT stupid person DORMANT asleep; temporarily inactive

13

DOUR gloomy DUCTILE easily molded DULCET pleasing to the ear; melodious DUPLICITY deception DURESS constraint EBULLIENT enthusiastic ECLECTIC selecting the best from various sources ECSTATIC extremely happy

EFFERVESCENT bubbling; vivacious EFFRONTERY impudence

EGREGIOUS outrageous EMACIATE to make thin EMULATE to try to equal or excel ENERVATE to weaken ENNUI boredom

14

ENSCONCE to place securely; to conceal ENTITY something that exists independently EQUANIMITY calmness EQUIVOCATE to mislead by using ambiguous language ERUDITE very learned ESCHEW to avoid ESOTERIC for a select few ETHEREAL airy; delicate EULOGY praise for a dead person EXPIATE to atone for EXTANT in existence EXTOL to praise highly EXTRADITE to surrender a prisoner to another authority EXTRANEOUS not belonging EXTRICATE to free

15 FABRICATE to construct; to devise (a deception) FACADE front part of a building; false front FACETIOUS humorous; flippant FACILE easy FACTITIOUS artificial FASTIDIOUS hard to please FATUOUS foolish FEASIBLE capable of being accomplished; possible FELICITY great happiness FERVENT emotional; ardent FLAGRANT notorious; shocking FLAMBOYANT showy FLAUNT to show off FOIBLE minor weakness FRUGAL thrifty

16

FURTIVE stealthy; foxy GAMUT entire range GARRULOUS talkative GLIB fluent; smooth GREGARIOUS sociable HALLOW holy, sacred

HAUGHTY pompous, stuck-up

HEINOUS hateful; abominable

HUBRUS unconquerable pride

HUMANE benevolent, gracious

HYSTERIA wild panic with a dose of fear ICONOCLAST destroyer of images IGNOMINIOUS shameful IMMUTABLE unchangeable IMPALPABLE vague; not understandable

17

IMPECUNIOUS penniless; poor INDIGENT poor INDOLENT lazy INEXORABLE unyielding INHERENT inborn

INIQUITOUS unjust

INNATE inherent INNOCUOUS harmless INSIDIOUS treacherous INSIPID dull INTREPID fearless INTRINSIC essential INVEIGLE to entice INVIDIOUS causing ill will; offensive IRASCIBLE easily angered

18

JOCOSE joking; humorous JUXTAPOSE to place side by side LACONIC using few words; concise LANGUID lacking in spirit or interest LATENT hidden; dormant

LETHARGIC sluggish LITHE bending easily; flexible LITIGATION lawsuit LOQUACIOUS talkative LUCID shining; easily understood LUDICROUS ridiculous LUGUBRIOUS mournful MACHIAVELLIAN crafty; cunning MAGNANIMOUS generous; noble MALEVOLENT wishing evil; malicious

19

MALIGN to slander MALINGER to pretend sickness MAUDLIN tearfully sentimental MAXIM short statement of a general truth MENDACIOUS untruthful

MENIAL servile; low MERETRICIOUS showily attractive; tawdry

METAMORPHOSIS change of form METAPHYSICS philosophy of spiritual and physical

METE to allot MICROCOSM world in miniature MISANTHROPE hater of mankind MOLLIFY to appease MORIBUND dying MUNDANE worldly; earthly

20

MYRIAD very great number NARCISSISTIC self-love NEBULOUS vague; indistinct NEFARIOUS extremely wicked NEOPHYTE beginner; convert

NIGGARDLY stingy NURTURE to feed; to bring up OBDURATE stubborn OBEISANCE show of respect OBSCURE not clear OBSEQUIOUS overly submissive OBSTREPEROUS noisy; boisterous OBTUSE stupid OBVIATE to prevent ODIOUS hateful; disgusting

21

OFFICIOUS meddlesome OMINOUS threatening OPPROBRIOUS shameful OPULENCE wealth OSTENTATIOUS pretentious

OSTRACIZE to banish OVERT not concealed PALATABLE tasty PALPABLE obvious PANACEA cure-all PARADOX seemingly absurd statement that is nevertheless true PARAGON model of excellence PARITY equality PARODY humorous imitation PARSIMONY stinginess

22

PECUNIARY monetary; financial

PEDANT one who possesses mere book learning; narrow-minded teacher PERDITION hell PEREMPTORY dictatorial; unconditional PERENNIAL continual; enduring PERFIDIOUS treacherous PERFUNCTORY mechanical ; indifferent PERNICIOUS destructive PERPETUATE to cause to continue PERSPECTIVE relation of parts to one another and to the whole PERT bold; saucy PERUSE to read with thoroughness PERVADE to go or spread throughout PETULANCE impatient irritation PHILISTINE lacking in culture; commonplace

23

PHLEGMATIC sluggish

PIQUANT stimulating to the taste; exciting interest PIQUE to irritate PITHY terse PLACATE to pacify PLACID calm PLAGIARISM claiming another's work as one's own PLATONIC purely spiritual; not sensual POIGNANT piercing PORTEND to warn; to foreshadow POSTERITY succeeding generations

POTPOURRI mixture PRAGMATIC practical PRATE to talk much and to little purpose PRECLUDE to shut out

24

PREDILECTION preference

PREROGATIVE privilege PRISTINE unspoiled PROCRASTINATE to delay PRODIGIOUS extraordinary in size; force, etc. PROFLIGATE shamelessly immoral; extremely wasteful PROFUSE overabundant PROGENY descendants PROGNOSTICATE to forecast PROLETARIAN worker; citizen of lowest class PROMONTORY peak of high land jutting out over water PROPENSITY tendency PROPINQUITY nearness PROPITIOUS favorable PROSAIC commonplace; dull

25

PROSODY study of poetic meters and versification

PROTOTYPE original or model PSEUDONYM assumed name to conceal identity PSYCHE soul; spirit; mind PULCHRITUDE beauty

PUNDIT learned man

PUNGENT sharply penetrating PURLOIN to steal PURPORT to give the appearance of QUALM misgiving QUERULOUS complaining RANCOR hatred REBUKE to reprimand; to blame RECALCITRANT not obedient RECIPROCAL interchangeable

26

RECONDITE concealed; profound RECONNOITER to survey a region RECTITUDE honesty

REDOLENT fragrant REMONSTRATE to protest REMUNERATION compensation

REPRISAL retaliation REPROACH blame REPROBATE villain RESPITE delay RETICENCE silence RETRIBUTION retaliation; revenge REVILE to abuse; to slander RIBALD indecent; vulgar ROBUST brawny; vigorous

27

ROTUND round RUDIMENTARY elementary; undeveloped SAGACITY wisdom SALACIOUS lewd; obscene SALIENT important; conspicuous SALUBRIOUS wholesome SANGUINE optimistic SAPIENT wise SARDONIC derisive; sneering SATURNINE gloomy; very serious SCATHING bitterly severe SCHISM split; discord SCINTILLATE sparkle SCOFF ridicule SCRUTINIZE to examine closely

28 SCURRILOUS abusive; coarse SECULAR wordly; nonreligious SEDENTARY inactive SEDITION rebellion SEDULOUS industrious SEETHE to boil; to be disturbed SHUNT to turn aside VITUPERATE to scold SKEPTIC one who doubts SLOTHFUL idle; lazy SOLILOQUY talking when alone SOMBER dark; gloomy

SOMNOLENT drowsy; sleepy SONOROUS loud; resonant SORDID vile; dirty SPECIOUS misleading

SPORADIC infrequent; irregular SPURIOUS counterfeit; false

29 STAID sedate; serious STILTED pompous STOICISM repression of emotion STOLID having little emotion; impassive STRIDENT harsh-sounding

SUBJUGATE to conquer SUBSERVIENT inferior; humble SUCCINCT concise SUCCOR to aid SUCCULENT full of juice SUPERCILIOUS haughty; arrogant SUPERSEDE to replace SUPPLE flexible

30 SURREPTITIOUS acting in a secret, stealthy way SURVEILANCE supervision

SUSTENANCE nourishment SYCOPHANT flatterer; parasite

TACIT silent TACITURN almost always silent TANGIBLE capable of being touched; perceptible TANTAMOUNT equivalent TAWNY yellowish-brown TEMERITY foolish boldness TEMPORAL lasting only for a certain time; temporary TENACITY persistence TENUOUS slender; flimsy TERSE brief TIRADE long, vehement speech

31 TORRID very hot; scorching TRANSITORY lasting but a short time TRAVESTY ludicrous treatment of a serious subject TREMULOUS quivering TRIBULATION trouble TRUCULENT cruel TRYST meeting TURBID muddy TURGID swollen UBIQUITOUS occurring everywhere UNCTUOUS oily; excessively suave UNMITIGATED not lessened; absolute UPBRAID to scold URBANE refined USURY excessive rate of interest

32 VACILLATE to sway to an fro; to show indecision VENIAL excusable VENERATE to respect greatly VERBOSITY wordiness VERITY truth

VERNACULAR pertaining to common language of a land VICARIOUS substitute VICISSITUDE change; variation VINDICATE to justify VOCIFEROUS shouting VOLATILE evaporating rapidly; flighty VOLITION act of determination VORACIOUS very greedy ZEALOT fanatic

WRITING THE DETAILS

Put specific details in your writing. Consider this sentence: The shelter fell over. The sentence communicates something, but only vaguely. Search for specifics. Consider the same sentence written in a new way. The adobe hut, caught unexpectedly in a desert twister, rattled mud and dirt through nearby saguaro trees and then tumbled humbly to the ground.

Directions: Take each of the sentences below which appear vague and unspecific and give them interesting details. Each of your new sentences should be at least 20 words in length.

1. Tone: Anger-5 short sentences 2. Tone: Sleepy-30 word sentence 3. Tone: Wonder-Compound/Complex 4. Tone: Defeat-Prep phrase start 5. Tone: Joy-Subordinating Conjunction Start 6. Vacation: ONCE, BUT, NOW 7. Festivals: AFTER, HOWEVER, OR 8. Boats: WHEN, WHO, WHILE 9. Summer: 5 sentence paragraph 10. Chain: angle-battle-code-frame-glimmer 11. Film: complex, simile 12. Chain: VOCAB 13. Trees: ADJ start, then parallel 14. Waterfall: ADV start, appositive 15. Hunt: Sensory details, metaphor 16. Rejection: 3 lines, iambic pentameter 17. Solitude: Five lines, six words each 18. Ambition: Fragment 19. Chain: VOCAB

20. (Participle), After, but, especially, (Participle) 21. Pride/Humility: Toulmin Statement 22. Chain: quake-raid-spirit-trap-value-wrench 23. Science: Yes/But/Unless 24. Chain: honor-issue-lodge-notice-open 25. Fog: Long then short sentence 26. Tone: Formal-Politics 27. Delight: <15 words, 2 vocab, simile 28. Chain: aim-branch-clothe-dust-edge-float 29. Hills: Side-by-Side, Vocab 30. Chain (Age): abandon-bellow-calm-dawn 31. Tone: Informal-College 32. Psychology: 3 Vocab words 33. Art: metaphor, 2 Vocab 34. Safety: Participle start, Pathos, simile, 2 Vocab 35. Chain: VOCAB 36. Collapse: Mimic the subject 37. Rebirth: Short-Long-Short 38. Leaves: Sensory details

QUICK STYLE GUIDE

Easy Steps to Improve Your Writing Style:

1. Vary your sentence length and your sentence starts. This will add a dynamic feeling to your writing and force you to use word constructions you usually don’t use, creating more variety. Remember: for impact, long sentence then short sentence (six words or less). This small technique can have a great impact on your style.

2. Use figurative language/be descriptive. Add similes, metaphors, allegories and any other type of comparison to your writing. This makes your writing rich and provides a way for your audience to relate to your subject. Don’t tell your audience about your subject, show it to them. Bring your subject alive with details, adjectives and adverbs and appeal to the senses when you write: taste, touch, sight, smell and sound. Describe these things and your subject and your writing will come alive.

3. Appeal to Your Audience. What kind of support are you using to help convince your audience to listen to you? Try to incorporate these things into your details:

Logos-Appeal to logic: facts and statistics. The more data you use the harder it is to dispute your points and the stronger your examples become.

Pathos-Appeal to emotion-use examples and descriptions that will get your audience to respond on an emotional level: puppies and tragedies.

Ethos-Use experts and their reputation to support your details. If you quote from Ghandi then all of a sudden it becomes harder to disagree with your point because you have Ghandi on your side.

4. Make sure you are familiar with PEARLS and address each of its elements in your writing:

Purpose-Clear main ideas

Eloquence-carefully crafted sentences

Attitude-tone and voice are present and clear

Rules-grammar and punctuation are accurate

Language-word choice is appropriate

Structure-well organized, including intro, conclusion, and transitions.