Short story outline

DICTIONARYOFFIRSTCONCEPTS.pdf

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DICTIONARY OF FIRST CONCEPTS PARTS OF SENTENCES 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.

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.

RHETORICAL STRATEGIES Rhetoric: The study of effective writing and speaking. It encompasses persuasion, and usually is thought about in two ways: what is the form of the communication and what is the content of the message. Following are several terms and strategies that you will need to know. Audience Appeals Ethos-creating credibility in your writing. This is done through exhibiting your own expertise and trustworthiness as a writer or by

bringing other trustworthy voices into your essay through the use of credible sources. Logos-using logic, facts, statistics and reasoning to strengthen your position. Pathos-appealing to emotion. Only effective if it is used in conjunction with ethos and logos. Use pathos sparingly as too much

emotion might indicate that your position has little logic or external support from others. Rhetorical Triangle: All communication is made up of the following parts: Speaker-the person, group or thing delivering a message. Message-the idea being conveyed. Audience-the one receiving the message. Kairos-the timeliness, circumstance or moment of communication, even the context in which a message is received.

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: Person versus self Person versus person Person versus society Person versus nature

H Other Conflicts: Person versus 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 / Time / Commitment / Disillusionment / Self-Realization / Sacrifice / Suffering / Justice / Fear / Power / Courage / Survival / Beauty / Corruption / Faith / Innocence / Loss / Redemption / Revenge / Freedom /

Greed / Hate / Pride / Nature / Change 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 truth can be discovered, 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?

ARGUMENT STRATEGIES Inductive Reasoning takes a specific representative case or facts and then draws generalizations or conclusions from them. Inductive reasoning must be based on a sufficient amount of reliable evidence. In other words, the facts you draw on must fairly represent the larger situation or population. Deductive Reasoning begins with a generalization and then applies it to a specific case. The generalization you start with must have been based on a sufficient amount of reliable evidence.

Toulmin Method of Argumentation Data (Because)—the information or stimuli that we observe in the world Claim (Therefore)—the proposition or judgment you create in a response to the data Warrant (Since)—the proof that the claim is valid Backing (On Account Of)—additional proof that shows the warrant is correct Rebuttal/Reservation (Unless)—circumstances that might make the claim invalid Example: Because it is raining (data), therefore I should take an umbrella (claim) since an umbrella would keep me dry (warrant) on account of the waterproof material it is made of (backing), unless it has a hole in it, or it is too windy to be effective (rebuttal/reservation).

VOCABULARY LIST

1 ABASE to humiliate; degrade ABATE to lessen; 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 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 HUBRIS 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, 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 SURVEILLANCE 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 and 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

IMITATION EXERCISE 1) “Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. Cannery Row is the gathered and scattered, tin and iron and rust and splintered wood, chipped pavement and weedy lots and junk heaps, sardine canneries of corrugated iron, honky tonks, restaurants and whore houses, and little crowded groceries, and laboratories and flophouses.”- John Steinbeck, Cannery Row 2) “I have been alone while I was with many girls and that is the way you can be most lonely. But we were never lonely and never afraid when we were together. I know that the night is not the same as the day: that all things are different, that the things of the night cannot be explained in the day, because they do not then exist, and the night can be a dreadful time for lonely people once their loneliness has started. But with Catherine there was almost no difference in the night except that it was an even better time. If people bring so much courage to this world the world has to kill them to break them, so of course it kills them. The world breaks every one and afterward many are strong at the broken places. But those that will not break it kills. It kills the very good and the very gentle and the very brave impartially. If you are none of these you can be sure it will kill you too but there will be no special hurry.”-Ernest Hemingway, A Farewell to Arms 3) “In a strange room you must empty yourself for sleep. And before you are emptied for sleep, what are you. And when you are emptied for sleep, you are not. And when you are filled with sleep, you never were. I don't know what I am. I don't know if I am or not. Jewel knows he is, because he does not know that he does not know whether he is or not. He cannot empty himself for sleep because he is not what he is and he is what he is not. Beyond the unlamped wall I can hear the rain shaping the wagon that is ours, the load that is no longer theirs that felled and sawed it nor yet theirs that bought it and which is not ours either, lie on our wagon though it does, since only the wind and the rain shape it only to Jewel and me, that are not asleep. And since sleep is is-not and rain and wind are was, it is not. Yet the wagon is, because when the wagon is was, Addie Bundren will not be. And Jewel is, so Addie Bundren must be. And then I must be, or I could not empty myself for sleep in a strange room. And so if I am not emptied yet, I am is.”-William Faulkner, As I Lay Dying 4) “I looked back at my cousin who began to ask me questions in her low, thrilling voice. It was the kind of voice that the ear follows up and down as if each speech is an arrangement of notes that will never be played again. Her face was sad and lovely with bright things in it, bright eyes and a bright passionate mouth--but there was an excitement in her voice that men who had cared for her found difficult to forget: a singing compulsion, a whispered "Listen," a promise that she had done gay, exciting things just a while since and that there were gay, exciting things hovering in the next hour.”-F. Scott Fitzgerald, The Great Gatsby 5) “Then summer came. A summer limp with the weight of blossomed things. Heavy sunflowers weeping over fences; iris curling and browning at the edges far away from their purple hearts; ears of corn letting their auburn hair wind down to their stalks. And the boys. The beautiful, beautiful boys who dotted the landscape like jewels, split the air with their shouts in the field, and thickened the river with their shining wet backs. Even their footsteps left a smell of smoke behind. It was in that summer, the summer of their twelfth year, the summer of the beautiful black boys, that they became skittish, frightened and bold — all at the same time.”-Toni Morrison, “Sula”

WRITING THE DETAILS

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

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.