Structure and Style

Overview
Blackline Masters

Second Edition
© 2015 Institute for Excellence in Writing, L.L.C.
Also by Andrew Pudewa

Advanced Communication Series Student Writing Intensive Continuation

Course, Levels A, B, C
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Student Writing Intensive, Levels A, B, C
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Video Course with Seminar and Practicum
On Listening, Speaking, Reading, and Writing Workbook
Phonetic Zoo Spelling, Levels A, B, C The Profound Effects of Music on Life
Speech Boot Camp The Two Andrews: On Writing and Teaching
Writing

Copyright Policy
Structure and Style Overview
Second Edition, July 2015
Copyright © 2001, 2010, 2015 Andrew Pudewa
ISBN 978-1-62341-242-5
All rights reserved.
No part of this book may be reproduced, stored in a retrieval system, or transmitted in any
form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without
the prior written permission of the author, except as provided by U.S.A. copyright law and the
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Contents
Acknowledgements 4
Overview 5
The Structural Models 7
Unit 1: Note Making and Outlines 8
Unit 1 Modeling: Booklice 11
Unit 2: Writing from Notes 12
Modeling Checklist 14
Writing from Notes 15
Stylistic Techniques 16
Stylistic Techniques Chart 17
-ly Adverbs 18
Banned Verbs and Alternatives 20
Banned Adjectives and Alternatives 22
 Acknowledgements
This seminar and practicum is based upon the Blended Sound-Sight Program of
Learning as taught throughout Canada by Mrs. Anna Ingham and her staff, and
upon the text Blended Structure and Style in Composition by James B. Webster,
Professor Emeritus, Dalhousie University, Halifax, Nova Scotia.
Without their inspiration and support, as well as their dedication and labor over
many decades, this seminar could not exist.

4 © Institute for Excellence in Writing. Duplication prohibited.

Overview
Teaching Writing: Structure and Style is a complete syllabus for teaching writing Find the complete course at
skills to students in grades kindergarten through 12. IEW.com/TWSS2-D.
Packages are available with
Comprehensive systems for teaching writing skills are rare. Clearly, no single DVDs for the teacher and
program will ever incorporate everything there is to learn about writing. the student.
This syllabus, however, when followed consistently, will prepare students with Not sure where to start?
writing skills far above their peers. It provides a solid foundation for exceptional Visit IEW.com/start
performance in high school and university. Equally as significant, this syllabus
offers a way to assist teachers in developing competency, independence, and
creativity in their students, all within a system that provides for concrete
evaluation and measurable achievement. The challenge of wordsmithing
according to a concrete set of expectations becomes a game that students enjoy.
As their enjoyment of writing increases, so do their skills.

STRUCTURAL MODELS
The structure portion of the syllabus is divided into nine units, which may
roughly correspond with the nine months of the school year; however, it should
be stressed that the pace of teaching must be adjusted to meet the age, ability, and
interests of the students. A teacher may begin with Unit 1 and proceed through
the units as the months unfold or go directly to the unit of interest or need. Each
year, the units may be taught again, but with more advanced source materials and
with an increased expectation in sophistication and quality of output. The various
structures are reinforced yearly and thus firmly internalized by the students.

THE SYLLABUS IN STYLE

The syllabus in style is taught throughout the units at the speed with which
the students can understand and utilize it. Techniques are introduced one at a
time. Only some students will master everything taught, but all students will
master some of what is taught. While advanced stylistic techniques will keep the
brightest students excited about their writing, the basics of the syllabus allow all
students to achieve variety and competence in expression. The syllabus in style
provides valuable communication tools which will serve them always.

RESULTS
The philosophic tenets of Anna Ingham’s Blended Sound-Sight Program
of Learning (visit IEW.com/history) underscore the Structure and Style
methodology.
Follow these guidelines to ensure success:
§ When students are given structural guidelines and specific requirements, they
are more able to develop competency, independence, and as a result, creativity.
§ The teacher should introduce one concept at a time, model it extensively, and
give numerous examples before requiring independence.
§ As students become competent at applying one concept, the teacher may
introduce another but should continue to require that each student use, in
every composition, every technique learned so far.
§ For a high level of ability to develop, students must practice writing daily.
Shorter assignments given more frequently allow for faster progress.

© Institute for Excellence in Writing. Duplication prohibited. 5

 TEACHING MIXED GROUPS
This approach to composition instruction is ideal for teaching groups of students
with mixed ages or abilities. In truth, even a class of twenty-five nine-year-old
children will show a wide variety of existing skills and inherent aptitudes. The
teaching method used with this writing syllabus allows the instructor to teach
and model a concept until the most advanced students are able to grasp the idea
fully and apply it independently.
While the first group is working on their own, the teacher can teach and model
the process again for the other students. As the next level of students becomes
independent, the teacher can continue to model for the slowest students while
individually checking and customizing assignments for the top group. This
sequence applies both for a class of twenty-five third graders and in a homeschool
of two or three. Once the concept has been practiced sufficiently for all to
understand and apply the basic ideas, the group can come together again for the
presentation of the next concept.

THOSE THAT TEACH MUST DO

This workbook is not meant as a stand-alone text. It is a companion to the live or
video course presentation of the Teaching Writing: Structure and Style seminar and
practicum. The best way to learn the program is to practice it. As you watch the
seminar, invest the time to complete the practicum exercises. This will equip you
to teach your students effectively.
The structural models and stylistic techniques presented here are the foundation
for good writing. Some skills are not addressed herein, such as spelling,
handwriting, and formal grammar. They must also be taught. Other skills, such
as detailed instructions for the advanced essay models, are outside the scope of
this seminar. Because having the skills to express ideas in writing is foundational,
we are primarily concerned with teaching structure and style rather than
content. Once basic skills are learned, any type of writing becomes easier and
more effective.
Although this workbook together with the seminar does present a complete
syllabus, it is also designed to supplement other methods of teaching writing
which may be currently used. What we present herein can be used, either in
full or in part, to improve one’s own writing skills and understanding of style.
Although we believe teachers will obtain the best results when they implement
this program with consistency over time, it is also possible to use just one idea
and see immediate improvement.

WRITE ACROSS THE CURRICULUM

Complete lesson plans and There are no student worksheets or exercises in this syllabus since the source
student video lessons are text for writing practice comes from the content areas of study. This is truly
available at IEW.com and
IEWSchools.com. writing across the curriculum. This program presents the teaching of writing in
the classical sense, full of modeling, examples, techniques, and requirements.
The checklist-based grading approach makes it possible for every student to be
successful and show visible and significant improvements.

6 © Institute for Excellence in Writing. Duplication prohibited.

The Structural Models
The structural models are presented in nine units. Each unit builds on skills learned in the previous unit.
The first two units lay a foundation for the entire methodology emphasizing word acquisition and
discrimination and creating usable outlines. The remaining units explore narrative, expository, and essay
writing in ever increasing complexity. Teachers are encouraged to have students write across their disciplines
or core subjects.

REPORTS, RESEARCH, NARRATIVE, DESCRIPTIVE,

AND ESSAYS AND PROMPT-BASED WRITING
Unit 1: Note Making and Outlines
Key words from each sentence
Oral summary

Unit 2: Writing from Notes

Written summary from outline

Unit 3: Retelling Narrative Stories

Key words from answers to Story Sequence
Unit 4: Summarizing a Reference Chart questions
Key words from facts from one source:
limit; choose interesting and important;
Topic/Clincher ¶ model Unit 5: Writing from Pictures
Key words from answers to questions about
Unit 6: Summarizing pictures
Multiple References
Key words from facts from multiple sources:
limit; choose interesting and important; fuse Unit 7: Inventive Writing
Key words from answers to questions,
“Notes from brain,” introduction and
conclusion
Unit 8: Formal Essay Models
Topic/Clincher body paragraphs with Unit 9: Formal Critique
introduction and conclusion
Unit 3 body with introduction and
conclusion; additional models for Writing
about Literature follow Unit 9

These units should be taught in order each year. As students get older and gain experience and skill, they can
move more quickly through the early units. However, all students benefit from the review and refinement
gained by annually working through each of the nine units.

© Institute for Excellence in Writing. Duplication prohibited. 7

 Unit 1: Note Making and Outlines
Units 1 and 2 lay the foundation for the entire Structure and Style program.
1 Note Making
UNIT

and Outlines For some writers, Unit 1 may feel like a step backwards, but it is integral to
Name
this writing method. In Unit 1, words are weighed, evaluated, and placed
Date 3
words
in a usable form, a Key Word Outline (KWO), which is then used to orally
I. ____________
1. ___________
max! recreate sentences.
2. ___________
3. ___________
4. ___________ GOALS
5. ___________
Students will
• Read.
§ Choose and record key words which will help them remember a complete idea
• Look up. and use a basic outline format.
• Speak.
§ Communicate the main ideas from something they have read by using their
own key word outlines.
§ Choose selections, read them, create key word outlines independently, and
verbally retell the basic ideas to another person using only the outline.

RECOMMENDED MATERIALS
IEW provides posters for Materials for Unit 1 may include a variety of very short (one-paragraph) articles
classroom and home use. or stories, some at the student’s reading level and some a grade level below. Keep
Visit IEWSchools.com/POST
or IEW.com/POST-M. a collection of these in a file which the student can access independently. (These
can be mounted on poster board for repeated classroom use.)
§ Select paragraphs of 4–10 sentences each. Up to three short (3–5 sentence)
paragraphs may be used.
§ To gain interest, include humorous and boy-friendly texts.
§ Suggested sources
The Fox and the • Usborne Books, Eyewitness Books (DK Family Library) or any other book
Grapes that contains many short, interesting, and detailed paragraphs
attributed to Aesop • Online encyclopedias such as WorldBookOnline.com or Britannica.com
A hungry fox saw a • Short Aesop fables
bunch of ripe grapes. • Children’s magazines
They dangled high • Standardized test lessons or reading comprehension books (e.g., SRA
up on a vine. He
jumped and jumped Reading Lab or Spectrum Reading Comprehension series)
but could not reach • Selections from student textbooks
them. He said, “I’ll bet • IEW’s Writing Source Packet includes a set of articles and stories for Units 1
those grapes are sour and 2. Visit IEW.com/WSP-E.
anyway.”
TEACHING PROCEDURE
§ Always begin every unit with whiteboard demonstrations and group
Sample KWO
participation.
§ Read and discuss the text. Discuss vocabulary and subject to ensure
Fox and Grapes
comprehension.
I. hungry, saw, ripe
§ Initially guide the class in creating a key word outline, involving students in
1. dangled, high, vine determining which words in each sentence are the “key” words. Take notes
2. jumped, ○ reach from each sentence. Sentences may not be divided.
3. said, sour, anyway § Have students circle the words on their source text and copy the words into
the outline.

8 © Institute for Excellence in Writing. Duplication prohibited.

 UNIT 1

§ Use a simple, one-level outline format (illustrated at right). Sample KWO

• Take notes from each sentence in the paragraph. Fox and Grapes
• Keep key words to three per line.
I. hungry, saw, ripe
• Symbols, numbers, and abbreviations are free.
1. dangled, high, vine
• Do not use quotation marks.
2. jumped, ○ reach
• Do not use running text (phrases).
3. said, sour, anyway
• Double-space.
§ As students show a good sense of which words will help them remember ideas,
allow them to choose their own key words and create outlines independently.
§ When the outline is complete, test the outline. Speak in complete sentences
retelling the paragraph, sentence by sentence, from the outline. If possible, have
students pair off and tell each other the content from their own notes.
REMINDER SIGNS
§ Repeating the source text verbatim is not the goal. Memorizing is not the goal.
Students may and will use their own words, sentences, and ideas. This is good.
3 words max!
ADJUSTING FOR GRADE LEVEL
Grade One Name
§ Unit 1 is primarily an oral exercise. The teacher may read the source, record the Date
outline, and help students read the outline for the retelling.
§ Some students may be able to copy the outline from the board as copy work Title
practice, but transferring from a board to paper is usually too difficult at this I. ____________
level. 1. ____________
§ Source texts must be at or below reading level, so in some cases even the
simplest short sentences will be challenging. Having the teacher read and 2. ____________
discuss the passage can make more difficult sources usable. 3. ____________
§ Have the students use their notes to verbally tell the story many times; this 4. ____________
also helps with reading comprehension.
Grades Two and Three
§ Stress proper outline and page format (title, name, date, neatness, and spelling).
§ Keep selections short and encourage independence.
§ Use this method to practice giving oral reports from many sources.
Grades Four and Up
§ This unit may take only a few days.
§ Use Unit 1 outlines for public speaking.
§ Students may use synonyms for key words if they desire.
§ Use slightly more challenging text, both narrative and factual (1–3 paragraphs).
Middle and High School
§ Use Unit 1 outlines for public speaking.
§ Move into Unit 2 immediately.

© Institute for Excellence in Writing. Duplication prohibited. 9

UNIT 1

English Language Learners and Special Needs

§ Be sure to discuss word meaning (vocabulary and context) when reading the
source text with the students.
§ Create word walls with vocabulary lists for easy access.
§ Help students choose key words as long as needed. Stress the key words when
reading the original aloud to help students hear them.
§ Be sure to stress the oral retelling. Not only does it test the outline, it also
ensures proper sentence structure and syntax.
§ If students struggle with the oral retelling, help them start the sentence.
Modeling is crucial.
§ Use poetry memorization to develop sophisticated language patterns. For
more information, refer to “Nurturing Competent Communicators.” Visit
IEW.com/NCC-E.

ANSWERS TO COMMONLY ASKED QUESTIONS

You cannot help
your students § If there are two short sentences in the source text, can they be
combined to form one line with three words?
too much!
Yes. (Especially in upper grades, this should be encouraged.)
§ If there is a very long sentence, can they break it into two lines of
detail?
No. The goal of Unit 1 is to learn to limit, even with long sentences. Symbols
or abbreviations will help, but students should also trust their minds to
remember some of the information. That is why using material from your
studies will help: It will already be familiar.
§ Should students be required to repeat the source material exactly as it
was written?
No. They may use synonyms in their retelling and words to retell the same
information in their own voice.
§ My student still struggles choosing key words. Should I stay in Unit 1
until this is easy?
No. Spend only enough time for the students to understand the process—a
week or two should suffice. Even if your student still needs help choosing
words for the outline, move on. The teacher may continue to model as long as
necessary. Start writing soon!
§ How can I find “perfect” source texts?
There is no such thing as a perfect Unit 1 source text. Choose sources that
are short and from 1 to 3 paragraphs. Articles about interesting, unusual, or
disgusting animals work well. So do short Aesop fables.

10 © Institute for Excellence in Writing. Duplication prohibited.

 UNIT 1

Unit 1 Modeling: Booklice

Booklice
Booklice are tiny insects that eat mold and mildew in
old books and on papers and maps. They also crawl around
on floors, bookshelves, windowsills, and walls looking for
moist places where mold abounds. A booklouse is usually
less than two millimeters long. But don’t just look for
booklice, listen for them too. To attract a mate, the female
of one species makes an audible clicking when it strikes its
abdomen against paper or wood. So if you should ever hear
faint creaking or light tapping noises on the library shelves,
you won’t be imagining things. The place is just “alive” with
booklice.

Name

Date

Booklice

I.

1.

2.

3.

4.

5.

6.

© Institute for Excellence in Writing. Duplication prohibited. 11

 Unit 2: Writing from Notes
Unit 2 strengthens the writing foundation by having students take an outline and
1
UNIT
Note Making
and Outlines convert it into a written paragraph.
Name
Name

I.Date____________
3
I.1. ____________
___________
2.1.___________
___________
words
max! GOALS
§ For students to retell in writing short stories or articles by using key word
3.2.___________
___________
4.3.___________
___________ • Read.
5.4.___________
___________ • Look up.
5. ___________ • Speak.
outlines.
§ To provide content for students to use while learning the writing and rewriting
2 Writing from Notes
UNIT

Name
process.
§ To begin teaching the syllabus in style, starting with dress-ups.
Date
Title
Double
space!
INDENT ~~~~ ~~~ ~~~~ ~~~

§ For students to become independent in the processes of

~~~~ ~~~ ~~~~ ~~~~
~~ ~~~ ~~~~~ ~~ ~~~
~~~~~ ~~~ ~~ ~~~~~~
~~~ ~~~~~ ~~~~ ~~~
~ ~~~~ ~~~~~ ~~~~ ~
Title repeats
words from • choosing a source and making a key word outline
~~~ ~~~~ ~~ ~~ ~ ~~ final sentence.
• rewriting from their own notes (without copying from the source)
• dressing-up their summaries and rewriting a final draft

RECOMMENDED MATERIALS
The same source materials used in Unit 1 are appropriate for Unit 2. Use both
fiction (like Aesop’s fables) and nonfiction (facts). Using sources that include
humor or boy-friendly topics will keep students interested in the process.

TEACHING PROCEDURE
§ Always begin every unit with whiteboard demonstrations and group
Sample KWO participation. Follow this procedure:
Fox and Grapes
• Read a story (or article) together.
I. hungry, saw, ripe
• Create a key word outline together.
• Remove the original text from view.
1. dangled, high, vine
• Retell the story or article together from the outline.
2. jumped, ○ reach
• Write the story (or article) together from the outline. Students (especially
3. said, sour, anyway
grades one and two) may copy from the board.
• Repeat this process until it is familiar.
§ Repeat steps above, but allow the students to write from the outline
Sample Rewrite
(Primary Student)
independently. Continue this process until it is easy.
The Fox and the Grapes
§ When they are ready, have the students choose their own source texts, make
their own outlines, put the original texts away, and write their summaries. If
A hungry fox saw necessary, check to be sure the students can retell the content from the outline
some ripe grapes. They before they begin writing.
dangled high on a vine. § When this process is familiar, begin to teach dress-ups. Give vocabulary ideas
He jumped one-hundred and options during group outlining and brainstorming. Encourage the use of a
and eight thousand thesaurus.
times and gave up! He § Utilize a checklist to clarify expectations. The checklist should include
meanly said, “I bet those formatting rules along with structure and style requirements.
grapes are sour anyway!” § Demonstrate how to write a rough draft (first draft, double-spaced), edit,
check for dress-ups if learned, and rewrite a final draft (single-spaced if hand-
written; double-spaced if typed). Guide students toward independence.
§ Discourage erasing. Promote pens.

12 © Institute for Excellence in Writing. Duplication prohibited.

 UNIT 2

ANSWERS TO COMMONLY ASKED QUESTIONS For more on teaching

spelling, watch the “Spelling
§ My student is a horrible speller. and the Brain” video at
IEW.com/EIS-SB.
During writing time, be a human dictionary. This will separate the complexity
of spelling from the writing, so your student can move forward. Work on
spelling separately from composition. For more on teaching spelling, watch the
“Spelling and the Brain” video at IEW.com/EIS-SB.
§ My student is a perfectionist and spends a lot of time erasing. For additional help
teaching writing, see
Show students a sample of a first draft with cross outs and corrections. First “Convert to Pens” and
drafts should be done in pen so that erasures are impossible; the first draft will “The Four Deadly Errors” at
be messy. The final draft may be typed or written in pencil or erasable pen so IEW.com/article-list.
that the student may correct inevitable errors more easily.
§ My student wrote a Unit 2 paragraph that is just awful: incomplete
sentences, poor word choices, and misspellings. What should I do?
Help him make it legal. First, read it aloud with him to listen for mistakes.
Praise anything that is correct, and help him fix the rest of it to say what
he wanted to say. Do all of this without a lecture, hand it back with a
smile, and say, “Great job! Write it up.” Find these helpful articles at
IEW.com/article-list: “The Four Deadly Errors of Teaching Writing” and
“Marking and Grading.”

© Institute for Excellence in Writing. Duplication prohibited. 13

UNIT 2

Unit 2 Modeling: Checklist

Name:

Source Text: Booklice

The checklist provides a STRUCTURE

clear picture of what “done”
means. * Name and date in upper left-hand corner _____ (4 pts)

The boxes to the left of the * Composition double-spaced _____ (2 pts)

requirement are for the
student to check, leaving * Title centered and reflects key words of last sentence _____ (2 pts)
the blanks to the right for
the teacher to complete.
* Checklist on top, final draft, rough draft, key word outline _____ (2 pts)

Recommend that students STYLE Each paragraph must contain at least one of each element of style.
hand in all their work as
listed. The requirement Dress-Ups (underline one of each) (5 pts each)
to hand in an outline and
rough draft will ensure that
* -ly adverb _____ (5 pts)

these steps are completed. * who-which clause _____ (5 pts)

Not all the dress-ups need
to be taught in Unit 2.
* strong verb _____ (5 pts)

They can be dribbled in * because clause _____ (5 pts)

throughout the year. * quality adjective _____ (5 pts)
Customize the checklist for
each student in your class.
* www.asia clause _____ (5 pts)

Not all need to have the

same stylistic requirements. MECHANICS
Use the custom total to
adjust the grade. * capitalization _____ (1 pt)

Teach your students how to * end marks and punctuation _____ (1 pt)
edit their papers. Conduct
sample editing sessions
* spelling and usage _____ (1 pt)

using paragraphs you have * complete sentences (Does it make sense?) _____ (1 pt)
written with embedded
errors.
* _____ (1 pt)

Total: __________/ 45

Custom Total: __________/___

14 © Institute for Excellence in Writing. Duplication prohibited.

 UNIT 2

Unit 2 Modeling: Writing from Notes

Name

Date

Booklice

© Institute for Excellence in Writing. Duplication prohibited. 15

 Stylistic Techniques
GOALS
Dress-Ups
§ To introduce stylistic techniques gradually, as students are able to understand
-ly Adverb
He frantically searched the room. and use them, to improve creative expression, and to motivate students to write
She cheerfully whistled a tune.

Who-Which Clause
and rewrite.
Tom, who usually loved pizza, chose soup.
The spider, which terrified Miss Muffet, § To give students an assortment of tools that will help them add variety and
interest to their writing for the rest of their lives.
quietly spun a web.

Strong Verb
Yesterday he ____________________ .
Today he _______________________ . § To provide grammar instruction in the context of use.
§ To help students become aware of how style is used in what they read.
Tomorrow he will _________________ .

Because Clause
I always include dress-ups because they
make my writing better.
Quality Adjective RECOMMENDED MATERIALS
the __________ pen
Clausal (www.asia) § Portable Walls (IEW.com/PW)
when, while, where, as, since, if, although
§ A Word Write Now by Loranna Schwacofer (IEW.com/WWN)
§ IEW’s Writing Tools App (IEW.com/mobile-app)
Sentence Openers
1. subject
TEACHING PROCEDURE
[1] The deer bounded through the forest.
§ Always introduce each new stylistic technique with whiteboard demonstrations
2. prepositional
[2] In the evening the deer pranced and group participation.
through the forest.
[2] Under the full moon the deer slept.
§ As each technique is introduced, establish a minimum rule: one in each
3. -ly adverb
[3] Frantically, the deer crashed through paragraph from that point on. Use a checklist for the students to check
themselves and for the teacher to mark and grade the papers.
the forest.

4. -ing opener ,
[4] Seeing the meadow, the deer waited
and watched. § Teach students to indicate stylistic techniques as listed on the checklist. Such
5. clausal (www.asia) ,
[5] If the deer heard a sound, he would stay
marking makes it easier for students and teachers to check the work.
in the forest.
[5] While the deer rested, the animals fled. § Grading should be based on whether the minimum rules have been met. If a
6. V.S.S. (2–5 words)
[6] His antlers bent low.
certain number of stylistic techniques have been forgotten, the composition
will then require a further rewrite. This motivates students to check their final
drafts carefully.
§ The introduction of style should always be at the pace of the student. Begin by
Prepositions
in
over between introducing dress-ups with Unit 2, and proceed to expand the style repertoire
beside under
on
throughout the units. This is crucial!
through
§ The pace at which you introduce new techniques will vary according to grade
aboard beyond out
level and aptitude. In mixed classrooms, provide a variety of checklists so that
about
above
according to
by
concerning
despite
outside
over
past
students find all but one of the required stylistic techniques easy. Easy means
across
after
against
down
during
except
regarding
since
through
the student can add the stylistic techniques without much help and without it
along
amid
among
for
from
in
throughout
to
toward
sounding goofy most of the time. Think “Easy +1.”
around inside under
as instead of underneath

MOST IMPORTANT THINGS

at into unlike
because of like until
before minus unto
behind near up
below of upon
beneath
beside
off
on
with
within The style checklist is not a formula for “good” writing. However:
besides onto without
between opposite
§ The point of the exercise is mastery. The checklist ensures that students gain
the skills needed to become better writers.
To help students develop § Students are required to include all the techniques they have been taught in
sophisticated language every paragraph that they write.
patterns, be sure to read
aloud to them and practice § They may be freed from the checklist when they either leave your class or when
poetry memorization. Visit they become so skilled at the checklist that they graduate from it.
IEW.com/NCC-E. § See: “IEW: The Key to Success” at IEW.com/key.
Don’t teach this to your students the way that this seminar taught it to you.
Remember EZ +1.

16 © Institute for Excellence in Writing. Duplication prohibited.

 STYLISTIC TECHNIQUES

Stylistic Techniques Chart

DRESS-UPS
-ly adverb because clause Minimum Rule
Each one in every paragraph
who-which clause quality adjective
Indicator
strong verb clausal: when, while, Underline one of each in every paragraph.
where, as, since, if, although

SENTENCE OPENERS
[1] subject [4] -ing , Minimum Rule
Each one in every paragraph as possible
[2] prepositional [5] clausal , (www.asia.b) No more than two of the same in a row
[3] -ly adverb [6] vss (2–5 words) Indicator
Number in brackets before each sentence
or in margin (every sentence as possible)

DECORATIONS
§ alliteration § 3sss Minimum Rule
One different decoration per paragraph
§ question § simile or metaphor
Indicator
§ conversation § dramatic open-close Italics or “dec” in margin
§ quotation

TRIPLE EXTENSIONS
§ repeating words (same word) Minimum Rule
One different style per paragraph
§ repeating clausals or prepositions
Indicator
§ repeating -ing words, consecutive or spaced Italics or “trip” in margin
§ repeating -ly adverbs, consecutive or spaced
§ repeating adjectives or nouns
§ repeating verbs, consecutive or spaced

ADVANCED DRESS-UPS
§ dual adverbs, verbs, and adjectives Minimum Rule
Each one in every paragraph
§ invisible who-which
Indicators
§ adverb or adjective teeter-totters Underline the pair in duals.
Underline words around invisible w-w.
§ noun clause Italicize teeter-totters.
Underline that in noun clauses.

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STYLISTIC TECHNIQUES

-ly Adverbs
abundantly delightfully hastily oddly sheepishly
abruptly desperately hatefully openly sleepily
absently determinedly heartily outwardly slowly
absentmindedly deviously heavily partially slyly
accusingly diligently helpfully passionately softly
actually disgustingly helplessly patiently solidly
adversely distinctly hopelessly perfectly speedily
affectionately doggedly immediately perpetually sternly
angrily dreamily importantly playfully stingily
anxiously emptily impulsively pleasantly strictly
apparently energetically inadvertently pleasingly stubbornly
arrogantly enormously inconveniently politely successfully
bashfully enticingly increasingly positively superstitiously
boldly entirely incredibly potentially surprisingly
bravely enviously innocently powerfully suspiciously
breathlessly especially instantly presumably sympathetically
brightly evenly intensely professionally tenderly
briskly exactly intently properly thankfully
broadly excitedly inwardly proudly thoroughly
calmly exclusively irately quaveringly thoughtfully
carefully expertly ironically quietly tightly
carelessly faithfully jokingly quintessentially triumphantly
casually famously knowingly rapidly truthfully
certainly fearlessly lawfully rapturously understandably
cheaply ferociously lightly rashly unfairly
cheerfully fervently likely ravenously unfortunately
cleanly finally longingly readily unwillingly
clearly foolishly loudly reassuringly urgently
cleverly fortunately magnanimously recognizably usually
closely frankly maliciously regretfully utterly
clumsily frantically meaningfully reluctantly vastly
coaxingly freely mechanically reproachfully venomously
commonly frenetically meekly restfully viciously
compassionately frightfully mentally righteously violently
conspicuously fully messily rightfully warily
continually furiously mindfully rigidly warmly
conveniently furtively miserably routinely wearily
coolly generally mockingly rudely wholly
correctly generously mournfully safely wildly
crisply gently mysteriously scarcely willfully
crossly genuinely naturally searchingly wisely
curiously gleefully nearly sedately wistfully
daintily gratefully neatly seemingly wonderingly
dangerously greedily negatively selfishly wordlessly
darkly grumpily nervously separately worriedly
deceivingly guiltily notoriously seriously
delicately harshly occasionally sharply
IMPOSTERS
chilly ghostly knightly orderly silly unruly
friendly holy lonely prickly surly worldly
ghastly kingly lovely queenly ugly wrinkly

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 STYLISTIC TECHNIQUES

Adverbs for Essays

TO SHOW TO SHOW TO SHOW TO SHOW
IMPORTANCE HOW LIKELY HOW OFTEN EMOTION
significantly presumably frequently cheerfully
fundamentally predictably infrequently miserably
substantially probably continuously angrily
essentially undeniably increasingly furiously
primarily normally occasionally grumpily
absolutely tentatively repeatedly bashfully
relatively willingly regularly excitedly
seriously assuredly normally tragically
distinctly strictly constantly stubbornly
utterly possibly slowly eagerly
notably obviously gradually confidently
typically evidently usually playfully
positively surely steadily un/fortunately
clearly suddenly in/conveniently
abruptly proudly
hastily carefully
immediately hopefully
directly mournfully
generally wistfully
willfully

COMMONLY TO SHOW SEQUENCE

USED
easily Avoid Sometimes Use Choose
dramatically first formerly initially
virtually second previously eventually
suddenly third progressively ultimately
simply consequently originally
silently presently effectively
naturally sequentially finally
foolishly subsequently
marvelously immediately
recently
currently
simultaneously
concurrently

© Institute for Excellence in Writing. Duplication prohibited. 19

STYLISTIC TECHNIQUES

Banned Verbs and Alternatives

THINK/
SEE/SAW GET/GOT GO/WENT, COME/CAME THOUGHT LIKE
be aware of acquire advance gallop somersault assume admire
behold capture amble glide spill be convinced adore
check out earn arise gush spiral comprehend appreciate
detect seize ascend hurry spring up conceive approve
discover receive billow hustle sprint concluded be gratified
examine realize blunder jolt sprout consider by
explore attain bob journey spurt credit be keen on
eye pocket bolt lag stagger deem be partial to
find reap bounce leap stoop determine be pleased by
gape procure bound loop storm envisage be sweet on
gawk grab burst lope stream envision care for
gaze snatch careen lumber stride esteem care to
glance purchase cartwheel lurch stroll estimate cherish
glare steal cascade maneuver strut expect delight in
glimpse collect charge meander stumble fancy dote on
inspect gain climb mosey surge feel enjoy
keep an eye achieve coast mount sweep foresee esteem
on reach coil parade swerve gather fancy
monitor profit continue pelt swirl guess feast on
notice secure crawl pirouette swoop hold finding
observe gather creep pivot take off imagine appealing
peek glean cross plod teeter judge hold dear
peep entrap crusade plow thump plan for indulge in
peer fetch dance plummet tiptoe presume love
scrutinize obtain dart plunge topple project
search dash plunk tour realize
spot depart pour trail reckon
spy descend prance trample regard
stare dip press on travel see
study dive proceed trek sense
survey dribble progress trip suppose
take note of drift race trot
view drive retreat trudge
watch droop ripple tumble
witness drop rocket twirl
drudge rush twist
exit sail veer
flee sashay waltz
float saunter wander
flock scamper wave
flop scroll whirl
flounder scuttle whisk
flow shuffle whiz
flutter sink whoosh DO NOT BAN ALL
fly slither worm BANNED WORDS AT
follow sneak zigzag ONCE.
forge soar zoom Ban up to three at a time,
furl sojourn and build word lists as
alternatives.

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 STYLISTIC TECHNIQUES

Banned Verbs and Alternatives

SAID
acknowledged delivered insisted quoted tattled
acquiesced demanded interjected quoth taught
added denied interrogated ranted taunted
addressed described intimated reasoned teased
adjudged dictated jested rebutted testified
adjured directed lamented recited thanked
admitted disclosed laughed recounted thought
admonished disrupted lectured refuted threatened
advised divulged lied regretted thundered
advocated dogmatized maintained reiterated told
affirmed drawled mentioned rejoined twitted
agreed droned mimicked related urged
alleged elaborated moaned remarked uttered
announced enjoined mumbled reminded verbalized
answered entreated muttered repeated vocalized
argued enunciated nagged replied voiced
articulated equivocated narrated reported vowed
asked exclaimed noted reprimanded wailed
assented exhorted objected requested warbled
asserted explained observed responded warned
asseverated expostulated opined resumed went on
assured faltered orated retorted wept
attested fumed ordered revealed wheezed
averted giggled owned ruled whimpered
avouched granted peeped scoffed whined
avowed grinned petitioned scolded whispered
babbled groaned pleaded shouted whistled
barked growled pointed out snapped whooped
begged grumbled pontificated sneered wished
boasted haggled prayed sputtered wondered
bragged hesitated preached stammered wondered aloud
contradicted hinted proclaimed stated wrangled
counseled imparted pronounced stipulated yapped
countered implied proposed stormed yawned
craved imposed protested stuttered yelled
cried indicated proved suggested yelped
decided inferred queried supplicated
declaimed informed questioned supposed
declared inquired quibbled swore
decreed insinuated quipped talked

© Institute for Excellence in Writing. Duplication prohibited. 21

STYLISTIC TECHNIQUES

Banned Adjectives and Alternatives

GOOD BAD HAPPY SAD FUN NICE
splendid evil jovial downcast enjoyable gracious
scrupulous horrifying jubilant depressed thrilling gentle
superior unendurable thrilled dejected fascinating charismatic
magnificent painful content(ed) woeful exciting affectionate
cherished rotten merry gloomy challenging companionable
gifted inclement jolly miserable satisfying lovely
benevolent decayed elated sorrowful exhilarating pleasant
noble foul exuberant unhappy stimulating charming
hardworking nasty delighted forlorn electrifying delightful
marvelous putrid cheerful melancholy entertaining likable
exemplary spoiled joyful crestfallen amusing good-
superb miserable ecstatic mournful energizing natured
outstanding dreadful pleased grieving interesting agreeable
glorious dangerous blissful sullen captivating decorous
unbelievable gross exultant glum delightful refined
delightful disgusting cheerless glorious amiable
understanding severe heartbroken rewarding neighborly
brilliant mischievous distressed stirring benevolent
delicious relaxing thoughtful
industrious PRETTY BIG LITTLE/ regenerating considerate
magnificent colossal SMALL
praiseworthy refreshing cooperative
striking sizable teeny
impressive enthralling congenial
gorgeous bulky diminutive
spectacular agreeable courteous
comely hefty compact
accomplished pleasurable warm
attractive immense microscopic
expert joyful cordial
exquisite monumental petite
proficient blissful humane
graceful capacious wee
laudable pleasant sympathetic
elegant gargantuan tiny
commendable pleasing personable
adorable mammoth miniscule
admirable comfortable friendly
angelic massive miniature
well-mannered suitable sweet
charming gigantic slight
genial
pleasing leviathan minute
enchanting
stunning monstrous modest
cheerful
pictorial towering puny
sociable
artistic spacious runty
decent
picturesque broad stunted
dainty
harmonious vast shrunken
handsome expansive slender DO NOT BAN ALL BANNED
alluring skimpy WORDS AT ONCE.
prodigious
glamorous meager Ban up to three at a time, and
build word lists as alternatives.
wanting

22 © Institute for Excellence in Writing. Duplication prohibited.