Reinvigorating Writing booklet

Reinvigorating the Teaching of Writing: Nurturing Organisation, Accuracy & Flair Presented by Lindsay Williams Aims •
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To explore a whole-­‐school framework for writing improvement To discuss critically popular writing pedagogies To consider implications of this framework for participants’ schools To provide a basis for future school improvement and professional plans Outline •
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Anticipatory Set: Literacy-­‐rich schools Aims, outline and preliminary comments An overview of the framework Exploring the framework in detail (see below) Conclusion: Where to from here? Anticipatory set Read one of the vignettes provided. Choose one appropriate to your context (primary, middle or senior schooling). Using the retrieval chart below, reflect on how this vignette matches with your own experiences in your school. What do we do? What don’t we do? What would I like to see happening? © L & E Williams Holdings Pty Ltd, 2012 1 Model for Writing Improvement © L & E Williams Holdings Pty Ltd, 2012 2 A Critical Examination of the Writing Process
The following is taken from: Graves, D. (1983). Writing: teachers and children at work. London: Heinemann. pp. 119-­‐123. Wepins by Gregory Ther are mny kds uv wepins ther are had grnad shotrs bazuks flame thrs an mines if you rnt carefull they can kil the gy that has thm if you pull a pen on the grana you hav to thrw it quk or it will blooenup in yr had [Translation: There are many kinds of weapons there are hand grenade shooters bazookers flame throwers and mines if you aren’t careful they can kill the guy that has them if you pull a pin on the grenade you have to throw it quick or it will blow up in your hand] What advice would you give to this student? Transcript One: Graves-­‐style Writing Conference Conference 1 (40 seconds) Teacher: How is it going Greg? Greg: Good. Teacher: Tell me about it. Greg: Well, these weapons will kill you if you don’t look out. Some guys forget when they pull the pin and stand there like dopes. It just blows their heads off. What a mess! Other guys get killed too. Teacher: I see. You do have to watch out for that, don’t you? And what will you be doing with this piece next? Greg: Well, they used these to kill Germans and I want to put that in. Teacher: Fine, go to it. Conference 3 -­ Final (4 minutes) Teacher: How is your writing coming, Greg? Greg: Terrific. It’s the best. Teacher: This is one of your good ones? Greg: Yup, nobody knows more’n me about weapons. My grandfather has lots of weapons. Teacher: Would you read the piece to me so far? (Greg reads the piece.) © L & E Williams Holdings Pty Ltd, 2012 3 Teacher: Greg: Teacher: Greg: Teacher: Greg: Teacher: Well, you can read it very well, Greg. And there is a lot about weapons in there, the bazookas, flamethrowers. You’ve tried to spell some pretty hard words too – grenade, bazooka, blow up. What’s the next thing you’re going to do with this? I’d like to get it published. I think the other kids will be interested in weapons. Do you think this is ready to get published? Yup. As it is now, why do you think it is ready to be published? Convince me that it is ready to go as it is. Well, I know some of the words aren’t right, but I can’t spell ‘em. I can help with that. There are some important words here that I’d like to see you underline for help. When you want help with a word later for publishing, just underline it. I have another problem, Greg, if I’m going to publish it. I can’t tell where some of your information begins and ends. I’d like you to read it aloud again so we can mark it off with some periods and capitals; so I can tell what you want to go together. (Greg reads his piece aloud with the teacher putting capital at the beginnings and periods where he pauses for meaning units. She then asks Greg to reread, using the markers she has put in, to see if this is the way he wishes the information to sound.) Transcript Two A fourth grade lesson introducing research skills for the first time. Students are not currently studying monkeys. Turn Speaker Transcript Today we’re learning how to find information quickly where we don’t 1 Teacher 2 3 Students Teacher 4 5 Student Student have to read everything in the book. Are you looking at me? Think about it. But we do need to find information quickly and one good way to do it is to read the first sentence of each paragraph. You know paragraphs don’t you? The first sentence of each paragraph. I think that’s what we’re required to do in that very first question ((uncovers first question on OHT)). Now you look hard and read the first question for me. How many species of monkeys are there? Look hard at your page now. Look at the first sentence of a paragraph. When you’ve found it put your hand high ((raises and lowers hand, watches students as they read for 10 seconds and then raise their hands)). You don’t tell anyone else what to do ((walking over to two students talking)). Let them find it themselves. ((To class)) Number your answer sheet in your computer book. Find a nice clean space. It’s question one so we put one. Would you like to put the heading, Monkey? ((calling out quietly)) No. ((calling out)) What about the card number? © L & E Williams Holdings Pty Ltd, 2012 4 6 Teacher 7 8 9 10 11 12 13 14 Student Teacher Student Teacher Student Teacher Student Teacher 15 16 Students Teacher 17 18 Mary Teacher 19 20 Student Teacher Thank you. Never mind about the card number just Monkey will do nicely. ((calling out)) Miss Yes ((walks over to student)) Are we going to do the ones we were doing this morning? We’re busy doing this now Sam. ((calling out)) Miss will I rub the words off the blackboard? No thank you Jason ((to class)) Now, your answer. ((calling out)) There. Ah Ah ((shaking head)). Just write it down, I’m coming to see it. ((Walks around room.)) I’d like a word after that number. To really answer the question well, we need a naming word. ((Bends down to point at student’s work)) That’s too small. ((To class)) Some people think we’re doing long answers and they’re doing sentences. Today children we’re doing short answers. What are we after? ((class chorus)) Short answers. A short answer. You’re really trying hard to make beautiful sentences, but I need a short answer. ((Walks around class watching students for 32 seconds, finishes at front of class.) Pencils down. Hands away. Look up at me. ((Students carry out instructions immediately.)) I notice some people, I noticed that some people were writing the whole sentence, just copying out the words from the encyclopaedia. Now that’s not what I want. We need to copy some words but not all of them. A short answer does not have to be a sentence. So what did you write please Mary? There are about two hundred species of monkey. Ye-­‐es. All right. That’s a good, that’s an answer. But you wrote ((Points to another student.)) Two hundred species of monkeys. Two hundred species of monkeys. A (Partial and Simple) Continuum of Writing Pedagogy “Mystical Osmosis” or “Just Do It” Writing Process (e.g. Graves 1983) Writer’s Workshop (via Graves) Implicit Providing an annotated exemplar Writer’s Workshop + Explicit Teaching Write it Right Teaching-­‐
Learning Cycle (Rothery 1994) Literacy Development Cycle (Unsworth 2001) Scaffolding Literacy (Harders, Axford & Wise 2009) Reading to Learn (Martin & Rose 2012) Explicit © L & E Williams Holdings Pty Ltd, 2012 5 Context-­‐Text Relationships Genre & purpose: A type of text that uses language to achieve a particular social purpose or achieve a goal. The purpose is achieved in a distinct series of stages (or steps). Register: Field (social activity and related subject matter); Tenor (roles and relationships); Mode (linguistic, visual, gestural, audio, spatial or some combination) Language: specipic features of the relevant mode or modes In addition to the field (i.e. topic or subject matter) and mode (written, spoken, visual, gestural and auditory), differences among texts can be accounted for in terms of three interpersonal factors (or tenor variables): 1. Contact/Familiarity, i.e. close (‘affiliated’)  distant (‘unaffiliated’) – as determined by the principles of proliferation and contraction. In other words, the closer we are to someone, the more choices we have in an exchange and the less we have to say in order to be understood. Distant Close Mr Newman, Premier (choices Campbell, Can-­‐Do, Mate, Darling, restricted) Darl, BFF, Cam Wave, handshake Enthusiastic wave, handshake with hand on elbow, hug, kiss, pat continued over page…/ © L & E Williams Holdings Pty Ltd, 2012 6 2. Status/Power, i.e. equal  unequal – as determined by the principle of reciprocity. In other words, if people are equal in power, they will have the ability to reciprocate. Allowable Teacher: Good morning, Sam. Sam: Good morning, Mr Williams. Teacher mussing up Sam’s hair. Probably not allowed Teacher: Good morning, Sam. Sam: Good morning, Lindsay. Sam mussing up the teacher’s hair. Power is signalled via reciprocity of: i. Status: tenor (social hierarchy) ii. Prominence: mode (publicity) iii. Authority: field (expertise, classification, knowledge) iv. Control: genre (skill, manipulation) v. Power: ideology (access) 3. Value system (Axiology), i.e. aligned  not aligned Alignment is signalled via reference to: i. Logic (true/false) ii. Ethics (good/bad) iii. Morals (right/wrong) iv. Norms (appropriate/inappropriate) v. Sense (like/dislike) (After Don 2011) Bloom’s Taxonomy and Writing
Things you might do based on the modified Bloom’s Taxonomy:  Remember: Name the features of a piece of writing  Understand: Summarise the critical features  Apply: Use these to mimic an exemplar text  Analyse: Identify factors and features that differentiate one text from another  Evaluate: Choose the best genre, structure and deployment of features for a new context and be able to justify these (getting meta…); Judge the effectiveness and appropriateness of a text 
Create: Design and create a new text for an unknown context © L & E Williams Holdings Pty Ltd, 2012 7 Extract from Task Sheet (Art) Brief description of task The executives of a new animated movie, ‘The Darkened World’, require strange creatures for the main characters. You have been invited to submit a concept drawing. Context in which you are to write/speak/perform Genre and purpose: Fantasy image to create, stimulate and entertain Subject matter The brief from the studio includes the following What is the assignment requirements: about?  The creature must seem to have defied evolution and, therefore, must not look like any creature already on earth.  It could look like quite a few other creatures, with parts from different animals, birds, amphibians, insects, arachnids etc.  In the script, the creature will catch it prey, devour it and have a means of defence.  The creature emerges from the centre of the earth and is able to camouflage itself. Draw a suitable landscape and superimpose the creature on it. Roles and relationships You are the artist interested in experimenting with a range of Who are you? Who is your elements and media of art. You are also interested in raising audience? What your profile and making money – so you want to win this job. relationships are you trying to establish? Your audience will be studio executives who have more power than you and are only reasonably familiar with you and your work. Make sure your creature fits with their vision for this movie. You’ll have to really stun them with a final drawing that is professionally presented. Mode Drawing Medium Create the initial animals on A5 paper in your Visual Diary. How is the assignment to Use different wet or dry media for each animal, e.g.: be presented?  HB, 2B or 6B pencil  coloured pencils  conte  charcoal  pastel  fine tipped pen and ink  mixed media. Combine the animals using a piece of A3 paper. © L & E Williams Holdings Pty Ltd, 2012 8 Digestive System Texts From http://digestive.niddk.nih.gov/ddiseases/pubs/yrdd/: The digestive system is made up of the digestive tract—a series of hollow organs joined in a long, twisting tube from the mouth to the anus—and other organs that help the body break down and absorb food (see figure). from Horrible Science: After a few hours I managed to squeeze through the exit below the stomach. I found myself in a long tube that looked like a subway. I switched on my headlamps and peered at my waterproof map. My route was clear. I should head down the duodenum (dew-­‐o-­‐dee-­‐num), jejunum (gee-­‐june-­‐num) and ileum (ill-­‐ee-­‐um). Whatever they were. The map said ‘small intestines’ – but it seemed endless. I knew I had to keep moving. The gut walls were closing behind me and I wasn’t hanging around to get squashed again. So I walked. My feet squashed on the soft, rubbery ground. Just then I saw something large and blue trapped in a fold in the wall. Success! It was the missing pen top. I gingerly pulled it out and tucked it under my arm. Now all I had to do was to get out without getting digested on the way… From www.vivo.colostate.edu/hbooks/pathphys/digestion/smallgut/index.html: The small intestine is the portal for absorption of virtually all nutrients into blood. Accomplishing this transport entails breaking down large supramolecular aggregates into small molecules that can be transported across the epithelium. An exception to this statement is seen in herbivores, where large amounts of short chain fatty acids are absorbed at other sites. By the time ingesta reaches the small intestine, foodstuffs have been mechanically broken down and reduced to a liquid by mastication and grinding in the stomach. Once within the small intestine, these macromolecular aggregates are exposed to pancreatic enzymes and bile, which enables digestion to molecules capable or almost capable of being absorbed. The final stages of digestion occur on the surface of the small intestinal epithelium. The net effect of passage through the small intestine is absorption of most of the water and electrolytes (sodium, chloride, potassium) and essentially all dietary organic molecules (including glucose, amino acids and fatty acids). Through these activities, the small intestine not only provides nutrients to the body, but plays a critical role in water and acid-­‐base balance. © L & E Williams Holdings Pty Ltd, 2012 9 Genre Map Genres and Types of Knowledge © L & E Williams Holdings Pty Ltd, 2012 10 Genres and Stages © L & E Williams Holdings Pty Ltd, 2012 11 The Oral-­‐Literate Continuum Continuum Example Most Visigoths engaged in the sacking of spoken – Rome: “Ahhh! Take that! Ughh!” oral language 1 2 What two Visigoths said to each other in the heat of battle: “Hey Waldemar, here’s a neat statue. Let’s bust it.” 3 A Roman watching the battle & telling his blind grandmother what was happening: “Well Gran, there’s a whole bunch of Visigoths down there, big blond guys, horns on their hats and they’re busting all the statues and stuff. 4 A group of Visigoths reminiscing around the campfire the night after the battle: “Man, you should have seen Waldemar when he busted the statue. He totally trashed it. When its head flew off it nearly wasted Eric.” 5 A report of the sacking in the next day’s newspaper: “Almost the entire city was devastated in the raid by marauding Visigoths on Thursday.” 6 An explanation of why Rome fell: “The fall of Rome can be attributed to a number of factors.” Most A work on imperialism using Rome written – as an example: “While imperialism is literate an enduring ideology, the tendency is language 7 for empires not to endure. For example, Rome ...” Features Action only Language embedded in the action: exophoric retrieval (i.e. outside of the text), specific reference, present tense, individual participants, vocatives, imperative & declarative mood (commands and statements). Language constructing the action: exophoric retrieval, specific reference, present tense, individual participants, vocatives, declarative mood (statements). Language reconstructing the action: specific reference, past tense, individual participants, vocatives, declarative mood. Language reconstructing the action, but from a greater semiotic distance than 4: generic reference, past tense, collective participants, declarative mood. Language interpreting the action: non-­‐human (nominalized) participants, present tense, passive voice, declarative mood. Language interpreting the action, but from a greater semiotic distance: abstract (nominalized) participants, generic reference, present tense, declarative mood. Adapted from a diagram by Garry Collins (original source unknown) © L & E Williams Holdings Pty Ltd, 2012 12 Identifying Stages and Phases of a Text Stages Phases Text Chocolate is eaten by millions of people around the world and its sale is worth billions and billions of dollars every year. Recently, though, debate has raged in Australia about whether children should be banned from being able to purchase or consume this delicious treat. So, is this an over-­‐reaction to the growing hysteria surrounding childhood obesity or a long over-­‐
due precaution to protect the health of vulnerable members of the community? Alternatively, perhaps a sensible compromise is required? Let us explore some of arguments. For many years now, respected medical experts have reported on the negative health effects of an over-­‐
indulgence in chocolate. Milk chocolate, in particular, can be very high in fat. If too much is eaten over a period of time, children’s weight balloons – especially if their exercise is limited and they consume other, fatty fast foods, such as French fries, sundaes and soft drinks. Moreover, a clear link has been established between obesity and a range of serious health issues, including heart attack and diabetes. Despite these problems, however, medical experts have also discovered that the moderate consumption of dark chocolate may actually have health benefits, including the prevention of heart attacks. In addition, chocolate is believed to help raise people’s happiness levels and can play a part in relieving stress and depression. Some well-­‐meaning human rights advocates have also argued that the production of chocolate causes suffering for many people in the developing world. In particular, in west Africa where most of the world’s cocoa beans (a crucial ingredient in chocolate) are grown, it is alleged that young children are forced into slave labour. Western chocolate companies have been accused of adding to the problem by paying farmers very little for their beans. On the other hand, while these claims may be true, we must acknowledge that increasingly these companies are using fair trade chocolate that helps reduce the severity of the problems and is gradually improving the life of the cocoa farmers. A question also must be asked: how will banning chocolate for children alone solve any of these problems? In fact, if the amount of chocolate eaten decreases, then that might actually mean less money for struggling African farmers and their long-­‐suffering families. © L & E Williams Holdings Pty Ltd, 2012 13 Stages and Phases of a Text continued… In conclusion, there may be strong reasons for considering a ban, but there are even stronger reasons for opposing one. Nobody wants to encourage childhood obesity, cause serious health problems for children or contribute to the suffering of cocoa farmers and their children. Similarly, surely no one wants to destroy an industry that brings a huge amount of pleasure, makes billions of dollars a year and employs thousands of people. Instead, a sensible compromise is needed: children must be educated about the dangers of obesity and encouraged to exercise; everyone (including adults) needs to eat in moderation, remembering that chocolate is a once-­‐in-­‐a-­‐while-­‐food; and finally, consumers need to contact their favourite chocolate manufacturers and encourage their use of fair trade cocoa. A total ban will achieve absolutely nothing. R2L Joint Writing Transcript Teacher Prepare Focus Student Teacher Propose Affirm Focus Students Teacher Propose Affirm Elaborate Focus Student Propose Teacher Affirm Elaborate Now we need to preview the side we support. First we need a conjunction that tells the reader this is the other side. On the other hand. Brilliant. [scribes ‘on the other hand’] And we can just say other think. But we need a verb that means thinking carefully. Know. Understand. Examine. Analyse. Great. [scribing notes] Another verb that means thinking carefully is consider [adds to notes] So let’s say others consider. [pointing at notes] What’s our sentence going to be? [student name]? Others consider it is unhealthy, bad for the environment, and manipulates. Excellent. Let’s say the advertising is manipulative. [scribes ‘others consider it to be unhealthy, bad for the environment, and its advertising manipulative.’] From Martin and Rose 2012: 209 © L & E Williams Holdings Pty Ltd, 2012 14 Writing Plan (after Harders, Axford & Wise 2009) Original text The writer… For many years now, respected medical experts have reported on the negative health effects of an over-­‐indulgence in chocolate. Milk chocolate, in particular, can be very high in fat. states the first argument (negative point) in a topic sentence. If too much is eaten over a period of time, children’s weight balloons – especially if their exercise is limited and they consume other, fatty fast foods, such as French fries, sundaes and soft drinks. Moreover, a clear link has been established between obesity and a range of serious health issues, including heart attack and diabetes. Despite these problems, however, medical experts have also discovered that the moderate consumption of dark chocolate may actually have health benefits, including the prevention of heart attacks. In addition, chocolate is believed to help raise people’s happiness levels and, therefore, can play a part in relieving stress and depression. elaborates on the example, showing cause and effects. exemplifies the negative point. Your attempt counters with a positive argument and example. adds another positive example, including elaboration. © L & E Williams Holdings Pty Ltd, 2012 15 Sentence Making Mentor Sentence (broken into word groups) For many years now, Structure (non-­
technical) A length of time respected medical experts people with expertise have reported spoke or reported on the negative on/about health effects of an something over-­‐indulgence in chocolate. Structure (technical terms) New sentence using the same pattern Prepositional phrase of time noun group past tense saying/reporting verbs preposition + noun group References Axford, B., Harders, P. & Wise, F. (2009). Scaffolding Literacy. Victoria: ACER Press. Christie, F. & Martin, J. R. (2008). Language, Knowledge and Pedagogy. London: Continuum. Culican, S.J. (2006). Learning to Read:Reading to Learn: A Middle Years Literacy Intervention Research Project, Final Report 2003-­4. Catholic Education Office Melbourne http://www.cecv.melb.catholic.edu.au/ Research and Seminar Papers. Retrieved 17 October 2009 from http://www.readingtolearn.com.au/#/articles/. Don, A. (2011). ‘Legitimating tenor relationships: Affiliation and alignment in written interaction’. Linguistics and the human sciences, 5: 3, 303-­‐327. Fisher, D., Frey, N. and Lapp, D. (2009). In a Reading State of Mind: Brain Research, Teacher Modelling and Comprehension Instruction. Newark, Delaware: International Reading Association. Hollimon, D. (2011). It’s simple: Read more, write more, teach vocabulary. Reading Today. Vol 28: 4. p13. Irvin, J., Meltzer, J., Dean, N. and Mickler, M. (2010). Taking the lead on adolescent literacy: Action steps for schoolwide success. USA: Corwin and the International Reading Association. Martin, J. R. & Rose, D. (2008). Genre Relations: Mapping Culture. London: Eqinox. Misson, R. (2004) What are we creating in creative writing?. English in Australia. 21. 32-­‐40. OECD (2010). PISA 2009 results: Overcoming social background-­ Equity in learning opportunities and outcomes (Volume II). http://dx.doi.org/10.1787/9789264091504-­‐en. OECD (2010). PISA 2009 results: Learning to learn – student engagement, strategies and practices (Vol III). http://dx.doi.org/10.1787/9789264083943-­‐en. Parris, S., Fisher, D. and Headley, K. (eds) (2009). Adolescent Literacy, Field Tested: Effective Solutions for Every Classroom. Newark, Delaware: International Reading Association. Unsworth, L. (2001). Teaching multiliteracies across the curriculum: Changing contexts of text and image in classroom practice. Buckingham: Open University Press. Wilhelm, J. (2007). Engaging readers and writers with enquiry: Promoting deep understandings in Language Arts and the content areas with guiding questions. USA: Scholastic. Wright, D. & Mahiri, J. (2012). Literacy learning within community action projects for social change. Journal of Adolescent & Adult Literacy. 56: 2. Pp. 123-­‐131. © L & E Williams Holdings Pty Ltd, 2012 16 Appendix One: Common letter patterns (Axford, Harders and Wise, 2009) Double vowels ai au ea oa oi oo Vowel + consonant sound aw ay ew Double consonants ch gh ph bb cc dd mm nn pp ck Vowel plus ‘r’ ar er ir Silent letters gn kn mb Word endings al ed en ied ion ing y Blends: Onset rhymes bl br cl fr gl gr scr sk sl spl spr squ thr tr tw Blends: Final ct ft ld mp nd nk sk st sp ‘e’ marker a-­‐e e-­‐e i-­‐e -­‐ge Longer letter patterns alk augh ear igh ough ould © L & E Williams Holdings Pty Ltd, 2012 ee ou ei ue ie ui ow oy sh ff rr th gg ss wh ll zz or ur ten wr er le es ly est s cr pl sm st dr pr sn str fl sc sp sw ex lk ng lp nt lt pt o-­‐e u-­‐e -­‐ce eigh our ess tion ful ound 17 Appendix 2: A selection of English prefixes and suffixes (adapted from Crystal, 1995) Prefix Meaning group Negation Prefix a-­‐, dis-­‐, in-­‐, non-­‐, un-­‐ Examples atheist; disobey; incomplete; nonsmoker; unwise Reversal De-­‐, dis-­‐, un-­‐ Defrost; disinfect; undo Disparaging Mal-­‐, mis-­‐, pseudo-­‐ malfunction; mislead; pseudo-­‐intellectual Size or degree Arch-­‐, co-­‐, hyper-­‐, mega-­‐, archenemy; cohabit; mini-­‐, out-­‐, over-­‐, sub-­‐, hypermarket; megaloan; super-­‐, sur-­‐, ultra-­‐, miniskirt; outclass; under-­‐, vice-­‐ overflow; subconscious; superman; surcharge; ultrasound; underplay; viceroy Orientation Anti-­‐, auto-­‐, contra-­‐, anticlockwise; counter-­‐, pro-­‐ autobiography; contraindicate; counteract; proconsul Location and distance Extra-­‐, fore-­‐, inter-­‐, intra, extraterrestrial; pan-­‐, super-­‐, tele-­‐, trans-­‐ foreshore; interplay; intravenous; pan African; superscript; telescope; transplant Time and order Ex-­‐, fore-­‐, neo-­‐, paleo-­‐, ex-­‐husband; foreshadow; post-­‐, pre-­‐, proto-­‐, re-­‐ neoclassical; paleolithic; postwar; preschool; prototype; recycle Number Bi-­‐, demi-­‐, di-­‐, mono-­‐, bicycle; demigod; divide; multi-­‐, poly-­‐, semi-­‐, tri-­‐, monorail; multipurpose; uni-­‐ polygamy; semicircle; tripod; unisex Grammatical conversion: a-­‐ aboard, astride Verb to adjective Grammatical conversion: Be-­‐, en-­‐ bewitch; enlighten Noun to verb © L & E Williams Holdings Pty Ltd, 2012 18 Suffix Type Suffix Examples Inflectional Noun plural Genetive case (possession, origin, description etc) 3rd person singular -­‐s ‘s Past tense Contracted negative Contracted verb -­‐ing form or present participle -­‐ed form or past particple -­‐ed -­‐n’t -­‐‘re, -­‐ve -­‐er comparison -­‐est comparison Abstract noun makers Concrete noun makers Adverb maker Adjective/noun maker Nouns from verbs Nouns from adjectives Adjectives from nouns Adjectives from verbs -­‐s trees, plants the boy’s hat; the traveller’s story; a summer’s day (he/she/it…) looks, jumps, chops looked, jumped, chopped cannot, didn’t you’re, we’ve swimming, jumping, looking Kicked and battered, I hobbled off the field. ‘clevererer’, drier Cleverest, dearest, Derivational -­‐age, -­‐dom, -­‐ery, -­‐ful, -­‐
frontage; kingdom; hood, -­‐ing, -­‐ism, -­‐ocracy, -­‐ slavery; cupful; ship brotherhood; farming; idealism; democracy; membership -­‐eer, -­‐er, -­‐ess, -­‐ette, -­‐let, engineer; teenager; -­‐ling, -­‐ster, -­‐ic lioness; kitchenette; piglet; duckling; gamester; critic -­‐ly, -­‐wards, -­‐wise quickly; northwards; lengthwise -­‐ese, -­‐(i)an, -­‐ist, -­‐ite Chinese; Parisian; socialist; socialite -­‐age, -­‐al, -­‐ant, -­‐ation, -­‐ee, wastage; revival; -­‐er, -­‐ing, -­‐ment, -­‐or, informant; exploration; absentee; writer; clothing; amazement; actor -­‐ity, -­‐ness Rapidity; happiness -­‐ed, -­‐esque, -­‐ful, -­‐ic, -­‐(i)al, blue-­‐eyed; Kafkaesque; -­‐ish, -­‐less, -­‐ly, -­‐ous, -­‐y useful; atomic; editorial, accidental; foolish; careless; friendly; ambitious; sandy -­‐able, -­‐ive washable, attractive © L & E Williams Holdings Pty Ltd, 2012 19