““BRUSH BRUSH STROKESSTROKES””““BRUSH BRUSH

STROKESSTROKES””

byby

HARRY R. NODENHARRY R. NODEN

PART 1PART 1

byby

HARRY R. NODENHARRY R. NODEN

PART 1PART 1

STANDARDSSTANDARDSSTANDARDSSTANDARDSWRITING STRATEGIESWRITING STRATEGIES

1.2 Use 1.2 Use precise precise language, language, action action verbsverbs, , sensory detailssensory details, , appropriate appropriate modifiersmodifiers, , and the and the active active rather rather than the passive than the passive voice.voice.

WRITING STRATEGIESWRITING STRATEGIES

1.2 Use 1.2 Use precise precise language, language, action action verbsverbs, , sensory detailssensory details, , appropriate appropriate modifiersmodifiers, , and the and the active active rather rather than the passive than the passive voice.voice.

STANDARDSSTANDARDSSTANDARDSSTANDARDSWRITTEN AND ORAL ENGLISH LANGUAGE CONVENTIONS

1.11.1 Identify and correctly Identify and correctly use use clausesclauses (e.g., main and (e.g., main and subordinate), subordinate), phrasesphrases (e.g., (e.g., gerund, infinitive, and gerund, infinitive, and participial), and participial), and mechanics of mechanics of punctuationpunctuation (e.g., semicolons, (e.g., semicolons, colons, ellipses, hyphens). colons, ellipses, hyphens).

WRITTEN AND ORAL ENGLISH LANGUAGE CONVENTIONS

1.11.1 Identify and correctly Identify and correctly use use clausesclauses (e.g., main and (e.g., main and subordinate), subordinate), phrasesphrases (e.g., (e.g., gerund, infinitive, and gerund, infinitive, and participial), and participial), and mechanics of mechanics of punctuationpunctuation (e.g., semicolons, (e.g., semicolons, colons, ellipses, hyphens). colons, ellipses, hyphens).

STANDARDSSTANDARDSSTANDARDSSTANDARDSWRITTEN AND ORAL ENGLISH LANGUAGE CONVENTIONS

1.21.2 Understand Understand sentence sentence constructionconstruction (e.g., parallel (e.g., parallel structure, subordination, structure, subordination, proper placement of proper placement of modifiers) and proper modifiers) and proper English English usageusage (e.g., (e.g., consistency of verb tenses).consistency of verb tenses).

WRITTEN AND ORAL ENGLISH LANGUAGE CONVENTIONS

1.21.2 Understand Understand sentence sentence constructionconstruction (e.g., parallel (e.g., parallel structure, subordination, structure, subordination, proper placement of proper placement of modifiers) and proper modifiers) and proper English English usageusage (e.g., (e.g., consistency of verb tenses).consistency of verb tenses).

OBJECTIVEOBJECTIVEOBJECTIVEOBJECTIVE

Using Using ________________________________, , students will identify students will identify and apply five basic and apply five basic Brushstrokes and Brushstrokes and practice composing practice composing and and revisingrevising sentences.sentences.

Using Using ________________________________, , students will identify students will identify and apply five basic and apply five basic Brushstrokes and Brushstrokes and practice composing practice composing and and revisingrevising sentences.sentences.

QUICK-WRITEQUICK-WRITE

Select one of the following pictures

Quickly write one or two sentences describing what you see [in the picture]

Select one of the following pictures

Quickly write one or two sentences describing what you see [in the picture]

QUICK-WRITEQUICK-WRITE::QUICK-WRITEQUICK-WRITE::

QUICK-WRITEQUICK-WRITE::QUICK-WRITEQUICK-WRITE::

QUICK-WRITEQUICK-WRITE::QUICK-WRITEQUICK-WRITE::

QUICK-WRITEQUICK-WRITE::QUICK-WRITEQUICK-WRITE::

QUICK-WRITEQUICK-WRITE::QUICK-WRITEQUICK-WRITE::

QUICK-QUICK-WRITEWRITE::QUICK-QUICK-WRITEWRITE::

QUICK-QUICK-WRITEWRITE::QUICK-QUICK-WRITEWRITE::

QUICK-QUICK-WRITEWRITE::QUICK-QUICK-WRITEWRITE::

THE TWISTTHE TWIST Now try to Now try to

““CHANGE” CHANGE” your your sentence.sentence.

How can you How can you REVISE REVISE it to it to make it make it better?better?

Now try to Now try to ““CHANGE” CHANGE” your your sentence.sentence.

How can you How can you REVISE REVISE it to it to make it make it better?better?

““BRUSH BRUSH STROKESSTROKES””““BRUSH BRUSH

STROKESSTROKES””

byby

HARRY R. NODENHARRY R. NODENbyby

HARRY R. NODENHARRY R. NODEN

BRUSHSTROKESBRUSHSTROKES

An introduction An introduction

Using Using Grammatical Grammatical Structures Structures to Teach to Teach WritingWritingHARRY R. HARRY R. NODENNODEN

Taken from Taken from

Image Image GrammaGrammarr

““The writer is an artist, The writer is an artist, painting images of life painting images of life

with specific and with specific and identifiable brush identifiable brush strokes, images as strokes, images as

realisticrealistic as Wyeth and as as Wyeth and as abstractabstract as Picasso…” as Picasso…”

About BrushstrokesAbout Brushstrokes……

“…“…In the act of In the act of creation, the writer, like creation, the writer, like

the artist, relies on the artist, relies on fundamental elements.”fundamental elements.”

[page 1][page 1]

About BrushstrokesAbout Brushstrokes……

Andrew WyethAndrew Wyeth

Pablo Pablo PicassoPicasso

Pablo PicassoPablo Picasso

““In the act of In the act of creation, the creation, the

writer, like the writer, like the artist, relies on artist, relies on

fundamental fundamental elements.” elements.”

NODENNODEN

““BRUSH STROKES”BRUSH STROKES”““BRUSH STROKES”BRUSH STROKES”byby

HARRY R. HARRY R. NODENNODEN

PART 2PART 2

byby

HARRY R. HARRY R. NODENNODEN

PART 2PART 2

REVIEWREVIEW

What are the “foundations” of good writing and communication?

What are the “foundations” of good writing and communication?

THE BASIC PARTS OF SPEECHTHE BASIC PARTS OF SPEECH• NounsNouns• VerbsVerbs• PronounsPronouns• AdverbsAdverbs• AdjectivesAdjectives

• ConjunctioConjunctionsns

• PrepositionPrepositionss

• InterjectionInterjectionss

THE TWISTTHE TWIST How can we How can we

take our take our quick-write quick-write sentences and sentences and communicate communicate with more with more power power and and resonanceresonance??

How can we How can we take our take our quick-write quick-write sentences and sentences and communicate communicate with more with more power power and and resonanceresonance??

THE BRUSHSTROKESTHE BRUSHSTROKES

•ParticiplesParticiples•Vivid VerbsVivid Verbs• Inverted AdjectivesInverted Adjectives•AbsolutesAbsolutes•AppositivesAppositives

THE BRUSHSTROKESTHE BRUSHSTROKES

•PARTICIPLESPARTICIPLES•Vivid VerbsVivid Verbs• Inverted AdjectivesInverted Adjectives•AbsolutesAbsolutes•AppositivesAppositives

PAINTING WITH PARTICIPLESPAINTING WITH PARTICIPLES

•an –ing (or –ed) an –ing (or –ed) verb tagged on verb tagged on the beginning or the beginning or end of a end of a sentence.sentence.

PARTICIPLES PAINTED BY HEMINGWAY IN PARTICIPLES PAINTED BY HEMINGWAY IN THE OLD MAN AND THE SEATHE OLD MAN AND THE SEA::

• Shifting the weight of the line Shifting the weight of the line to his left shoulder and to his left shoulder and kneeling carefully, he washed kneeling carefully, he washed his hand in the ocean and held his hand in the ocean and held it there, submerged, for more it there, submerged, for more than a than a minute, watching the blood minute, watching the blood trail away and the steady trail away and the steady movement of the water against movement of the water against his hand as the boat moved.his hand as the boat moved.

PARTICIPLES PAINTED BY ANGELAPARTICIPLES PAINTED BY ANGELA• The gorilla stared The gorilla stared

sadly at the people sadly at the people outside the glass.outside the glass.

• Resting his chin on Resting his chin on the rubber tire, the rubber tire, the gorilla sat, the gorilla sat, wondering how he wondering how he came to be came to be trapped in this trapped in this manmade jungle.manmade jungle.

GUIDED PRACTICEGUIDED PRACTICE: : TRY THIS BRUSH STROKE WITH THE FOLLOWING…TRY THIS BRUSH STROKE WITH THE FOLLOWING…