Projects emphasize developing skills in audience analysis, including multicultural considerations; analytical reading; critical thinking; research methods; and clear writing, with attention to the ethical dimensions of workplace writing. Students examine the persuasive power of language to effect social change. Through the analysis of key historic texts, students identify effective writing techniques. Students articulate creative, researched, and well-reasoned solutions to socially relevant problems. Projects include blogs, proposals, op-ed pieces, and social-media strategies.
Writing analytical papers employing a variety of critical methods of reading and interpreting poetry, fiction, and drama. Students will read literature by women from various cultures, continents, and historical periods. Course explores how female experience is shaped by cultural contexts as well as how women authors have used writing to change societies' ideas about women and men. Emphasis is on basic elements of literary study and of feminist analysis.
Coursework includes discussion, exams, and short papers. Reading and examination of oral, nonverbal, and written tradition as expressions of culture, introduction of folklore research methods; the major genres of folklore including folk narrative, folk song, and material culture; and folklore's influence on perceptions and behaviors from the personal to cultural and international levels. Reading and examination of folklore, as folk art and as cultural holding material; study may focus on types such as myth, legend, fairy tales ; groups such as miners, cowboys, railroaders ; or regions such as Ozarks, New England, or Scandinavia.
Student requests will be considered. May be repeated to a total of 6 hours. Study of poetry, fiction, drama, biography, and autobiography selected to explore how factors such as historical era, ethnicity, religion, social class, family structure, and gender shape one's experience of life stages; emphasis on class discussion and various kinds of writing, some of it autobiographical; an introductory literature course for English majors and non-majors. This course explores how literature imagines cultural identities, conflicts within and between cultural groups, and efforts to resolve these conflicts.
For the purposes of this course, culture will be understood in terms of such categories as nation, region, language, race, ethnicity, religion, social class, family structure, gender, sexuality, age, and disability. Through the critical analysis of literature and through personal reflection on literary texts, students will learn to recognize, describe, and understand their own and others' cultures, the histories of these cultures, and their divergences and convergences. Students will also consider how knowledge of multiple cultures can form a foundation for ethical decision-making and action in a variety of public arenas.
Appropriate for student in all majors. Introduction to fundamental concepts of linguistic theory as they apply to languages of the world, especially English. Areas covered include phonology, morphology, syntax, and semantics, and some applied areas, such as language variation, change, and acquisition, disorders, and language and culture. This service component for an existing course incorporates community service with classroom instruction in English. It provides an integrated learning experience, addressing the practice of citizenship and promoting an awareness of and participation in public affairs.
It includes 40 hours of service that benefits an external community organization, agency or public service provider. Approved service placements and assignments will vary depending on the course topic and learning objectives; a list of approved placements and assignments is available from the instructor and the Citizenship and Service Learning Office. May be repeated. Explores how literature shapes and is shaped by public debates, cultural heritages, and community needs.
Unit 2, "Writing Cultures and Intercultural Encounters," considers writers' efforts to imagine or represent cultures and cross-cultural relations. Public Affairs Capstone Experience course. Designed to acclimate transfer students into the English Department by helping them to achieve academic success and by integrating the public affairs mission into their studies.
Transfer students with declared English minors are also eligible to enroll. Cannot be repeated for credit. Intermediate study in the nonfiction genre. Variable content course with a focus in a specific subgenre of nonfiction, such as memoir, travel writing, personal cultural criticism, and narrative nonfiction. Students will read and analyze works and write within the subgenre. May be repeated to a total of 6 hours when the topic varies. Approved Recurring Topic: Memoir. Focused study of the craft of memoir. This course will introduce students to the various subgenres of memoir, including book-length memoir, graphic memoir, flash nonfiction, and traditional short memoir as published in literary magazines or collections, to prepare students' writing for a variety of opportunities in literary publication.
Students will participate in a workshop environment to develop original memoirs. Approved Recurring Topic: Narrative Nonfiction. Focused study of the craft of narrative nonfiction. This course will introduce students to the various characteristics of narrative nonfiction, including book-length and shorter works. Students will participate in a workshop environment to develop original works of narrative nonfiction. Intermediate-level work in short story writing. Introduction to the theory, techniques, and terminology of novella and novel writing. Individual conferences.
Intermediate study in the literature and technique of graphic narrative and practical experience in writing and illustrating comics. Identical with ART Experience in community engagement through client-based projects in which students synthesize information and apply skills learned in this and other classes. Using primary and secondary research, students solve problems by developing employment materials, brochures, instructions, graphics, manuals, or other professional documents. Emphasis on audience analysis, including multicultural considerations, as well as on presenting information clearly, concisely, and ethically in both prose and visuals.
Students will expand upon advocacy writing principles learned in ENG by creating materials to address social problems. Students will evaluate advocacy campaigns of existing nonprofit organizations. Students will create advocacy materials through an integrated service learning experience.
Intermediate-level work in playwriting. Analysis of dramatic structure. Practice in writing one-act and full-length scripts. Workshop staged readings of student scripts. Marketing strategies. Study and practice in developing persuasive written argument through the use of rhetorical strategies to articulate various positions to specific audiences.
Focus on the understanding and use in writing of evidence, experience, opinion, and reasoning, including an understanding of several rhetorical strategies such as burden of proof; generalization; analogy; authority; equivocation; oversimplification; slippery slope and ad hominem argument. Examination of literary modes such as humor, satire, fantasy, tragedy, or genres such as essay, short story, biography.
Books & Resources
May be repeated for up to 6 hours with variable topics. Study of various genres-poetry, picture books, traditional stories, modern realistic and fantasy fiction, nonfiction--appropriate for early childhood and elementary grades; criteria for selection. Satisfies a requirement for Early Childhood and Elementary Certification. Study of various genres-poetry, illustrated books, modern realistic and fantasy fiction, drama, nonfiction--appropriate for middle school grades ; criteria for selection.
Study of various genres-poetry, realistic and fantasy fiction, nonfiction, drama, film--appropriate for secondary school; criteria for selection. Satisfies a requirement for Secondary English Certification. Introductory practice writing in genres such as literary folk tales, fantasy, realistic fiction, nonfiction, picture book texts, and poetry for young readers at different stages of maturity.
Emphasizes the writing process as well as the final product. Representative authors, movements, ideas, and styles in English literature from the beginning to Representative authors, movements, ideas, and styles in English literature from to the present. Representative authors, movements, ideas, and styles in American literature from the beginning to Representative authors, movements, ideas, and styles in American literature from to the present.
Study of representative literary works by African American, Hispanic American, Native American, or other minority authors. May be repeated to a total of 6 hours if topic is different. Survey of representative works of fiction, poetry, personal narratives, and essays in the context of social and cultural movements. European literature beginning with the Bible and Greek works, and ending at Excludes British literature. Survey of representative works of fiction, poetry, drama, folklore, personal narratives, and essays from various countries on the African continent written in or translated into English.
Some attention to these fictions' histories, connections to other popular culture, and relationships to "literary" fiction. Explores the ethical use of software and hardware tools that professional writers use in the workplace to create and distribute technical information. Students will produce projects to gain a hands-on understanding of the tools used in developing online help and printed documentation, working with graphics, and other relevant areas. The process of creating a new piece of writing by clarifying, reducing, expanding, and synthesizing materials written by others.
Emphasis on audience adaptation; professional ethics; and document organization, style, and mechanics through a client-based editing project. Focus on building author-editor relationships while managing the editing cycle. The course will introduce elements of folklore theory applicable to museum and performance presentation, and include reading and examination of folk worlds within the Ozarks context. Major genres covered may include ballad, legend, folk tale, and folk song.
Survey of representative works of fiction and poetry focusing on the Ozarks or Ozarks characters. The structure of American English, with emphasis on current descriptive approaches to English grammar. Students will study theoretical perspectives about the teaching of English and develop methods for teaching and assessing literature, the English language, and media in middle and secondary English classrooms. Particular emphasis will be placed on designing units of study.
A required clinical field experience under the instruction of faculty and mentorship of an experienced English classroom teachers will provide students with opportunities to engage in a cycle of planning instruction, teaching, assessing student learning, gathering feedback about the effectiveness of their instructional decision-making, and reflecting in order to adjust future instruction and professional interactions. Credited only on BSEd Secondary.
Practice in planning and managing projects. Emphasis is researched-based audience analysis, document design, and usability testing, including ethical considerations. Students complete a client-based design project and supporting documents. Emphasis on practical and marketable skills. A capstone course emphasizing reflection and synthesis of concepts from previous courses. Focus on skills associated with the smooth transition from an academic study of professional writing to the professional workforce.
Students prepare a portfolio that demonstrates their integration of course and program outcomes and complete individual research projects related to the three pillars of the Public Affairs mission, including topics ranging from ethical and legal issues to globalization and localization. Student observes then teaches English classes under the direction of the cooperating teacher and the university supervisor. Student participates in school-related activities appropriate to the assignment and attends all required meetings. In order to receive a grade in this course, the student's professional portfolio must meet or exceed final criteria.
Course will not count toward the major GPA. Student observes then teaches under the direction of the cooperating teacher and the university supervisor. Student participates in school-related activities and attends both individual and group conferences. It is also designed to support completion of additional clinical requirements within that program including: seminars and workshops, required meetings, school related activities appropriate to the assignment, demonstrated mastery of the MoSPE standards and completion and overall assessment of a Professional Preparation Portfolio.
This course is credited only on BSEd or appropriate masters-level certification programs. Literary theory from antiquity to the present. Study of intersections of dramatic art and politics including survey of theatrical styles such as realism, surrealism, agit-prop, and theatre-of-the-absurd.
5 terrible, horrible, no good, very bad children’s book mistakes
Supervised work experience related to English studies. Meeting minimum prerequisite requirements does not guarantee internship approval. Students are required to work a minimum of 45 hours for each credit hour. Students must submit applications no later than one month prior to the beginning of the semester in which they undertake the internship. Cannot be repeated more than 3 hours. Builds on concepts students learn in ENG Students will gain hands-on practice working with more-advanced tools and features that professional writers use to produce technical documents. Topics may include, but are not limited to, desktop publishing, web-page creation, single sourcing, and accessibility.
Reading and examination will emphasize folklore as a definitive characteristic of varied North American literary texts. Fictional, visual, and audio texts may be examined. This course will offer readings focusing on Folklore in Literature e. Introduction to what folklore is, its types, why it varies between folk worlds; basic folklore research methods.
Influence of folklore on other forms of literature. Examines the history and development of scientific writing. Students survey a broad selection of scientific literature to better understand the cultural and ethical implications of science writing as they apply to both the field of scientific and technical writing and the broader society. Historical development of the English language from its Indo-European roots to present-day American English.
Regional, social, and ethnic variation in American English. Incorporates linguistic geography and sociolinguistic approaches, and considers relevant political and educational issues. Group discussion and criticism. Individual writing projects. Students lacking a course prerequisite must submit two manuscripts for consideration when applying for permission.
May be organized around one or more of the following nonfiction genres: creative nonfiction, magazine writing, and popular science writing. May be repeated for a total of 6 hours. May be taught concurrently with ENG Students lacking the course prerequisite must submit two manuscripts for consideration when applying for permission to enroll in the course. Contemporary approaches to teaching grammar, reading, writing, listening, and speaking for students who are learning English as a second language.
Includes material design, development, and evaluation; student assessment; integration of all components into a unified TESOL curriculum. Students lacking a prerequisite must submit two manuscripts for consideration when applying for permission to enroll in the course. Directed development of a substantial work of poetry, fiction, or non-critical prose, prepared for publication.
The Canterbury Tales and other works by Chaucer; social, historical, literary, and linguistic background of late Middle Ages. Works by major figures in the development of the British novel, such as Fielding, Austen, Dickens, George Eliot, Hardy, Lawrence, and Woolf; major criticism of the genre.
Selected plays and poems of Shakespeare, representative criticism, and Shakespeare's theatre and milieu. Representative British plays from pre-Renaissance times to present, including such authors as Marlowe, Congreve, Wilde, and Shaw. Development of American Drama to the present; emphasis on 20th century, including such authors as O'Neill, Wilder, Hellman, Williams, Miller, and Albee; major criticism of the genre.
A survey of current writing and evaluation practices. Training in the teaching and evaluating of oral and written composition. The student will have an opportunity to examine methods currently taught in area high schools. A course intended to develop the writing of prospective and in-service teachers and to explore the means by which writing can be encouraged, developed, and assessed. Collaborative workshop designed to prepare individuals for teaching one-to-one in a writing center environment. Study of historical trends important to the development of written discourse and writing instruction.
Survey of theory from classical antiquity through the nineteenth century. A continuation of ENG A study of significant themes such as gender, ethnicity, or childhood or genres such as children's poetry, the picture book, and the literary folktale and historical fiction in literature for the young. May be repeated when content varies. Study of one or more periods in the historical development of children's literature, such as the Golden Age of children's classics, twentieth-century British children's literature, and the novels for children since Study of various kinds of novels written for young people; includes historical perspectives; emphasizes developments since the "New Realism" of the s.
Sidney, Spenser, Donne, Milton, and other major non-dramatic writers; literary developments, Dryden, Swift, Pope, Johnson, and other significant writers; literary developments, Tennyson, Browning, the Rossettis, Hardy, and other British Victorian writers; literary developments, Significant works from several genres by authors such as Conrad, Yeats, Greene, Lessing, and Stoppard; literary developments, present. Eliot, Amis and Larkin; the intellectual milieu of their works. Practical experience with the literary publication process, including the editing work that goes into literary journals and the process of submitting and publishing creative work.
Students will be introduced to such various aspects of the literary market and other opportunities for creative writers, as conferences and writing workshops. Students will learn about the publishing process through such University publications projects as the English Department's Moon City Press.
Significant works from several genres by authors such as Cooper, Poe, Irving, Thoreau, Emerson, Hawthorne, Melville, and Whitman; literary developments to May be repeated up to 6 hours if content varies. Except for that usage, no part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher.
All trade names and trademarks recited, referenced, or reflected herein are the property of their respective owners who retain all rights thereto. English language—Sentences—Study and teaching Elementary 2. English language—Composition and exercises—Study and teaching Elementary I.
T ools Students Need to Be Skillful Writers: Building Better Sentences is not intended to be a comprehensive list of rules to be followed by students and teachers. It is not intended to be a textbook or a scripted program. Tools Students Need to Be Skillful Writers is intended to be a sourcebook of sentence-level grammar activities that will give students explicit practice and confidence in writing a variety of sentence types effectively.
It is a book of practical ideas to be shared by real teachers as they help students to study and practice the craft of writing. It is intended to follow standard written English and provide insights into the courtesies of consistent and accurate mechanics, spelling, and usage. And, perhaps most importantly, it is intended to honor the expertise of teachers as decision makers as they celebrate the art of teaching.
With the advent of high-stakes testing in the s, I, like many teachers, was required to teach writing formulas. I attended one or two forty-five-minute after-school workshops with presenters who flew through formulas that assigned a numerical value to every sentence. Students were held to a specific number of paragraphs, a specific number of sentences per paragraph, and mandated transition words that often did not accurately express the relationship among the ideas. The strict formulas lacked creativity, student choice, purpose, and authenticity. My philosophy of education revolved around student choice and decision making, which I did not find in strict adherence to formulas.
Fortunately, I soon had an opportunity to attend a full-day workshop led by Dr.
Sparks, the author of Write for Power , which had the reputation of being another of those rigid formulas for writing essays. However, during the workshop Dr. Sparks never pushed a rigid formula like the ones that I had seen in other workshops. He discussed structures of text. He demonstrated how to move from general to specific ideas as an organization pattern, and he talked about sentence patterns.
He discussed vocabulary, sentence variety, and specific details. His book contained examples of thirty-nine sentence patterns that he recommended we use while writing essays. Sparks encouraged sentence variety but did not offer a specific way to teach the patterns. I was intrigued by this idea of sentence patterns because my students' essays were littered with fragments and run-ons.
More disturbing, my students did not recognize these errors, nor did they have any idea how to correct those errors once I pointed them out. Living in a small town in the early s meant that I did not have Internet access at school or home. Nor did I have immediate access to a library stocked with educational materials. Nonetheless, I did stumble upon two textbooks that helped me.
The first was one about sentence patterns developed by the University of Michigan. Both of these texts gave me valuable grammatical explanations of various patterns and alerted me to standard English rules and possible pitfalls. But neither provided me with a clear methodology. I had begun haphazardly teaching patterns to my students. In spite of my somewhat disjointed efforts, the students began constructing effective sentences. I noticed fewer fragments and run-on sentences in their work. Students began to recognize fragments and run-ons and attempted to correct them.
My students had an air of confidence as they tackled assignments. I knew the patterns were a valuable tool, so I continued my search for methods of instruction. I wanted all of my students to succeed. The next piece of the puzzle came to me during a one-hour presentation by Herb Hrebic, one of the developers of the Stack the Deck writing program. During that hour, I came to understand that if I wanted students to become authors, I needed to teach with a positive attitude and build on students' skills rather than nitpick at their faults.
I loved Hrebric's upbeat, kindhearted approach to teaching composition. I continued to scramble for ideas to synthesize the information as it came to me. During Hrebic's presentation, he demonstrated sentence combining, a technique I had never used.
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Immediately, I saw how this technique could support sentence patterns, which led me to William Strong. Strong's work on sentence combinations gave me a piece that was missing in the sentence pattern work that I had been doing with my students. I began developing combinations that matched the patterns to provide students additional support as they learned to write the sentences independently. I cannot say that my students enjoyed working on sentence combinations, but I can say that working on the combinations helped my students to develop a better understanding of the patterns and how to manipulate sentence elements.
It also became my strongest tool in teaching the mechanics of writing. Sentence combining helped students who still struggled to write an original sentence after studying the models. After working on combinations, they could return to the models and write original sentences. Over the years I continued to collect and refine ideas that would help the students learn sentence patterns. This book is a collection of those ideas and materials. I have been using most of these activities for twenty to thirty years, so in some cases I am not sure of the origin of the activity.
I have made every effort to find the original sources. Over the years I have made numerous changes to the activities, and I find that I still change the activities as classrooms and student needs change. I often have thought that only a fool would attempt to write a book about writing or how to teach writing; so yes, I am a fool.
Writing such a book is an invitation to argument, to fault-finding, to accusations. Syntax sticklers will find [Page xi] errors. Good writing, style, voice—I challenge my readers to define any of these. If they do manage to define voice or style, I challenge them to find ten people who will agree on one definition of these elements. I do feel that writing rests on the back of grammar, but even those rules are nebulous.
For example, I consulted three respected resources concerning the rules for punctuating sentences with conjunctive adverbs, and I came away with three distinct sets of rules. With each pattern, my students learned punctuation rules, or as I preferred to teach it—punctuation courtesies.
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Lacking a classroom textbook, I researched the mechanics for each pattern and made decisions about correct usage. I researched some of the giants of writing—Strunk and White, Graves, Zinsser, and others. I scanned textbooks and manuals of style. I often found disagreements concerning usage of commas, semicolons, and colons.
The requirements of our high school programs also influenced my decisions. I wanted my students' transition to high school to be as effortless as possible. Hence, when my resources disagreed on rules, I turned to the high school texts for guidance on standard written English and chose to teach the rule that the students most likely would be expected to use in high school.
I know that people will disagree with some of my decisions about grammar and punctuation. No doubt, my suggestions may even offend some. But language is not static, and rules do fall by the wayside or change dramatically with time. Sentence patterns, vocabulary, punctuation, spelling—all of these elements of language do change. If you doubt me, read a bit of Thomas Jefferson's second inaugural address, and notice the enormous differences in spelling, sentence structure, punctuation, and vocabulary:. I repair, then, fellow-citizens, to the post you have assigned me. With experience enough in subordinate offices to have seen the difficulties of this the greatest of all.
I have learnt to expect that it will rarely fall to the lot of imperfect man to retire from this station with the reputation and the favor which bring him into it. I am not a grammar goddess; I am not a maven of mechanics. But I am a teacher who has had success teaching sentence patterns to students. My goal is to share those techniques and ideas.
This is a book of suggestions, not a rigid script. Good teachers will change my suggestions to fit their teaching style and the needs of their students. My goal is to share ideas with other teachers; my hope is that they will share their success stories and ideas with me. Chapter 1 provides reasons and research to support the teaching of sentence patterns.
It shows the link between grammar and writing and offers encouragement [Page xii] to break from traditional grammar lessons. Chapter 2 provides a range of activities that can be used to teach the parts of speech. The premise of the book is that all patterns grow from two basic patterns: noun-verb and noun-verb-noun. Hence, it is crucial that students develop a strong understanding of the concept of a noun and the concept of a verb before they begin studying the patterns. Chapter 3 is the meat of the book and might seem overwhelming at first.
I suggest that readers at first focus on the patterns for one grade level, which will make the task of teaching patterns manageable. This chapter provides directions and suggestions for teaching the patterns, including the teacher's role and the students' roles. Background Information sections concerning punctuation and grammar are provided for each pattern. Readers also will find Points for Student Analysis sections and helpful hints for teachers.
The idea of teaching patterns is to show students models of the pattern and then provide them time to analyze the pattern prior to a teacher-led discussion. A reliable English textbook will be a valuable resource at this point. Chapters 4 through 6 provide sentence combination exercises, games, and activities tied directly to each pattern. The opportunity to deconstruct and reconstruct sentences will be most helpful to teachers moving students through the tiers of response to intervention RTI. If students find themselves struggling with a pattern, the activities in Chapters 4 through 6 can be used to provide additional help so that students understand the structures.
Chapters 7 and 8 explain the relationship between sentence patterns and writing paragraphs, essays, and narratives. One new pattern is analyzed and practiced on the first day of every week. The remaining days are writing workshop days that require students to use the patterns as they develop longer pieces of text. This book does not intend to teach all the ins and outs of a writing workshop, but it does address how to use the patterns in a workshop setting. My former students are the single group of people who have given me the most help on this project.
Administrators cited my students' consistently excellent test scores on mandatory state tests as proof of the power of sentence patterns.
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In twenty-five years of teaching, 99 percent of my students scored meets and exceeds on state writing tests. For me, the proof of success was evident in my students' enthusiasm for writing. They enjoyed writing for authentic audiences: contests, local organizations, family and friends, and student publications.
The positive feedback from each audience provided my students with a sense of success that fueled their enthusiasm. I also would like to acknowledge the numerous teachers who not only have attended my workshops on sentence patterns but also implemented and improved the strategies and techniques. I would like to give a special thanks to Laura Pruett, JoAnne Lambert, and Kim Henke of the Triad School District for allowing me to visit their classrooms and gather samples of student work. Thank you to the teachers at District 87 in Illinois who also shared samples of student work.
Consistent requests from teachers for a book about the patterns finally spurred me to undertake this task. Corwin wishes to acknowledge the following peer reviewers for their editorial insight and guidance. A frequent speaker and presenter throughout Illinois, Phyllis also has worked as a language arts consultant throughout the country and abroad. She conducts a range of workshops on reading, writing, assessment, poetry, and other topics. But her favorite presentations revolve around the sentence patterns. In addition, Phyllis is a professional storyteller who turns fables and fairy tales into rap, jazz, and ballads.
She also does Bible tellings and has traveled to Israel as part of an American Bible telling team. She uses her storytelling skills to bring life and learning to her educational workshops. The Corwin logo—a raven striding across an open book—represents the union of courage and learning. Corwin is committed to improving education for all learners by publishing books and other professional development resources for those serving the field of PreK—12 education. CQ Press Your definitive resource for politics, policy and people.
Remember me? Back Institutional Login Please choose from an option shown below. Need help logging in? Click here. Don't have access? View purchasing options. Online ISBN: Online Publication Date: January 11, Publisher: Corwin Press. Print Purchase Options. Lessons for Grades 3—12 include: A variety of sentence patterns presented in a logical sequence; An explanation of each pattern's structure and conventions; Reinforcement activities and sample sentences for each pattern; Activities to develop the necessary instructional vocabulary As students become engaged in the process, they will work toward: Meeting the Common Core State Standards for Language Arts; Understanding and using basic sentence structures; Recognizing what makes a sentence effective; Learning Copy to Clipboard.
View Copyright Page [Page iv]. ISBN pbk. H If you doubt me, read a bit of Thomas Jefferson's second inaugural address, and notice the enormous differences in spelling, sentence structure, punctuation, and vocabulary: I repair, then, fellow-citizens, to the post you have assigned me. Publisher's Acknowledgments. About the Author. Sentence combining workbook 2nd ed.
Anderson , J. Mechanically inclined: Building grammar, usage, and style into writer's workshop. Portland, ME : Stenhouse. Babbitt , N. Tuck everlasting. New York : Macmillan. Baker , L. Life in the oceans: Animals, people, plants. New York : Scholastic. Bavaria , S. Arabian horses—from the family tent to the 4-H ring. Appleseeds , 13 8 , 24— Benjamin , A. Teaching grammar: What really works. Larchmont, NY : Eye on Education. Engaging grammar: Practical advice for real classrooms.
Biel , T. Zoobooks series , vol. Mankato, MN : Wildlife Education. Blume , J. Bruning , R. Cognitive psychology and instruction. Buckley , S. John Muir, nature boy. Appleseeds , 13 7. Bunting , E. The Wednesday surprise. New York : Trumpet Club. Chancellor , D. Jungle animals. New York : DK. Cleary , B. Ramona Quimby, age 8. New York : Harper Trophy. Hairy, scary, ordinary: What is an adjective?
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