Tag Archives: learning supports

Use the Active Voice

Posted on May 8, 2020 | Leave a comment

[If you want a copy of this text as learning support in Microsoft Word you’ll find it under that hyperlink.]

“Use the active voice.

The active voice is always more direct and vigorous than the passive:

I shall always remember my first visit to Boston.

This is much better than

My first visit to Boston will always be remembered by me.

The latter sentence is less direct, less bold, and less concise. If the writer tries to make it more concise by omitting “by me,”

My first visit to Boston will always be remembered,

it becomes indefinite: is it the writer or some undisclosed person or the world at large that will always remember this visit?

This rule does not, of course, meant that the writer should entirely discard the passive voice, which is frequently convenient and sometimes necessary.

The dramatists of the Restoration are little esteemed today.

Modern readers have little esteem for the dramatists of the restoration.

The first would be the preferred form in a paragraph on the dramatists of the restoration, the second in a paragraph on the tastes of modern readers. The need to make a particular word the subject of the sentence will often, as in these examples, determine which voice is to be used.

The habitual use of the active voice, however, makes for forcible writing. This is true not only in narrative concerned principally with action, but in writing of any kind. Many a tame sentence of description or exposition can be made lively and emphatic by substituting a transitive in the active voice for some such perfunctory expression as there is or could be heard.

There were a great deal of dead leaves lying on the ground.

 Dead leaves covered the ground.

 At dawn the crowing of a rooster could be heard.

 The cock’s crow came with dawn.

 The reason that he left college was that his health became impaired.

 Failing health compelled him to leave college.

 It was not long before she was very sorry that she had said what she had.

 She soon repented her words.

Note, in the examples above, that when a sentence is made stronger, it usually becomes shorter. Thus, brevity is the by-product of vigor.”

Excerpted from: Strunk, William Jr., and E.B. White. The Elements of Style, Fourth Edition. New York: Longman, 2000.

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Make the Paragraph the Unit of Composition.

Posted on April 28, 2020 | Leave a comment

[If you want this quote as a learning support in Microsoft Word it is under that hyperlink.]

“Make the paragraph the unit of composition.

The paragraph is convenient unit; it serves all forms of literary work. As long as it holds together, a paragraph may be of any length—a single, short sentence or a passage of great duration. If the subject on which you are writing is of slight extent, or if you intend to treat it briefly, there may be no need to divide it into topics. Thus, a brief description, a brief book review, a brief account of a single incident, a narrative merely outlining an action, the setting forth of a single idea—any one of these is best written in a single paragraph. After the paragraph has been written, examine it to see whether the division will improve it.

Ordinarily, however, a subject requires division into topics, each of which should be dealt with in a paragraph. The object of treating each topic in a paragraph by itself is, of course, to aid the reader. The beginning of each paragraph is a signal that a new step in the development of the subject has been reached.

As a rule, single sentences should not be written or printed as paragraphs. An exception may be made of made of sentences of transition, indicating the relation between the parts of an exposition or argument.

In dialogue, each speech, even if only a single word, is usually a paragraph by itself; that is, a new paragraph begins with each change of speaker. The application of this rule when dialogue and narrative are combined is best learned from examples in well-edited works of fiction. Sometimes a writer, seeking to create and effect of rapid talk or for some other reason, will elect not to set off each speech in a separate paragraph and instead will run speeches together. The common practice, however, and the one that serves best in most instances, is to give each speech a paragraph of its own.

As a rule, begin each paragraph either with a sentence that suggests the topic or with a sentence that helps the transition. If a paragraph forms part of larger composition, it relation to what precedes, or its function as a part of the whole, may need to be expressed. This can sometimes be done by a mere word or phrase (again, therefore, for the same reason) in the first sentence. Sometimes, however, it is expedient to get into the topic slowly, by way of a sentence or two of introduction or transition.

In narration and description, the paragraph sometimes begins with a concise, comprehensive statement serving to hold together the details that follow.

The breeze served us admirably.

He campaign opened with a series of reverses.

The next ten or twelve pages were filled with a curious set of entries.

But when this device, or any device, is too often used, it becomes a mannerism. More commonly, the opening sentence simply indicates by its subject the direction the paragraph is to take.

At length I thought I might return toward the stockade.

He picked up the heavy lamp from the table and began to explore.

Another flight of steps, and they emerged on the roof.

In animated narrative, the paragraphs are likely to be short and without any semblance of a topic sentence, the writer rushing headlong, even following event in rapid succession. The break between such paragraphs merely serves the purpose of a rhetorical pause, throwing into prominence some detail of the action.

In general, remember that paragraphing calls for a good eye as well as a logical mind. Enormous blocks of print look formidable to readers, who are often reluctant to tackle them. Therefore, breaking long paragraphs in two, even if it is not necessary to do so for sense, meaning, or logical development, is often a visual help. But remember, too, that firing off many short paragraphs in quick succession can be distracting. Paragraph breaks used only for show read like the writing of commerce or of display advertising. Moderation and a sense of order should be the main considerations in paragraphing.”

Excerpted from: Strunk, William Jr., and E.B. White. The Elements of Style, Fourth Edition. New York: Longman, 2000.

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A Lesson Plan on the Possessive Case of Nouns

Posted on April 14, 2020 | Leave a comment

Last but not least this morning, here is a lesson plan on the possessive case of nouns. I open this lesson with this Cultural Literacy worksheet on the grim reaper, a subject which rarely fails to elicit student interest right at the beginning of a class period. Here is a learning support on this area of grammar and punctuation. This scaffolded worksheet is the centerpiece of this lesson; finally, here is the teacher’s copy of the worksheet.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

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Elementary Principles of Composition: Choose a Suitable Design and Hold to It.

Posted on April 14, 2020 | Leave a comment

[If you would like this passage as a learning support in Microsoft Word, it’s under that hyperlink.]

“12. Choose a suitable design and hold to it.

 A basic structural design underlies every kind of writing. Writers will in part follow this design, in part deviate from it, according to their skills, their needs, and the unexpected events that accompany the act of composition. Writing, to be effective, must follow closely the thoughts of the writer, but not necessarily in the order in which those thoughts occur. This calls for a scheme of procedure. In some cases, the best design is no design, as with a love letter, which is simply an outpouring, or with a casual essay, which is a ramble. But in most cases, planning must be a deliberate prelude to writing. The first principle of composition, therefore, is to foresee or determine the shape of what is to come and pursue that shape.

A sonnet is built on a fourteen-line frame, each line containing five feet. Hence, sonneteers know exactly where they are headed, although they may not know how to get there. Most forms of composition are less clearly defined, more flexible, but all have skeletons to which the writer will bring the flesh and blood. The more clearly the writer perceives the shape, the better are the chances of success.”

Excerpted from: Strunk, William Jr., and E.B. White. The Elements of Style, Fourth Edition. New York: Longman, 2000.

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A Lesson Plan on the Compound Noun

Posted on April 10, 2020 | Leave a comment

Alright, moving right along, here is a lesson plan on the compound noun and its use in declarative sentences. I open this lesson with the Everyday Edit worksheet on National Public Radio (and as I will never stop saying every time I post an Everyday Edit worksheet, the generous proprietors of Education World will let you walk away from their site with a yearlong supply of these worksheets free of charge). This scaffolded worksheet at the center of the lesson will take most of your time in helping students master this point of grammar and usage. I made this teacher’s copy of the worksheet to make sure I taught the material consistently. Finally, here is the learning support, a word bank, to help move the work along.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

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A Participial Phrase at the Beginning of a Sentence Must Refer to the Grammatical Subject.

Posted on April 7, 2020 | Leave a comment

[If you want this as a learning support in Microsoft Word, it’s under that hyperlink.]

“11. A participial phrase at the beginning of a sentence must refer to the grammatical subject.

Walking slowly down the road, he saw a woman accompanied by two children.

The word walking refers to the subject of the sentence, not to the woman. To make it refer to the woman, the writer must recast the sentence.

He saw a woman, accompanied by two children, walking slowly down the road.

Participial phrases preceded by a conjunction or by a preposition, nouns in apposition, adjectives, and adjective phrases come under the same rule if they begin the sentence.

On arriving in Chicago, his friends met him at the station.

On arriving in Chicago, he was met at the station by his friends.

A soldier of proved valor, they entrusted him with the defense of the city.

A soldier of proved valor, he was entrusted with the defense of the city.

Young and inexperienced, the task seemed easy to me.

Young and inexperienced, I thought the task was easy.

Without a friend to counsel him, the temptation proved irresistible.

Without a friend to counsel him, he found the temptation irresistible.

Sentences violating Rule 11 are often ludicrous:

Being in a dilapidated condition, I was able to buy the house very cheap.

Wondering irresolutely what to do next, the clock struck twelve.”

Excerpted from: Strunk, William Jr., and E.B. White. The Elements of Style, Fourth Edition. New York: Longman, 2000.

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A Lesson Plan on Using the Predicate Pronoun

Posted on April 7, 2020 | Leave a comment

Here is a lesson plan on using the predicate pronoun.

I open this lesson with this Everyday Edit worksheet on Anne Frank (and you can help yourself to a yearlong supply of these worksheets courtesy of the good people at Education World). Here is a learning support on pronouns to assist students in developing their own understanding of these words and their use in declarative sentences. This scaffolded worksheet is the center of this lesson; here is the teacher’s copy of the worksheet.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

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Posted in English Language Arts, Independent Practice, Lesson Plans, Reference, The Weekly Text, Worksheets

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Use the Proper Case of Pronoun.

Posted on March 31, 2020 | Leave a comment

[If you need this as a learning support in Microsoft Word it’s under that hyperlink.]

“10. Use the proper case of pronoun.

 The personal pronouns, as well as the pronoun who, change form as they function as subject or object.

Will Jane or he be hired, do you think?

 The culprit, it turned out, was he.

 We heavy eaters would rather walk than ride.

 Who knocks?

 Give this work to whoever looks idle.

In the last example, whoever is the subject of looks idle; the object of the preposition to is the entire clause whoever looks idle. When who introduces a subordinate clause, its case depends on its subject in that clause. (N.B. The first two sentences are incorrect, the second two are correct.)

Virgil Soames is the candidate whom we think will win.

Virgil Soames is the candidate who we hope to elect.

Virgil Soames is the candidate who we think will win [We think he will win.]

Virgil Soames is the candidate whom we hope to elect. [We hope to elect him.]

A pronoun in a comparison is nominative if it is the subject of a stated or understood verb.

Sandy writes better than I. (Than I write.)

In general avoid “understood” verbs by supplying them.

I think Horace admires Jessica more than I.

I think Horace admires Jessica more than I do.

Polly loves cake more than me.

Polly loves cake more than she loves me.

The objective case is correct in the following examples.

The ranger offered Shirley and him some advice on campsites.

They came to meet the Baldwins and us.

Let’s talk it over between us, then, you and me.

Whom should I ask?

A group of us taxpayers protested.

Us in the last example is in apposition to taxpayers, the object of the preposition of. The wording, although grammatically defensible, is rarely apt. “A group of us protested as taxpayers” is better, if not exactly equivalent.

Use the simple personal pronoun as subject. (N.B. The first sentence is incorrect, the second sentence is correct.)

Blake and myself stayed home.

Blake and I stayed home.

Howard and yourself brought the lunch, I thought.

Howard and you brought the lunch, I thought..

The possessive case of pronouns is used to show ownership. It has two forms: the adjectival modifier, your hat, and the noun form, a hat of yours.

The dog has buried one of your gloves and one of mine in the flower bed.

Gerunds usually require the possessive case.

Mother objected to our driving on the icy roads.

A present participle as a verbal, on the other hand, takes the objective case.

They heard him singing in the shower.

The difference between a verbal participle and a gerund is not always obvious, but note what is really said in each of the following.

Do you mind me asking a question?

Do you mind my asking a question?

In the first sentence, the queried objection is to me. As opposed to other members of the group, asking a question. In the second example, the issue is whether a question may asked at all.”

Excerpted from: Strunk, William Jr., and E.B. White. The Elements of Style, Fourth Edition. New York: Longman, 2000.

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A Lesson Plan on Using the Predicate Adjective

Posted on March 30, 2020 | Leave a comment

Here is a lesson plan on using the predicate adjective in short, declarative sentences. The syntax of these kinds of short sentences, which is subject-linking verb-adjective, is one of the most common constructions in English speech and prose. For that reason, I have included a lesson on the predicate adjective on each of the first three units on parts of speech, to wit nouns, verbs, and adjectives, that I wrote about ten years ago and have revised ever since.

That’s a long way around explaining that you will see lessons on using the predicate adjective in grammatically complete declarative sentences at least a couple of more times.

In any case, I open this lesson with this worksheet on the homophones compliment and complement. Because the noun complement is often used as a synonym for predicate in grammar manuals, and I think it’s important that students know how to use grammar manuals, I want them to know this word. This scaffolded worksheet is the mainstay of this lesson; here is the teachers’ copy of it. Finally, here is an adjectives word bank. Please notice  that this document has four copies of the same word list–it’s meant to be cut in four pieces in a paper-saving measure.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

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The Number of the Subject Determines the Number of the Verb

Posted on March 25, 2020 | Leave a comment

[If you want this as a learning support in Microsoft Word, it’s under that hyperlink.]

The number of the subject determines the number of the verb.

 Words that intervene between subject and verb do not affect the number of the verb. (Addendum: The second sentence is the correct one.)

The bittersweet flavor of youth—its trials, its joys, its adventures, its challenges—are not soon forgotten.

The  bittersweet flavor of youth—its trials, its joys, its adventures, its challenges—is not soon forgotten.

A common blunder is the use of a singular verb form in a relative clause following “one of…” or similar expression when the relative is the subject. (Addendum: The second sentence is the correct one.)

One of the ablest scientists who has attacked this problem.

One of the ablest scientists who have attacked this problem.

One of those people who is never ready on time.

One of those people who are never ready on time.

Use a singular verb after each, either, everyone, everybody, neither, nobody, someone.

Everybody thinks he has a unique sense of humor.

Although both clocks strike cheerfully, neither keeps good time.

With none, use the singular verb when the word means “no one” or “not one.”

None of us are perfect (Wrong)

None of us is perfect.

A plural verb is commonly used when none suggests more than one thing or person.

None are so fallible as those who are sure they’re right.

A compound subject formed of two or more nouns joined by and almost always requires a plural verb.

The walrus and the carpenter were walking close at hand.

But certain compounds, often clichés, are so inseparable they are considered a unit and so take a singular verb, as do compound subjects qualified by each or every.

The long and short of it is…

Bread and butter was all she served.

Give and take is essential to a happy household.

Every window, picture and mirror was smashed.

A singular subject remains singular even if other nouns are connected to it by with, as well as, in addition to, except, together with, and no less than.

His speech as well as his manner is objectionable.

A linking verb agrees with the number of its subject.

What is wanted is few more pairs of hands.

The trouble with truth is its many varieties.

Some nouns that appear to be plural are usually construed as singular and given a singular verb.

Politics is an art, not a science.

The Republican Headquarters is on this side of the tracks.

But

The general’s quarters are across the river.

In these cases the writer must simply learn the idioms. The contents of a book is singular. The contents of a jar may be either singular or plural, depending on what’s in the jar—jam or marbles.

Excerpted from: Strunk, William Jr., and E.B. White. The Elements of Style, Fourth Edition. New York: Longman, 2000.

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