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Magic Page for Writing * Harrison High School
Being able to communicate clearly with the written word takes no special talent; it’s a skill like any other. Because the words we use to write with are the
same words we use to think with, learning to write well has ramifications that go beyond the merely technical. As we improve our writing ability, we
improve our ability to think – to build an argument, to frame issues in compelling ways, and to weave apparently unrelated facts into a coherent whole.
1. Interrogate every word in a sentence: Check every word to make sure that it is providing something important and unique to a sentence. If
words are dead weight, they can be deleted or replaced.
Wordy: The teacher demonstrated some of the various ways and methods for cutting words from my essay that I had written for class. (22 words)
Concise: The teacher demonstrated methods for cutting words from my essay. (10 words)
Wordy: Eric Clapton and Steve Winwood formed a new band of musicians together in 1969, giving it the
ironic name of Blind Faith because early speculation that was spreading everywhere about the band suggested
that the new musical group would be good enough to rival the earlier bands that both men had been in, Cream
and Traffic, which people had really liked and had been very popular. (66 words)
Concise: Eric Clapton and Steve Winwood formed a new band in 1969, ironically naming it Blind Faith
because speculation suggested that the group would rival the musicians’ previous popular bands, Cream and Traffic. (32 words)
Wordy: Many have made the wise observation that when a stone is in motion rolling down a hill or incline that that moving stone is not as likely to
be covered all over with the kind of thick green moss that grows on stationary unmoving things and becomes a nuisance and suggests that those
things haven’t moved in a long time and probably won’t move any time soon. (67 words)
Concise: A rolling stone gathers no moss. (6 words)
2. NO “to be” verbs: Linking verbs do not express action.
am, is, are, was, were, be, being, been, has been, are being, might have been, etc., become, seem
Sometimes these verbs are linking verbs: appear, feel, grow, look, prove, remain, smell, sound, taste, and turn. If you
can substitute am, is, or are and the sentence still sounds logical, you have a linking verb on your hands.
3. NO contractions: Contractions (not possessives) merely hide “to be” verbs.
4. Homonyms: Use the correct its (possessive), their/there, your, etc.
5. NO “Dead Words”: Some words are really boring, but are used a lot. Sometimes you can’t help using these words, but
most of the time better words can be used instead. Below I identify many words that I’m talking about. These words are DEAD WORDS
and are totally off limits in your writing. These are the words: some, really, a lot, all, many, totally, absolutely, just, so, kind of, sort of, big,
little, completely, quite, very, definitely, good, nice, all of a sudden, stuff, every, much, always, thing (things), wanna, most, almost, bad,
great, some, extremely, one time, pretty, whole. NEVER use “should of,” “would of,” or “could of” when you mean “should have,” “would
have,” or “could have.”
6. NO personal pronouns (unless you are writing a first person
7. Clear pronoun reference: Pronouns usually refer to other words, which are called their antecedents because they (should)
come before the pronoun. A pronoun’s antecedent may be either a noun or another pronoun, but in either case, it must be
clear what the antecedent is. Consider this example: Becca told Ruth that she would take Jerry to the barn dance. -- It is
not clear whether the pronoun “she” in this sentence refers to Ruth or Becca. Unless pronouns refer unmistakably to distinct, close, and single
antecedents, the reader will never be sure who’s going to the dance with whom.
8. Pronoun/antecedent agreement: A singular pronoun must replace a singular noun; a plural pronoun must replace a
plural noun. A phrase or clause between the subject and verb does not change the number of the antecedent. Example: The
can of pinto beans sits on its shelf.
9. These pronouns are singular: anyone, anybody, everyone, everybody, someone, somebody, no one, and nobody.
Indefinite pronouns are always singular. This is sometimes perplexing to writers who feel that everyone and everybody
refer to more than one person. The same is true of either and neither, which are always singular even though they seem to be referring to two
things.
10. In writing an essay, never say “I think,” “In my opinion,” “I choose to write…,” “In my/this essay.” Readers will know your
opinion and the topic of your essay because you will present it in the writing.
11. VARY beginnings of sentences: By varying the first word of sentences, you
automatically vary verb usage, forcing you to automatically improve your writing.
12. ALWAYS use present tense verbs when discussing literature. You can remember to write about
literature in the present tense because you are currently reading or thinking about it. Every time you open a book it seems as though the events
are currently happening; every time you read an essay it is as though you are currently speaking to the writer.
13. Use active voice -- unless you have a reason not to.
At the heart of every good sentence is a strong, precise verb; the converse is true as well--at the core of
most confusing, awkward, or wordy sentences lies a weak verb. Passive voice delays the subject: The ball
was hit by the batter. Active voice presents a subject performing an action: The batter hit the ball.
Passive It was earlier demonstrated that heart attacks can be caused by high stress.
Active The researcher demonstrated that high stress can cause heart attacks.
Passive voice exceptions: Mistakes were made. The bicycle was stolen. The procedures were somehow misinterpreted. Visitors are not allowed after
9:00 p.m. Every year, thousands of people are diagnosed with lung cancer. What do you notice about these sentences?
14. Put the action of the sentence in the verb. Don't bury it in a noun or blur it across the entire sentence. Watch out especially for nominalizations
(verbs that have been made into nouns by the addition of -tion).
An evaluation of the procedures needs to be done. (or) The procedures need to be evaluated.  We need to evaluate the procedures.
15. Avoid empty word constructions (“It is,” “There is,” “There are”):
It was her last argument that finally persuaded me.  Her last argument finally persuaded me.
16. Reduce wordy verbs; use present tense rather than progressive tense.
is aware, has knowledge of  knows
is taking  takes
are indications  indicate
are suggestive  suggests
17.Avoid unnecessarily inflated words; reduce wordiness. Wordiness can seriously detract from the coherency and quality of your writing and
will likely frustrate your readers.
Instead of
cognizant of
facilitate
impact on
implement
subsequent to
utilize
Use
aware of, know
help
affect
start, create, carry out, begin
after
use
the reason for
for the reason that
due to the fact that
owing to the fact that
considering the fact that
on the grounds that
this is why
despite the fact that
regardless of the fact that
because, since, why
although, even though
Instead of
in the event that
if it should transpire/happen that
under circumstances in which
on the occasion of
in a situation in which
under circumstances in which
as regards
in reference to
with regard to
concerning the matter of
where . . . is concerned
it is crucial that
it is necessary that
there is a need/necessity
it is important that
it is incumbent upon
cannot be avoided
Use
if
Instead of
is able to
has the opportunity to
is in a position to
has the capacity for
has the ability to
Use
can
when
it is possible that
there is a chance that
it could happen that
the possibility exists for
may, might, can, could
about
prior to
in anticipation of
subsequent to
following on
at the same time as
must, should
before, after, as
18. Power Verbs
Summarizing, rather than
analyzing, is one of the chief
pitfalls of rhetorical analysis.
Bland verbs, such as says and
relates, tend to lead the writer
into summary. Powerful verbs and verb phrases, used
correctly, will make your writing more analytical and
incisive.
19. Spelling counts! Edit your writing! You look at
the clock – only a few minutes left before that
paper is due! You write furiously, hit the spell
checker button (maybe), and then hit print. Ah,
done? NO! Read your writing out loud. We can
often catch missed commas, incorrect
punctuation, and other errors this way. Ask a
friend who is good with proofreading to read
over your draft. Why go through all this trouble?
If your writing is not error-free, it does not
matter that your ideas are exciting and important
or that your story is moving; the reader will
either stop reading because you were not
courteous enough to make
the job of reading easier, or
the reader will discount your
ideas because he or she
doubts your credibility.
Suggests
Hints
Intimates
Implies
Questions
Casts
Sheds light
Clarifies
Masks
Notes
Observes
Asserts
Concedes
Qualifies
Affirms
Criticizes
Admonishes
Challenges
Debates
Excoriates
Berates
Belittles
Trivializes
Denigrates
Vilifies
Demonizes
Disparages
Ridicules
Mocks
Points out
Acknowledges
Emphasizes
Minimizes
Dismisses
Demonstrates
Underscores
Sugarcoats
Flatters
Lionizes
Praises
Exaggerates
Downplays
Minimizes
Exposes
Articulates
Explores
Lists
Supports
Establishes
Evokes
Induces
Quotes
Cites
Draws attention to the irony
Calls attention to the details
VERBS RELATED TO
RHETORICAL MODES OF
DEVELOPMENT
Compares
Contrasts
Classifies
Defines
Narrates
describes
Argues
Persuades
Analyzes
Explains
Exemplifies
Illustrates
Summarizes
STRUCTURE VERBS
Opens
Begins
Adds
Connects
Juxtaposes
Draws a parallel between
Foreshadows
Uses an analogy
Turns to
Shifts to
Transitions to
Concludes
Finishes
Closes
Ends
Literary Analysis Acronyms
D.I.D.L.S. – A mnemonic for literary analysis
Diction: the denotative and connotative meanings of words
• Different words for the same thing often suggest different attitudes
(happy vs. content).
• denotative vs. connotative (dead vs. passed away)
• concrete vs. abstract (able to perceive with five senses, tangible, vs.
an idea or concept that exists in one’s mind, intangible)
• cacophonous vs. euphonious (harsh sounding, raucous, croak or
pleasant sounding, languid, murmur)
Images: Vivid appeals to understanding through the five senses
Details: Facts that are included or those that are omitted
Language: The overall
use of language such as
formal, clinical,
informal, slang,
syntactical structure
Sentence Structure:
How the author’s use of
sentence structure
affects the reader
D.I.T.S. – The elements
of tone
Diction refers to a writer's
(or speaker's) word choice.
Besides the dictionary
definition of a word (its
denotation) a word can have
an emotional charge or association that creates a secondary meaning
(its
connotation): “The difference between the right word and almost the
right word is the difference between lightning and a lightning bug.” Mark Twain
Imagery refers to mental pictures or sensations that a writer evokes in
a reader. Look carefully at the pictures that a writer creates; note
descriptive details in the setting such as colors, objects, weather,
seasons, use of light or darkness, look at any symbols and what
feelings they may suggest.
Theme refers to the author’s message or to the overarching idea that
the text leads the reader to consider. Think about the author's message;
what attitude comes through in his/her main point?
Style refers to the writer’s use of language; is it formal, informal,
technical? What details did the writer choose to include or omit?
Examine the various elements of characterization; assess what
messages the writer is sending through his characters’ actions,
reactions, thoughts, speech, physical description or other character’s
comments. What feelings are created by the writer’s plot? What
feelings are created by the conflict and how it is solved or resolved?
D.U.C.A.T.S. – The “6 gold pieces” of
writer’s voice
Diction refers to a writer's word choice with the
following considerations:
• denotation / connotation of a word
• degree of difficulty or complexity of a word
• level of formality of a word
• tone of a word (the emotional charge a word carries)
Unity refers to the idea that all of the ideas in a written piece are
relevant and appropriate to the focus.
• Each claim (assertion, topic sentence) supports the thesis
• Each piece of evidence is important and relevant to the focus of the
paragraph or the piece of writing as a whole
• Occasionally, a writer may choose to purposely violate the element
of unity for a specific effect (some humorists / satirists will sometimes
consciously do this)
• It is important to consider what has been omitted from a piece and
examine the writer's intent.
Coherence refers to the organization and logic of a piece of writing:
• precision and clarity in a thesis and supportive arguments
• the arguments ordered in the most effective way for the writer's
intent
• the sentences and paragraphs "flow smoothly" for the reader; no
abrupt leaps or gaps in the presentation of the ideas or story (unless the
writer makes a conscious choice for a specific and appropriate effect)
Audience refers to the writer's awareness of who will be reading his or
her piece of writing:
• Who are the targeted readers?
• How well informed are they on the subject? What does the writer
want the reader to learn as a result of this piece?
• What first impression is created for the reader and how does the
author's voice shape this first impression?
• How interested and attentive are they likely to be? Will they resist
any of the ideas?
• What is the relationship between the writer and the reader? Employee
to supervisor? Citizen to citizen? Expert to novice? Scholar to scholar?
Student to teacher? Student to student?
• How much time will the reader be willing to spend reading?
• How sophisticated are the readers in regard to vocabulary and
syntax?
Tone refers to a
writer's ability to
create an attitude
toward the subject
matter of a piece of
writing; a writer uses
these tools to create
tone:
• Diction, Figurative
language,
Characterization, Plot, Theme
Syntax refers to the arrangement--the ordering, grouping, and
placement--of words within a phrase, clause, or sentence. Some
considerations:
• Type of sentence
• Length of sentence
• Subtle shifts or abrupt changes in sentence length or patterns
• Punctuation use
• Use of repetition
• Language patterns / rhythm / cadence
• How all of the above factors contribute to narrative pace
• The use of active and/or passive voice
S.M.E.L.L. – Evaluating argumentation and persuasion (with
rhetorical appeals)
Sender/receiver relationship: Who is the speaker? Who is the
audience? What is the tone directed from one to the other?
Message: What is the content and/or claim?
Evidence: What kind of evidence is given and to what extent?
Logic: What is the quality of the reasoning? What types of appeals are
being used?
Language: What stylistic and rhetorical devices are being employed?
S.O.L.L.I.D.D.D. - Analyzing rhetorical elements and author’s style
Syntax: Sentence structure
Organization: The structure of sections within a passage and as a
whole
Literary Devices: Metaphor, simile, personification, irony
(situational, verbal and dramatic), hyperbole, allusion, alliteration, etc.
Levels of Discourse: Cultural levels of language act, with attendant
traits (Does the narrator’s voice represent a particular social, political,
or cultural viewpoint or perspective?)
Imagery: Deliberate appeal to the audience’s five senses
Diction: Word choice and its denotative and connotative significance
Detail: Descriptive items selected for inclusion
Dialogue: Spoken exchange selected for inclusion
T.A.P.S.
Topic: What is the topic of the text?
Audience: To whom is the message directed?
Purpose: What is the writer’s goal?
Speaker: What can be inferred about the speaker’s attitude toward the
topic or the audience?
S.O.A.P.S.Tone - Analyzing point of view
Speaker: What assumptions can you make
about the speaker? What class does the author
come from? What political bias can be
inferred?
What gender? “Someone who …”; find
evidence in the text.
Occasion: What may have prompted the
author to write this piece? What event led to
its publication or development? What is the
literal occasion? The figurative occasion
(larger meaning)?
Audience: Does the speaker identify an
audience? What assumptions can you make
about the audience? Consider race, politics,
gender, social class, religion. Who was the document created for?
Does the speaker use language that is specific for a unique audience?
Does the speaker evoke nation? liberty? God? history? Does the
speaker allude to any particular time in history such as ancient times?
Industrial Revolution? Wars?
Purpose: What is the speaker’s purpose? In what ways does the author
convey this message? What seems to be the emotional state of the
speaker? How is the speaker trying to spark a reaction in the audience?
What words or phrases show the speaker’s tone? How is this document
supposed to make you feel?
Subject: What is the subject of the piece? How do you know this?
How has the subject been selected and presented by the author?
Tone: What is the author’s attitude toward the subject? How is the
writer’s attitude revealed?