Details

<p>What Makes This Book Different v</p> <p>About the Author xv</p> <p>Acknowledgments xvii</p> <p>Action Verbs as a Method of Elaboration 1</p> <p>Adages 2</p> <p>Adjectives as a Method of Elaboration 3</p> <p>Adverbs as a Method of Elaboration: Practice #1 4</p> <p>Adverbs as a Method of Elaboration: Practice #2 6</p> <p>Allegory 7</p> <p>Alliteration 8</p> <p>Allusion 9</p> <p>Analogy 10</p> <p>Anecdote 11</p> <p>Antagonist 12</p> <p>Application and Synthesis 13</p> <p>Assessing Prompts: Determining Mode of Writing 14</p> <p>Assonance 15</p> <p>Autobiographical Collage 16</p> <p>Biography 17</p> <p>Brainstorming 18</p> <p>Brainstorming: Web 19</p> <p>Brainstorming: Web Subpoints 20</p> <p>Business Letter 21</p> <p>Character Sketch 23</p> <p>Characterization: Actions 24</p> <p>Characterization: Contrasting Actions 25</p> <p>Characterization: Appearance 26</p> <p>Characterization: Environment 27</p> <p>Characterization: Inner Thoughts and Feelings (First Person) 28</p> <p>Characterization: Inner Thoughts and Feelings (Third Person Omniscient) 29</p> <p>Characterization: Speech 30</p> <p>Characterization: What Others Say 31</p> <p>Clichés 32</p> <p>Climax 33</p> <p>Choppy Style 34</p> <p>Commas (Individualized Practice #1) 35</p> <p>Commas (Individualized Practice #2) 36</p> <p>Comparison/Contrast Essay (Introduction) 37</p> <p>Comparison/Contrast Essay (First Body: First Part of Contrast/Comparison of Actions) 38</p> <p>Comparison/Contrast Essay (First Body: Second Part of Contrast/Comparison of Actions) 39</p> <p>Comparison/Contrast (Second Body) 40</p> <p>Comparison/Contrast Essay (Third Body) 41</p> <p>Comparison/Contrast Essay (Conclusion) 42</p> <p>Conflict: External 43</p> <p>Conflict: Internal 44</p> <p>Connectives 46</p> <p>Connotation or Denotation 47</p> <p>Definition as a Method of Elaboration 49</p> <p>Definitions: Specialized 50</p> <p>Denouement 51</p> <p>Description as a Method of Elaboration 52</p> <p>Descriptive Essay (Introduction) 53</p> <p>Descriptive Essay (First Body) 54</p> <p>Descriptive Essay (Second Body) 55</p> <p>Descriptive Essay (Third Body) 56</p> <p>Descriptive Essay (Conclusion) 57</p> <p>Dialect 58</p> <p>Dialogue as a Method of Elaboration 59</p> <p>Editing for Grammar Mistakes 60</p> <p>Elaboration 61</p> <p>Elaboration: Examples and Explanation as a Method 62</p> <p>Elaboration: Researchable Fact as a Method 63</p> <p>Euphemisms 64</p> <p>Expanded Moment 65</p> <p>Expository Writing (Introduction) 66</p> <p>Expository Writing (First Body) 67</p> <p>Expository Writing (Second Body) 68</p> <p>Expository Writing (Third Body) 69</p> <p>Expository Writing (Conclusion) 70</p> <p>Extended Metaphor (Part #1) 71</p> <p>Extended Metaphor (Part #2) 72</p> <p>Famous Quotations Blending into Author’s Own Words 73</p> <p>Famous Quotations as Methods of Elaboration 74</p> <p>Famous Quotations (Top Ten) 75</p> <p>Fantasy 76</p> <p>Figurative Language Fill-Ins 78</p> <p>Flashback 79</p> <p>Foreshadowing 80</p> <p>Fragments 81</p> <p>Friendly Letter (Heading, Salutation, Introduction) 82</p> <p>Friendly Letter (Body, Part #1) 83</p> <p>Friendly Letter (Body, Part #2) 84</p> <p>Full-Circle Ending in Narratives and Quick Writes 85</p> <p>Full-Circle Ending in Free Verse Poems 86</p> <p>Hooks (Part #1) 88</p> <p>Hooks (Part #2) 89</p> <p>Hooks (Part #3) 90</p> <p>Hooks (Part #4) 91</p> <p>How-To Vignette 92</p> <p>How-To or Process Writing (Introduction) 93</p> <p>How-To or Process Writing (First Body) 94</p> <p>How-To or Process Writing (Second Body) 95</p> <p>How-To or Process Writing (Third Body) 96</p> <p>How-To or Process Writing (Conclusion) 97</p> <p>Humor 98</p> <p>Hyperbole 99</p> <p>Hyphenated Modifier 100</p> <p>Idioms 101</p> <p>Inference 102</p> <p>Irony of Situation 104</p> <p>Interview Questions (Get-Acquainted Exercise) 105</p> <p>Literary Analysis (Introduction) 106</p> <p>Literary Analysis (First Body) 107</p> <p>Literary Analysis (Second Body) 108</p> <p>Literary Analysis (Third Body) 109</p> <p>Literary Analysis (Conclusion) 110</p> <p>Magic Three as a Method of Elaboration and Voice 111</p> <p>Metaphor 112</p> <p>Metaphor Quick Write 113</p> <p>Mood (Part #1) 114</p> <p>Mood Prediction (Part #2) 115</p> <p>Motif 116</p> <p>Motivation 117</p> <p>Name 118</p> <p>Narrative (Setting, Characters, Conflict) 119</p> <p>Narrative (Furthering Conflict in Rising Action) 120</p> <p>Narrative (Introduction of Second Conflict and More Insight</p> <p>into Characters) 121</p> <p>Narrative (Characters’ Reaction to Conflict) 122</p> <p>Narrative (Introduction of Minor Character and Continued Conflict) 123</p> <p>Narrative (Climax and Falling Action) 125</p> <p>Onomatopoeia 127</p> <p>Open-Ended Questions 128</p> <p>Open-Ended Question (‘‘The Physicians of Trinidad’’) 129</p> <p>Paradox 130</p> <p>Pathetic Fallacy (Part #1) 131</p> <p>Pathetic Fallacy (Part #2) 132</p> <p>Peer Editing 133</p> <p>Personalizing Current Events: Turning Nonfiction into Fiction 134</p> <p>Personification 135</p> <p>Persuasive Writing (Introduction) 136</p> <p>Persuasive Writing (First Body) 137</p> <p>Persuasive Writing (Second Body) 138</p> <p>Persuasive Writing (Third Body) 139</p> <p>Persuasive Writing (Conclusion) 140</p> <p>Picture Prompt Writing 141</p> <p>Picture Prompt Rubric: Student-Interactive (Beginning) 142</p> <p>Picture Prompt Rubric: Student-Interactive (Details) 143</p> <p>Picture Prompt Rubric: Student-Interactive (Editing) 144</p> <p>Play-Doh Writing Game 145</p> <p>Poem Cut-Ups 147</p> <p>Poignancy 149</p> <p>Point of View: Omniscient 150</p> <p>Prediction (Part #1) 151</p> <p>Prediction (Part #2) 152</p> <p>Redundancy 153</p> <p>Repetition for Effect:</p> <p>One Trick for Voice (From Excerpt of Short Story) 154</p> <p>Repetition for Effect (Sentence Practice) 155</p> <p>Run-On Sentences 156</p> <p>Science Fiction (Setting and Characters) 157</p> <p>Science Fiction (Unfolding of Plot: Rising Action #2) 158</p> <p>Science Fiction (Establishing Conflict: <i>Rising Action Introducing Conflict</i>) 159</p> <p>Science Fiction (Establishing Connection Between Characters) 160</p> <p>Science Fiction (Plan Purposed: <i>Plan of Action Revealed</i>) 161</p> <p>Science Fiction (Rising Action Leading to Climax) 162</p> <p>Science Fiction (Climax and Falling Action) 163</p> <p>Sensory Images as a Method of Elaboration (Sight) 164</p> <p>Sensory Images (Sound) 165</p> <p>Sensory Images (Touch) 166</p> <p>Sensory Images (Taste) 167</p> <p>Sensory Images (Smell) 168</p> <p>Sentence Variety: Sentence Combining (Noun Absolutes) 169</p> <p>Sentence Variety: Noun Absolutes Practice 170</p> <p>Sentence Variety: Sentence Combining (Participial Phrase) 171</p> <p>Sentence Variety: Participial Phrase Practice 172</p> <p>Sentence Variety: Sentence Combining (Adverb Clause) 173</p> <p>Sentence Variety: Adverb Clause Practice 174</p> <p>Sentence Variety: Sentence Combining (Adjective Clause) 175</p> <p>Sentence Variety: Adjective Clause Practice 176</p> <p>Similes as Methods of Voice in a Paragraph 177</p> <p>Similes as Practice in Developing Voice 178</p> <p>Snapshot Poem 179</p> <p>Structure Rubric for One-Paragraph Essay 180</p> <p>Subjunctive Mood of Verbs 182</p> <p>Summary 183</p> <p>Symbol 184</p> <p>Thank-You Note 185</p> <p>Theme: Building Themes into Essays 186</p> <p>Themes: Works Built Around a Theme 187</p> <p>Transitions: More Sophisticated Methods (Persuasive Essay) 188</p> <p>Transitions: More Sophisticated Methods (Expository Essay) 189</p> <p>Verb Tense Shift 190</p> <p>Vocabulary: I Don’t Think So 191</p> <p>Vocabulary: Which Word? 192</p> <p>Vocabulary: What If? 193</p>

<p><b>MARY ELLEN LEDBETTER, M.A.</b>, is a noted presenter and educational consultant specializing in boosting language arts skills in K–12 students. She has extensive teaching experience in public schools as well as at the college level. Her previous books include <i>Ready-To-Use English Workshop Activities Writing Portfolio Activities Kit Something for Every Day, All About Me</i>, and <i>You Say—I Say</i>.

<p><b>Praise for <i>The Writing Teacher's Activity-a-Day</i></b> <p>"The most difficult area to teach in language arts is writing, and this text now makes it easier—it will become a teacher's best friend! The book is the perfect marriage to the writer's workshop lesson plan model, giving specific examples of writing for each necessary skill to be taught, and will surely enhance and support your mini-lessons. Implementing these activities will help both the student and teacher grow as writers. In 33 years of teaching language arts, I've never seen anything like it!"<br> —<b>Donna Kortvelesy, MS, NBCT,</b> professional development specialist, Millville Public Schools, Millville, New Jersey <p>"Anytime I see a book by Mary Ellen Ledbetter, I grab hold of several copies for use in my classrooms and trainings. Teachers beg for them! In <i>The Writing Teacher's Activity-a-Day</i>, she has taken the objectives that are so hard for students to grasp and for educators to teach and has put together an easy-to-read, easy-to-teach book of amazing activities for everyday use."<br> —<b>Janet Coleman, Ed. D.,</b> educational consultant and trainer, Fort Worth, Texas <p><b>Writing Mini-Lessons That Won't Mean More Grading!</b> <p><i>The Writing Teacher's Activity-a-Day</i> offers 180+ ready-to-use, reproducible activities that are designed to enhance writing skills of all secondary students. Written for teachers in grades 6–12, the book's classroom-tested activities are designed so that teachers aren't required to do any extra grading. Partnering techniques along with new oral assessments and peer-editing strategies not only reduce teacher paper load but provide immediate feedback for students. <i>The Writing Teacher's Activity-a-Day</i> is filled with writing prompts and sample passages written in student-friendly language that connect abstract literary concepts to students' own lives. In addition, the engaging examples serve as models to encourage students to create their own Quick Writes.

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