Everything You Need to Ace English Language Arts in One Big Fat Notebook

contrast, 110. See also compare and contrast in plots, 219
contrasting characters, 197-199 The Diamond as Big as the Ritz

to create humor, 198 (F. Scott Fitzgerald), 230-231, 234
to create suspense, 199 Dickens, Charles
coordinating conjunction, 10-11
counterargument, 325-327 A Christmas Carol, 99, 175, 232-234
counterclaims, 325 Oliver Twist, 182, 183, 295-297
in arguments, 433 Dickinson, Emily, 269, 271
transition words or phrases for, 438 dictionary, 85-87
The Count of Monte Cristo pronunciation symbols in, 90-91
(Alexandre Dumas), 121-125 distinctions, 362
credibility of sources, 385-386 Dodge, Washington, 387-390
credible (term), 385 domain-specific vocabulary, 463
The Crossover (Kwame Alexander), 278 Don Juan (Lord Byron), 371
culture, 167 Don Quixote (Miguel Cervantes), 157-163
A Double Story (George MacDonald), 253
D Doyle, Sir Arthur Conan, 332
draft, 410-413
dangling modifiers, 8 revising, 411-413
dashes drama, 134
multi-act plays, 134, 137
for parenthetical elements, 420 one-act plays, 134
for pauses and breaks, 420 and plot, 209
D’Aulaires’ Book of Greek Myths (Ingri screenplays, 134
and Edgar Parin d’Aulaire), 373 drama (in a story), 210
definition(s), 86 Draper, Sharon M., 275
in developing expository writing, 460 drawing an inference, 157-160
in dictionary, 86-87 Dumas, Alexandre, 121
in glossary, 87-88 DuPrau, Jeanne, 275
in organizing expository writing, 456 dynamic characters, 192, 193
denotation(s), 120-125
of synonyms, 122-123 E
denotative (term), 307
dependent clauses, 6-7 Echo (Pam Muñoz Ryan), 274
description economic accounts, 285
in biographies, 359 edit/editing, 411
as narrative technique, 482-483
in plot, 220 first draft, 411-413
description structure, 354 effect, 108
purpose of, 357
signal words indicating, 357 in cause/effect relationships, 108-109
details ellipsis, 421
in developing expository writing, 460 Ender’s Game (Orson Scott Card), 276
hints of theme in, 229 Engle, Margarita, 374
development Epic of Gilgamesh (William Muss-Arnolt),
audience in, 403-405
of characters, 477 261
questions to ask in, 403 epic poetry, 135, 138, 261
stages of, 402 epistles, 285
in writing, 402-403 essays, 284
dialogue
as narrative technique, 481 personal, 284
ethos, 341
“Eugenics and Other Evils” (G. K. Chesterton),

326-327
evaluating arguments, 344-347

492

evidence, 155 genres of, 130-141
in arguments, 345-346, 359, 360, 432, objective summary, 145-151
445-446 plot, 209-220
conflicting, 325-327 poetry, 255-267
in developing arguments, 338-341 reading lists, 273-279
in developing topic of expository setting, 175-183
writing, 459 textual analysis and evidence,
evaluating, 345-346
explicit, 155-160, 266, 306, 307, 309 155-163
in fiction, 151, 155-163 theme, 225-235
implicit, 156-157, 266, 306, 307, 309 tone, 241-250
irrelevant, 345-346, 445, 459 figurative language, 96-102
in nonfiction, 303-311 allusion, 98-100
relevant, 345-346, 445, 459 figures of speech, 96-97
supporting, 359, 445-446 personification, 98
textual, 155 puns, 102
transition words or phrases for, 436 in setting tone, 243
verbal irony, 101
examples, in expository writing, 460, 461 figurative meaning, tone and, 341
experiencing literature figures of speech, 96-97
“Fire and Ice” (Robert Frost), 269
nonfiction, 293 first draft, 410
ways of, 139-141 revising, 411-413
explanatory writing, 455. See also first-person narrator, 194-195, 472, 474
expository writing first-person point of view
explicit evidence, 155-160, 266, 306, in fiction, 194-195
307, 309 in nonfiction, 315
exposition, in plot development, 210, 211, 218 Fitzgerald, F. Scott, 230-231, 234
expositions (nonfiction), 284 flat characters, 190, 193
expository writing, 454-463 Fleming, Candace, 374
developing the topic, 459-461 Fontaine, Matt, 375
domain-specific vocabulary in, 463 form, poetic, 264
explanatory writing, 455 formatting, of expository writing, 457
informative writing, 455 Forster, E. M., 190, 237
introducing the topic, 459 Frankenstein, or the Modern Prometheus
making conclusions in, 461-462 (Mary Wollstonecraft Shelley), 238
organization of, 456-458 Franklin, Benjamin, 69-71
transitional phrases and signal words Freedman, Russell, 372
free verse, 135, 258
in, 462 Freytag, Gustav, 210
Freytag’s Pyramid, 210, 211
F Friday Night Lights (H. G. Bissinger), 376
Frost, Robert, 269
factual, 284 “The Fundamental Principle of a Republic”
biography as, 287 (Anna Howard Shaw), 339-340

falling action, in plot development, 210, G
211, 218
genres, 130
fantasy stories, 132 argument, 284
Farmer, Nancy, 278 biography, 283, 287-288, 291
“A Farm Picture” (Walt Whitman), 258 differences between, 136-139, 288-292
fiction, 129
493
authorship and narration, 167-171
characters, 187-205
comparing nonfiction and, 293-298

drama, 134 H
economic account, 285
epistle, 285 Hamlet (William Shakespeare), 262
essay, 284 hardboiled novels, plots from, 212
exposition, 284 Harry Potter series (J. K. Rowling), 189
of fiction, 130-141 headline, 358
historical account, 285 Henry, Patrick, 322-324
journalism, 284, 286, 289 historical accounts, 285
literary nonfiction, 283, 286-287, historical fiction, 131
Hitler Youth (Susan Campbell Bartoletti),
290
memoir, 283, 287, 288, 292 376
of nonfiction, 282-298 The Hobbit (J.R.R. Tolkien), 279
opinion piece, 284 Holes (Louis Sachar), 274
personal essay, 284 Homer, 188
poetry, 135 The House Behind the Cedars
scientific account, 285
speech, 285 (Charles W. Chesnutt), 164
story, 131-133 The House of the Scorpion (Nancy
technical account, 285
George, Jean Craighead, 277 Farmer), 278
gerund phrases, 40 “How Do I Love Thee?” (Elizabeth
gerunds, 39-40
present participles vs., 43 Barrett Browning), 263
Gibbins, Henry de B., 294, 297 How They Choked (Georgia Bragg), 373
Gilgamesh, The Epic of (William How to Turn $100 into $1,000,000
Muss-Arnolt), 261
Glista, Jeannine, 375 (James McKenna and Jeannine Glista,
glossary, 87-88 with Matt Fontaine), 375
Go: A Kidd’s Guide to Graphic Design humor, 198
(Chip Kidd), 377
Gorky, Maxim, 316-319 I
grammar, 1
active and passive verbs, 49-53 iamb, 262
affixes and roots, 75-80 iambic pentameter, 262
context, 67-71 I Am Malala (Malala Yousafzai), 377
moods of verbs, 57-63 imperative verbs, 58
phrases and clauses, 2-13 implicit evidence, 156-157, 266, 306,
pronouns, 17-26, 31-35
reference materials, 85-91 307, 309
revising writing for, 412, 413 important ideas, transition words or
and style, 419-421
verbals, 39-45 phrases signaling, 442
graphic novels, 133 inappropriate shifts, 22-23
graphics, in expository writing, 458
The Great American Dust Bowl wrong case, 23
(Don Brown), 375 wrong number, 22
Great Astronomers: Galileo Galilei independent clauses, 6
(Robert Stawell Ball), 367 indicative verbs, 58, 64
Greek prefixes and suffixes, 78-80 An Industrial History of England
grounds, in arguments, 359 (Henry de B. Gibbins), 294, 297
inference, 157-160, 306, 307
494 infinitive phrases, 45
infinitives, 44-45
informal style, 414
informative writing, 455. See also expository
writing
intensive pronouns, 31-35
intention, 120
and nuance, 119-120

Internet publications, publishing writing literary nonfiction, 283, 286-287, 290
in, 427 characteristics of, 290
structure of, 286-287
interpretation, 243
interrogative verbs, 58 literary sources, 383
introduction literature, ways of experiencing, 139-141
live experiences of literature
in arguments, 359
in biographies, 359 fiction, 140
irony, 101 nonfiction, 293
verbal, 101 logos, 341
irrelevant evidence, 345 London, Jack, 362-365
in arguments, 345-346, 445 Lord of the Rings (J.R.R. Tolkien), 227
in developing topic of expository lyric/lyrical poetry, 135, 138, 257, 259

writing, 459 M
“I Wandered Lonely as a Cloud”
Macaulay, David, 375
(William Wordsworth), 178-180 MacDonald, George, 253
magazines, publishing writing in, 427
J main character, 188
main points, in arguments, 359
Jacobs, Joseph, 215-217 Masefield, John, 260
Jane Eyre (Charlotte Brontë), 201, 202, Maus (Art Spiegelman), 377
McKenna, James, 375
204-205 mediums (media), 380
Janet: A Twin (Dorothy Whitehill), 207
Japanese Fairy Tales (Yei Theodora Ozaki), for publishing writing, 427
Meigs, Cornelia, 165
148-149 Melville, Herman, 173, 194
jargon, 463 memoirs, 283, 287, 288, 292
journalism, 284, 286, 289
characteristics of, 291
characteristics of, 289 point of view in, 315
point of view in, 315 structure of, 288
structure of, 286 Metamorphoses (Ovid), 214
metaphors, 248
K meter, 135
A Midsummer Night’s Dream
Keats, John, 259 (William Shakespeare), 255
Keller, Helen, 304-306 misplaced modifiers, 7-8
key individuals and events, 362-367 MLA format, 392-394
Kidd, Chip, 377 Moby Dick (Herman Melville), 173, 194
Modern Language Association (MLA)
L citation guide, 392-394
modifiers
language, 95 dangling, 8
connotative, 244 misplaced, 7-8
figurative, 96-102, 243 monologues, 140
literal, 96 Montgomery, L. M., 279
nuances in word meanings, 119-125 mood of stories, 198-199
word relationships, 107-115 moods of verbs, 57-63
conditional, 59-63
Latin prefixes and suffixes, 78-80 imperative, 58
lead (lede), 358 indicative, 58, 64
Lee, Harper, 189, 228
L’Engle, Madeleine, 227 495
Lincoln: A Photo-Biography (Russell

Freedman), 372
literal language, 96
literary allusions, 99

interrogative, 58 style in, 473
subjunctive, 59-63 narrator(s), 169, 472-474
switching, 62-63
more to come, transition words or authors vs., 169-171
phrases signaling, 440 as character, 194
Mr. Smith Goes to Washington (movie), 213 first-person, 194-195, 472, 475
multi-act plays, 134, 137 point of view, 194-197
multimedia elements, in expository second-person, 195, 472, 475
writing, 458 third-person, 195, 472, 475
multimedia experiences of literature trustworthy, 474
fiction, 141 unreliable, 171
nonfiction, 293 untrustworthy, 474
multiple sources, 386-390 Nelson, Vaunda Micheaux, 372
Muss-Arnolt, William, 261 news articles
My Fair Lady (musical), 214 characteristics of, 329
myself, 34 major sections of, 358, 361
My Side of the Mountain (Jean Craighead structure of, 358
George), 277 news outlets, publishing writing in, 427
mystery stories, 132, 137 nonfiction, 281
mythological allusions, 100 arguments, 284, 337-349
mythology, 100 authorship, 315-331
myths, 132 biographies, 283, 287-288, 291
classic plots from, 212, 214 central ideas, 335-337
Hercules, 228 comparing fiction and, 293-298
differences among genres, 288-292
N economic accounts, 285
epistles, 285
Naidu, Sarojini, 257 essays, 284
narration evidence in, 306-310
experience of, 293
in fiction, 167-171, 472 expositions, 284
point of view, 194-197, 472 genres of, 282-298
narration style, 472-475 historical accounts, 285
choosing, 475 journalism, 284, 286, 289
objective, 473 literary, 283, 286-287, 290
subjective, 473 memoirs, 283, 287, 288, 292
narrative poems, 256 opinion pieces, 284
narratives, 469 personal essays, 284
narrative techniques, 481-483 reading list for, 371-377
description, 482-483 scientific accounts, 285
dialogue, 481 speeches, 285
pacing, 481-482 structures in, 353-367
word choice, 483 technical accounts, 285
narrative writing, 469-485 textual analysis and evidence,
characters or actors in, 476-478
choosing narration style in, 473-475 303-311
conclusion in, 484-485 nonfiction sources, 384
context and/or setting in, 470-471 noun clause, 5, 7
elements in, 469 noun phrases, 2, 3
narrative techniques, 481-483 nouns, 3
narrators in, 472-474
plot in, 479-480 phrases acting like, 2, 3
singular and plural, 22
496

novels, hardboiled, 212 parenthetical elements, punctuation of,
nuance(s), 119-125 419-420

and denotation or connotation, Parin d’Aulaire, Edgar, 373
120-125 Parin d’Aulaire, Ingri, 373
Park, Linda Sue, 277
and intention, 119-120 parody, 132
number, wrong, 22 part and whole relationships, 114-115
participle phrases, 42-43
O participles, 41-43
passive voice/passive verbs, 49-53
objective (term), 146 past participle, 41
objective narration style, 473 pathos, 341
objective pronouns, 19-20 personal essays, 284
objective summary, 146 The Personal Recollections of St. Joan

of fiction, 145-151 of Arc (Mark Twain), 313
of nonfiction, 303-306 personification, 98
writing, 150-151 perspective of authors, 167-169,
object of a sentence, 19
“Ode on a Grecian Urn” (John Keats), 259 316-319
odes, 259 Peter Pan (J. M. Barrie), 181, 183
“Ode to H.H. the Nizam of Hyderabad” Peter Pan, or the Boy Who Wouldn’t
(Sarojini Naidu), 257
The Odyssey (Homer), 188 Grow Up (J. M. Barrie) (play), 192
Okay for Now (Gary D. Schmidt), 276 phrases, 2-4
Oliver Twist (Charles Dickens), 182, 183,
295-297 in compound and complex sentences,
“On a River Steamer” (Maxim Gorky), 9-13
316-319
one-act plays, 134 dangling modifiers, 8
opinion pieces, 284 difference between clauses and, 5
order, transition words or phrases gerund, 40
signaling, 443 infinitive, 45
organization misplaced modifiers, 7-8
of argumentative writing, 433-435 participle, 42-43
of expository writing, 456-458 in simple sentences, 9
for planning writing, 406-407 transition phrases, 436-443
in revising your outline, 410 verbal, 39-45
outlining writing, 408-410 plagiarism, 390-391
example of, 409 planning for writing, 405-410
revising outline, 410-411 brainstorming, 405-406
Out of My Mind (Sharon M. Draper), 275 organization, 406-407
Ovid, 214 outlining, 408-410
Ozaki, Yei Theodora, 148-149 plot change/plot twist, 200
character and, 200-201
P plot diagram, 214-215
plotlines, 209, 210
pacing, 290, 481-482 plot pyramid, 218
Palacio, R. J., 275 plot(s)
paraphrase, 159 basic sequence in, 210-211
characters in, 219
in objective summary of fiction, 146-148 classic, 212-214
in objective summary of nonfiction, creating, 214-220, 480
defined, 200, 209, 211
305-306 description in, 220
parentheses, 419-420
497

dialogue in, 219 reflexive, 33
in fiction, 209-220 subjective, 18-19
Freytag’s Pyramid, 210, 211 vague, 24-25
in narrative writing, 479-480 wrong case, 23
scenes in, 214-218 wrong number, 22
sequence of, 209-210 pronunciation, 86
plot structure, in narrative writing, 479 in dictionary, 86-87, 90
plural, 22 in glossary, 87-88
poetry, 135 pronunciation guide, 90-91
analyzing, 264-267 prose, 281
ballad, 260 protagonist, 188, 193
epic, 135, 138, 261 publishing your writing, 426-427
as fiction, 255-267 punctuation
free verse, 135, 258 commas, 419, 420
lyric, 135, 138 dashes, 420
lyrical, 257 ellipsis, 421
meter, 135 parentheses, 419-420
narrative, 256 of parenthetical elements, 419-420
ode, 259 for pauses and breaks, 420-421
sonnets, 262-263 revising writing for, 412, 413
stanzas, 179 and style, 419-421
point of view (POV) puns, 102
factors impacting, 315 Purple Hibiscus (Chimamanda Ngozi
of fiction narrators, 194-197 Adichie), 228
first-person, 194-195, 472, 475 purpose. See also author’s purpose
of nonfiction authors, 315 in development of writing, 403
third-person, 195-196, 472, 475 in organizing writing, 407
third-person omniscient, 196 in revising first draft, 411-412
possessive pronouns, 21 in revising your outline, 410
Pratchett, Terry, 274 style appropriate for, 417
precise writing, 425
in developing expository writing, 460 Q
in narrative writing, 483
prefixes, 77-80 questions for further research, 396-397
prepositional phrases, 2, 3 quotations
prepositions, 2
phrases acting like, 2, 3 citation of, 395
present participles, 41, 43 in developing expository writing,
problem and solution structure, 354
purpose of, 356 460, 461
signal words indicating, 356 with ellipsis, 421
process structure, 354
purpose of, 355, 356 R
signal words indicating, 355, 356
pronouns, 17-26, 31-35 Radioactive! (Winifred Conkling), 376
compound, 25-26 Raskin, Ellen, 279
inappropriate shifts with, 22-23 reading lists
intensive, 31-35
objective, 19-20 fiction, 273-279
possessive, 21 nonfiction, 371-377
realistic stories, 133
498 reason/reasoning, 338
in arguments, 338-341, 360, 432
sound, 344-346, 349
unsound, 344

reasons Rowling, J. K., 189
in supporting claims of arguments, 446 Ryan, Pam Muñoz, 274
transition words or phrases for, 437
S
rebuttal of claims, 447
recipe writing, 417 sacred texts, classic plots from,
redundancy, 424-425 212, 213
reference materials, 85-91
Sailing Alone Around the World
dictionary, 85-87, 90-91 (Joshua Slocum), 308-311
glossary, 87-88
pronunciation guide, 90-91 satire, 133
thesaurus, 88-89 scenes, 214-218
reflexive pronouns, 33
refocusing research, 397 hints of theme in, 229
refuting claims, 447 Schmidt, Gary D., 276
relevant evidence, 345 science fiction, 132
in arguments, 345-346 scientific accounts, 285
in developing topic of expository screenplays, 134
secondary characters, 188, 193
writing, 459 second-person narrator, 195, 472, 475
in supporting claims of arguments, 445 The Secret Garden (Frances Hodgson
religious works, classic plots from, 212, 213
repetition, 246-247 Burnett), 201-205, 227
repetitive sentence structure, 422 sensory (term), 482
research, 380 sensory information, 482-483
citations, 390-395 sentences
mediums, 380
plagiarism, 390-391 compound and complex, 9-13
questions for further research, 396-397 compound complex, 13
refocusing, 397 hints of theme in, 229
research question, 381-382 object of, 19
sources, 380, 383-390 phrases and clauses in, 9-13
for writing, 380-397 simple, 9
research question, 381-382 subject of, 18
resolution, 210 sentence structure
in plot development, 209-211, 218 repetitive, 422
revising, 410-413 varied, 423
rhetorical force, 97 sequence, transition words or phrases
rhyme, in setting tone, 246-247 signaling, 443
rising action, in plot development, 210, setting(s), 175
211, 218 in different types of texts, 181-193
The Road (Jack London), 362-365 in fiction, 175-183
romance stories, 131, 212 information about, 175
Romeo and Juliet (William Shakespeare), questions answered by, 178
102, 213 setting the scene, 176-181
A Room of One’s Own (Virginia Woolf), 273 in writing narratives, 470-471
A Room with a View (E. M. Forster), 237 setting the scene, 176-181
roots, 75-80 Shakespeare, William
and prefixes, 77-80 Hamlet, 262
and suffixes, 77-80 A Midsummer Night’s Dream, 255
Rosetti, Christina, 265-266 As You Like It, 113
round characters, 190, 193 Romeo and Juliet, 102, 213
Shaw, Anna Howard, 339-340
Sheinkin, Steve, 374
Shelley, Mary Wollstonecraft, 238

499

Shutes, Elizabeth, 386-387, 389-390 science fiction, 132
signal words. See also transition words traditional, classic plots from, 212
well-written, 418
or phrases storyboarding, 214
in expository writing, 462 in building plot, 214-215
indicating structure, 355-357 The Story of My Life (Helen Keller),
304-306
similes, 248 strength, revising writing for, 412, 413
simple sentence, 9 structure, 353
since, 109 of biographies, 287-288
A Single Shard (Linda Sue Park), 277 cause and effect, 354
singular, 22 chronological, 354
slightly formal style, 414 compare and contrast, 353, 355, 457
Slocum, Joshua, 308-311 description, 354
so, 108 of expository writing, 456-457
sonnets, 262-263 in journalism, 286
sound reasoning, in arguments, 344-346, 349 key individuals and events, 362-367
sources, 380, 383-390 in literary nonfiction, 286-287
major sections of a piece, 358-361
credibility of, 385-386 in memoirs, 288
literary, 383 in nonfiction, 353-367
multiple, 386-390 problem and solution, 354
nonfiction, 384 process, 354
Speare, Elizabeth George, 277 signal words indicating, 355-357
specifics, citation of, 393-395 style in writing, 414-425
speeches, 285 and audience, 418
characteristics of, 329 grammar and punctuation for, 419-421
formality/informality of, 416 informal, 414
Fulton Day at Jamestown (Mark Twain), and purpose, 417
slightly formal, 414
317-319 and task, 416
“The Fundamental Principle of a tips for, 422-425
subjective narration style, 473
Republic” (Anna Howard Shaw), subjective pronouns, 18-19, 146
339-340 subjective summary, 146, 148-149
at St. John’s Church (Patrick Henry), subject of a sentence, 18
322-324 subjunctive verbs, 59-63
Spiegelman, Art, 377 subordinating conjunctions, 12-13
stanza, 179 “Success” (Emily Dickinson), 269, 271
static characters, 192, 193 suffixes, 77-80
stock characters, 190 summary, 146
stories objective, 145-151, 303-306
adventure, 131, 136 subjective, 146, 148-149
allegory, 133 supporting evidence, 359
fantasy, 132 The Surrender Tree (Margarita Engle), 374
genres, 131-133 suspense, 199
graphic novel, 133 sympathetic characters, 191, 193
historical fiction, 131 sympathy, 191
interconnected elements of, 187 synonyms, 110-111
mystery, 132, 137 connotations of, 122-123
myth, 132
parody, 132
realism, 133
romance, 131
satire, 133

500

T and connotative language, 244
consistent, 422
tables, in expository writing, 458 in fiction, 241-250
task and figurative language, 243
and rhyme and repetition, 246-247
in development of writing, 403 setting the, 243-250
in organizing writing, 406 and similes and metaphors, 248
in revising first draft, 411-412 and word choice, 245
in revising your outline, 410 topics in expository writing
style appropriate for, 416 developing, 459
technical accounts, 285 introducing, 459
textual analysis, 155 Tracking Trash (Loree Griffin Burns), 372
best evidence in, 310-311 traditional stories, classic plots from, 212
evidence in nonfiction text, 306-310 transition words or phrases
of fiction, 155-163 in argumentative writing, 436-443
of nonfiction, 303-311 for conclusions, 439
objective summary, 145-151, 303-306 for counterclaims, 438
textual evidence, 155 for evidence, 436
Thackery, William Makepeace, 252 in expository writing, 462
Thayer, Ernest L., 256 for reasons, 437
theme(s), 225 to signal change, 441
classic, 227-228 to signal important ideas, 442
coexistence of good and bad in a to signal more to come, 440
to signal order or sequence, 443
person/the world, 228 trustworthy narrators, 474
dealing with loss, 227 Turner, Megan Whalen, 278
in fiction, 225-235 Twain, Mark
importance of family, 227 The Adventures of Huckleberry Finn, 170
importance of love and friendship, 227 The Personal Recollections of St. Joan
learning to be a hero, 228
similar, in different texts, 232-235 of Arc, 313
topic vs., 226 speech on Fulton Day at Jamestown,
what it means to grow up, 228
where to find, 229-231 317-319
thesaurus, 88-89
The Thief (Megan Whalen Turner), 278 U
third-person narrator, 195, 196, 472, 475
third-person omniscient point of view, 196 unreliable narrator, 171, 474
third-person point of view, 195-196 unsound reasoning, 344
“A Thirsty Crow” (Aesop’s Fable), 153 unsympathetic characters, 191, 193
“A Thirsty Pigeon” (Aesop’s Fable), 153 untrustworthy narrators, 171, 474
Thoreau, Henry David, 301
Through the Magic Door (Sir Arthur V
Conan Doyle), 332
Titanic eyewitness accounts vague pronouns, 24-25
Elizabeth Shutes, 386-387, 389-390 Vanity Fair (William Makepeace
Washington Dodge, 387-390
To Kill a Mockingbird (Harper Lee), 189, 228 Thackery), 252
Tolkien, J.R.R., 227, 279 varied sentence structure, 423
Tolstoy, Leo, 175 verbal irony, 101
tone, 241 verbal phrases, 39-45
and allusions, 249
in arguments, 341-343 gerunds, 39-40
infinitives, 44-45
participles, 41-43
verbals, 39-45

501

verb phrases, 3, 4 items and categories, 109
verbs, 4 and meaning of words, 107-108
synonyms and antonyms, 110-111
active, 49-53 Wordsworth, William, 178-180
conditional, 59-63 A Wrinkle in Time (Madeleine L’Engle), 227
imperative, 58 writing, 379, 410
indicative, 58, 64 arguments, 432-447
interrogative, 58 audience in, 404-405
moods of, 57-63 development in, 402-403
passive, 49-53 expository, 454-463
subjunctive, 59-63 narrative, 469-485
viewpoints, conflicting, 325-327 planning for, 405-410
Vindication of the Rights of Women publishing, 426-427
(Mary Wollstonecraft), 333 researching for, 380-397
visual experiences of literature revising first draft, 411-413
fiction, 140 style in, 414-425
nonfiction, 293 wrong case, 23
voice, 49-53 wrong number, 22
choosing, 52
making passive verbs, 51 Y
shifting, 53
Yang, Gene Luen, 276
W yourself, 34-35
Yousafzai, Malala, 377
Walden (Henry David Thoreau), 301
War and Peace (Leo Tolstoy), 175
warrants, in arguments, 359
The Way Things Work (David

Macaulay), 375
websites, citation of, 393, 394
The Wee Free Men (Terry Pratchett), 274
The Westing Game (Ellen Raskin), 279
West Side Story (musical), 213
Whitehill, Dorothy, 207
Whitman, Walt, 258
Wicked (musical), 190
The Windy Hill (Cornelia Meigs), 165
The Witch of Blackbird Pond

(Elizabeth George Speare), 277
The Wizard of Oz (L. Frank Baum), 175, 190
Wollstonecraft, Mary, 333
Wonder (R. J. Palacio), 275
Woodson, Jacqueline, 373
Woolf, Virginia, 273
word choice

in arguments, 342
in narrative writing, 483
and tone, 245, 341, 342
wordiness, 424
word relationships, 107-115
analogy, 112-115
cause/effect, 108-109

502