reinvigorating writing booklet - english teacher guru ·...

© L & E Williams Holdings Pty Ltd, 2012 1

Reinvigorating the Teaching of Writing: Nurturing Organisation, Accuracy & Flair

Presented by Lindsay Williams

Aims • 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 • 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?


Model for Writing Improvement


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.)


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?

Greg: I’d like to get it published. I think the other kids will be interested in weapons.

Teacher: Do you think this is ready to get published? Greg: Yup. Teacher: 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.

Greg: Well, I know some of the words aren’t right, but I can’t spell ‘em. Teacher: 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 1 Teacher Today we’re learning how to find information quickly where we don’t

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.

2 Students How many species of monkeys are there? 3 Teacher 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?

4 Student ((calling out quietly)) No. 5 Student ((calling out)) What about the card number?


6 Teacher Thank you. Never mind about the card number just Monkey will do

nicely. 7 Student ((calling out)) Miss 8 Teacher Yes ((walks over to student)) 9 Student Are we going to do the ones we were doing this morning? 10 Teacher We’re busy doing this now Sam. 11 Student ((calling out)) Miss will I rub the words off the blackboard? 12 Teacher No thank you Jason ((to class)) Now, your answer. 13 Student ((calling out)) There. 14 Teacher 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?

15 Students ((class chorus)) Short answers. 16 Teacher 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?

17 Mary There are about two hundred species of monkey. 18 Teacher Ye-‐es. All right. That’s a good, that’s an answer. But you wrote ((Points to

another student.)) 19 Student Two hundred species of monkeys. 20 Teacher 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)

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)

Implicit Explicit


Context-‐Text Relationships

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 restricted)

Campbell, Can-‐Do, Mate, Darling, Darl, BFF, Cam

Wave, handshake Enthusiastic wave, handshake with hand on elbow, hug, kiss, pat

continued over page…/

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


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 Probably not allowed Teacher: Good morning, Sam. Sam: Good morning, Mr Williams.

Teacher: Good morning, Sam. Sam: Good morning, Lindsay.

Teacher mussing up Sam’s hair. 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


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 What is the assignment about?

The brief from the studio includes the following requirements:

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 Who are you? Who is your audience? What relationships are you trying to establish?

You are the artist interested in experimenting with a range of elements and media of art. You are also interested in raising your profile and making money – so you want to win this job. 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 How is the assignment to be presented?

Create the initial animals on A5 paper in your Visual Diary. Use different wet or dry media for each animal, e.g.:

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.


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.


Genre Map

Genres and Types of Knowledge


Genres and Stages


The Oral-‐Literate Continuum

Continuum Example Features

Most spoken – oral

language 1

Visigoths engaged in the sacking of Rome: “Ahhh! Take that! Ughh!”

Action only

2 What two Visigoths said to each other in the heat of battle: “Hey Waldemar, here’s a neat statue. Let’s bust it.”

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).

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.

Language constructing the action: exophoric retrieval, specific reference, present tense, individual participants, vocatives, declarative mood (statements).

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.”

Language reconstructing the action: specific reference, past tense, individual participants, vocatives, declarative mood.

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.”

Language reconstructing the action, but from a greater semiotic distance than 4: generic reference, past tense, collective participants, declarative mood.

6 An explanation of why Rome fell: “The fall of Rome can be attributed to a number of factors.”

Language interpreting the action: non-‐human (nominalized) participants, present tense, passive voice, declarative mood.

Most written – literate

language 7

A work on imperialism using Rome as an example: “While imperialism is an enduring ideology, the tendency is for empires not to endure. For example, Rome ...”

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)


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.


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 Now we need to preview the side we support. Focus First we need a conjunction that tells the reader this

is the other side. Student Propose On the other hand. Teacher Affirm Brilliant. [scribes ‘on the other hand’] Focus And we can just say other think. But we need a verb

that means thinking carefully. Students Propose Know. Understand. Examine. Analyse. Teacher Affirm Great. [scribing notes] Elaborate Another verb that means thinking carefully is

consider [adds to notes] Focus So let’s say others consider. [pointing at notes]

What’s our sentence going to be? [student name]? Student Propose Others consider it is unhealthy, bad for the

environment, and manipulates. Teacher Affirm Excellent. Elaborate 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


Writing Plan (after Harders, Axford & Wise 2009) Original text The writer… Your attempt For many years now, respected medical experts have reported on the negative health effects of an over-‐indulgence in chocolate.

states the first argument (negative point) in a topic sentence.

Milk chocolate, in particular, can be very high in fat.

exemplifies the negative point.

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.

elaborates on the example, showing cause and effects.

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.

counters with a positive argument and example.

In addition, chocolate is believed to help raise people’s happiness levels and, therefore, can play a part in relieving stress and depression.

adds another positive example, including elaboration.


Sentence Making Mentor Sentence (broken into word groups)

Structure (non-technical)

Structure (technical terms)

New sentence using the same pattern

For many years now,

A length of time Prepositional phrase of time

respected medical experts

people with expertise

noun group

have reported spoke or reported past tense saying/reporting verbs

on the negative health effects of an over-‐indulgence in chocolate.

on/about something

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.


Appendix One: Common letter patterns (Axford, Harders and Wise, 2009) Double vowels ai oa

au oi

ea oo

ee ou

ei ue

ie ui

Vowel + consonant sound aw ay ew ow oy Double consonants ch bb mm ck

gh cc nn

ph dd pp

sh ff rr

th gg ss

wh ll zz

Vowel plus ‘r’ ar er ir or ur Silent letters gn kn mb ten wr Word endings al ied y

ed ion

en ing

er le

es ly

est s

Blends: Onset rhymes bl fr scr spl thr

br gl sk spr tr

cl gr sl squ tw

cr pl sm st

dr pr sn str

fl sc sp sw ex

Blends: Final ct mp sk

ft nd st

ld nk sp

lk ng

lp nt

lt pt

‘e’ marker a-‐e -‐ge

e-‐e i-‐e o-‐e u-‐e -‐ce

Longer letter patterns alk igh

augh ough

ear ould

eigh our

ess tion

ful ound


Appendix 2: A selection of English prefixes and suffixes (adapted from Crystal, 1995)

Prefix Meaning group Prefix Examples Negation a-‐, dis-‐, in-‐, non-‐, un-‐ 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-‐,

mini-‐, out-‐, over-‐, sub-‐, super-‐, sur-‐, ultra-‐, under-‐, vice-‐

archenemy; cohabit; hypermarket; megaloan; miniskirt; outclass; overflow; subconscious; superman; surcharge; ultrasound; underplay; viceroy

Orientation Anti-‐, auto-‐, contra-‐, counter-‐, pro-‐

anticlockwise; autobiography; contraindicate; counteract; proconsul

Location and distance Extra-‐, fore-‐, inter-‐, intra, pan-‐, super-‐, tele-‐, trans-‐

extraterrestrial; foreshore; interplay; intravenous; pan African; superscript; telescope; transplant

Time and order Ex-‐, fore-‐, neo-‐, paleo-‐, post-‐, pre-‐, proto-‐, re-‐

ex-‐husband; foreshadow; neoclassical; paleolithic; postwar; preschool; prototype; recycle

Number Bi-‐, demi-‐, di-‐, mono-‐, multi-‐, poly-‐, semi-‐, tri-‐, uni-‐

bicycle; demigod; divide; monorail; multipurpose; polygamy; semicircle; tripod; unisex

Grammatical conversion: Verb to adjective

a-‐ aboard, astride

Grammatical conversion: Noun to verb

Be-‐, en-‐ bewitch; enlighten


Suffix Type Suffix Examples

Inflectional Noun plural -‐s trees, plants Genetive case (possession, origin, description etc)

‘s the boy’s hat; the traveller’s story; a summer’s day

3rd person singular -‐s (he/she/it…) looks, jumps, chops

Past tense -‐ed looked, jumped, chopped Contracted negative -‐n’t cannot, didn’t Contracted verb -‐‘re, -‐ve you’re, we’ve -‐ing form or present participle

swimming, jumping, looking

-‐ed form or past particple Kicked and battered, I hobbled off the field.

-‐er comparison ‘clevererer’, drier -‐est comparison Cleverest, dearest,

Derivational Abstract noun makers -‐age, -‐dom, -‐ery, -‐ful, -‐

hood, -‐ing, -‐ism, -‐ocracy, -‐ship

frontage; kingdom; slavery; cupful; brotherhood; farming; idealism; democracy; membership

Concrete noun makers -‐eer, -‐er, -‐ess, -‐ette, -‐let, -‐ling, -‐ster, -‐ic

engineer; teenager; lioness; kitchenette; piglet; duckling; gamester; critic

Adverb maker -‐ly, -‐wards, -‐wise quickly; northwards; lengthwise

Adjective/noun maker -‐ese, -‐(i)an, -‐ist, -‐ite Chinese; Parisian; socialist; socialite

Nouns from verbs -‐age, -‐al, -‐ant, -‐ation, -‐ee, -‐er, -‐ing, -‐ment, -‐or,

wastage; revival; informant; exploration; absentee; writer; clothing; amazement; actor

Nouns from adjectives -‐ity, -‐ness Rapidity; happiness Adjectives from nouns -‐ed, -‐esque, -‐ful, -‐ic, -‐(i)al,

-‐ish, -‐less, -‐ly, -‐ous, -‐y blue-‐eyed; Kafkaesque; useful; atomic; editorial, accidental; foolish; careless; friendly; ambitious; sandy

Adjectives from verbs -‐able, -‐ive washable, attractive

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