Investigations in Writing

Implementing the Structure and Style® Writing Method

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Student Book
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First Edition © January 2025

Institute for Excellence in Writing, L.L.C.

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Investigations in Writing: Implementing the Structure and Style® Method Student Book

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First Edition, January 2025
Copyright © 2025 Institute for Excellence in Writing

ISBN 978-1-62341-419-1
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Contributors Designer
Sabrina Cardinale Melanie Anderson
Denise Kelley
Heidi Thomas Illustrator
Julie Walker Erin Covey

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Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Scope and Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

UNIT 1: NOTE MAKING AND OUTLINES

Lesson 1 History of Maps, Mercator Projection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

UNIT 2: WRITING FROM NOTES

Lesson 2 Ring of Fire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Lesson 3 Dead Sea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Lesson 4 Alfred Wegener . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

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UNIT 3: RETELLING NARRATIVE STORIES
Lesson 5 The Old Woman and the Physician, Part 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Lesson 6 The Old Woman and the Physician, Part 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

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Lesson 7
Lesson 8

UNIT 4: SUMMARIZING A REFERENCE

Lesson 9
Lesson 10
Lesson 11
Pheidippides and the Battle of Marathon . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Theseus and the Minotaur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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65

Vivaldi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Socrates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Notre Dame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
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Lesson 12 Volcanoes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

UNIT 5: WRITING FROM PICTURES

Lesson 13 Door and Wall, Part 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Lesson 14 Door and Wall, Part 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Lesson 15 The Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
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UNIT 6: SUMMARIZING MULTIPLE REFERENCES

Lesson 16 Amazon Rainforest, Part 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Lesson 17 Amazon Rainforest, Part 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Lesson 18 French Revolution, Part 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Lesson 19 French Revolution, Part 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

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UNIT 7: INVENTIVE WRITING
Lesson 20 My Favorite Activity, Part 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Lesson 21 My Favorite Activity, Part 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Lesson 22 My Favorite Season, Part 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Lesson 23 My Favorite Season, Part 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

UNIT 8: FORMAL ESSAY MODELS

Lesson 24 French Revolution, Part 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Lesson 25 Transportation, Part 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Lesson 26 Transportation, Part 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

UNIT 9: FORMAL CRITIQUE

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Lesson 27 The Little Match Girl, Part 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Lesson 28 The Little Match Girl, Part 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Lesson 29 After Twenty Years, Part 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Lesson 30 After Twenty Years, Part 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Appendices
I.
II.
III.
IV.

pl Adding Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Mechanics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Review Games (Teacher’s Manual only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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271
273
289
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 Introduction

Introduction
The lessons in this book teach Structure and Style® in writing. As they move through various
themes and subjects, they incrementally introduce and review the models of structure and
elements of style found in the Institute for Excellence in Writing’s Teaching Writing: Structure
and Style®.

Student Book Contents

• Scope and Sequence Chart (pages 8–9)
• The Lesson Pages
This is the majority of the text. It contains the instructions, source texts, worksheets, and

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checklists you will need for each lesson.
• Appendix I: Adding Literature
This appendix suggests various books and stories to be read or listened to.
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Appendix II: Mechanics
This appendix contains a compilation of the correct mechanics of writing numbers,
punctuating dates, referencing individuals, etc. that are found in many of the lessons.
Well-written compositions are not only written with structure and style, but they also
contain correctly spelled words and proper punctuation.
Appendix III: Vocabulary
This appendix provides a list of the vocabulary words and their definitions organized
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by lesson as well as quizzes to take periodically. Twenty-three lessons include new
vocabulary words. Every lesson includes vocabulary practice. The goal is that these
great words will become part of your natural writing vocabulary.
Vocabulary cards are found on the blue page as a PDF download. Print them, cut them
out, and place them in a plastic bag or pencil pouch for easy reference. Plan to study the
words for the current lesson and continue to review words from previous lessons.
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Investigations in Writing: Student Book 5

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Introduction

Checklists
Each writing lesson includes a checklist that details all the requirements of the assignment.
Tear the checklist out of the book so that you can use it while writing. Check off each element
when you are sure it is included in your paper. With each writing assignment, turn in the
checklist to be used by the teacher for grading. Reproducible checklists are available.
See the blue page for download information.

Teacher’s Manual
The Teacher’s Manual includes all of the Student Book contents with added instructions for
teachers, including sample key word outlines and style practice ideas. Teachers may teach
directly from this manual without the need of their own copy of the Student Book.

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Teaching Writing: Structure and Style
Along with the accompanying Teacher’s Manual for this Student Book, it is required that
the teacher of this course has access to Teaching Writing: Structure and Style. This product

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is available in DVD format or Forever Streaming. For more information, please visit
[Link]/TWSS

Adapting the Schedule

Groups who follow a schedule with fewer than thirty weeks will have to omit some lessons.
Because there are several lessons for each of the nine IEW units in this book, this is not a
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problem. Teach lessons that introduce new concepts and omit some of those that do not.
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6 Institute for Excellence in Writing

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Scope and Sequence

Lesson Subject and Style Vocabulary

Structure (First Introduced) Words

Unit 1 History of Maps, Mercator projection cartographer

1 introduction to structure distorted

Unit 2 Ring of Fire introduction to style approximately

2 -ly adverb continually

3 Dead Sea instantly

leisurely

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4 Alfred Wegener who/which clause
title rule

Unit 3 The Old Woman bargain

5 and the Physician, Part 1 consistently

pl The Old Woman

and the Physician, Part 2

Pheidippides and the

Battle of Marathon
alliteration

strong verb
banned words:
think/thought, see/saw
apply
confidently

command
relentlessly
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8 Theseus and the Minotaur because clause creep
banned words: reluctantly
go/went, say/said

Unit 4 Vivaldi
9 topic-clincher sentences

10 Socrates quality adjective ignorant

banned words: profound
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good, bad, big, small

11 Notre Dame [Link] clause innovative

menacing

12 Volcanoes #2 prepositional opener catastrophic

incinerate

Unit 5 Door and Wall, Part 1 deliberate

13 murmur

14 Door and Wall, Part 2 simile/metaphor

15 The Piano #3 -ly adverb opener mentor

proficient

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 Lesson Subject and Style Vocabulary
Structure (First Introduced) Words

Unit 6 Amazon Rainforest, Part 1 indispensable

16 source and fused outlines sustainable

17 Amazon Rainforest, Part 2 abundant

meticulously

18 French Revolution, Part 1 dire

treason

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19 French Revolution, Part 2 #6 vss opener

Unit 7 My Favorite Activity, Part 1 fulfilling

20 body paragraphs invigorating

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introduction and conclusion

My Favorite Season, Part 1

3sss

#5 clausal opener
[Link].b clause
inspire
stimulate

demolish
elaborate
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23 My Favorite Season, Part 2 expertly
strenuous

Unit 8 French Revolution, Part 3 #1 subject opener

24 introduction and conclusion #4 -ing opener

25 Transportation, Part 1 facilitate

additional sources required infrastructure
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26 Transportation, Part 2 expedite

precipitate

Unit 9 The Little Match Girl, Part 1 antagonist

27 protagonist

28 The Little Match Girl, Part 2 quotation compelling

tragedy

29 After Twenty Years, Part 1

30 After Twenty Years, Part 2

Investigations in Writing: Student Book 9

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10 Institute for Excellence in Writing

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 Lesson 1: History of Maps, Mercator Projection

UNIT 1: NOTE MAKING AND OUTLINES

Lesson 1: History of Maps, Mercator Projection

Goals
• to learn the Unit 1 Note Making and Outlines structural model
• to create a key word outline (KWO)
• to retell the content of a source text using just your outline
• to use new vocabulary words: cartographer, distorted

Assignment Schedule

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Day 1
1. Read Introduction to Structure and New Structure—Note Making and Outlines.
2. Read “History of Maps.” Read it again and write a key word outline (KWO).

Day 2

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3. Test your KWO. If a note is unclear, check the source text and fix your KWO.

1. Look at the vocabulary cards for Lesson 1. Complete Vocabulary Practice.

2. Try to add one vocabulary word to your KWO.
3. Give an oral report using your KWO. Read. Think. Look up. Speak.
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Day 3
1. Read “The Mercator Projection.” Read it again and write a KWO.
2. Try to add one vocabulary word to your KWO.
3. Test your KWO. If a note is unclear, check the source text and fix your KWO.
Day 4
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1. Review the vocabulary words.

2. Complete Structure Review.
3. After practicing, use your KWO and give an oral report to a friend or family member.
Read. Think. Look up. Speak. If applicable, be prepared to give the oral report in class.

Literature Suggestions
If you wish to incorporate literature into the curriculum, see a suggested list of books in
Appendix I.

Investigations in Writing: Student Book 11

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UNIT 1: NOTE MAKING AND OUTLINES

Introduction to Structure
In this book you will learn ways to make your writing more enjoyable to read. You will learn to
write with structure and with style. This lesson explains structure.

Structure
What is structure? The dictionary says structure is “the way that parts of something are arranged
or put together.”
What has structure? Think of planning a trip. Before a trip is taken, someone had to create an
itinerary, a plan, for the travelers. The travelers have to follow the itinerary so that each part of
the trip is in its proper place. The destinations must be visited in a specific order. If you begin in

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New York, you must visit South Carolina before Florida. The suitcases should be packed before
the trip begins. The hotels must be booked before the activities can be enjoyed. Each step has to
be completed in order to give the trip its proper structure.
In some ways, writing a paper is similar to planning a trip. A paper contains facts and ideas.

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If you begin writing without a plan, your facts and ideas will probably end up in the wrong place.
Your paragraph will not be structured well, and your readers might not understand what you are
trying to say. So, in this course, you will “draw plans” before you write. Your “plans” will be key
word outlines, which we abbreviate KWO.
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 Lesson 1: History of Maps, Mercator Projection

New Structure
Note Making and Outlines
Begin by reading the source text. Choose two or three key words in each sentence that tell the
sentence’s main idea.

Write the KWO.

To write a key word outline (KWO), place the key words on the outline. Do not write more
than three words on a line. You may also use symbols, numbers, and abbreviations. They are
“free.” Separate key words, symbols, numbers, and abbreviations with commas.

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Key words are the most important words that tell the main idea.

Symbols can be drawn faster than it takes to write the word.

Numbers include numerals like 1, 2, 3, and 1st, 2nd, 3rd.

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Abbreviations

ppl 
are commonly accepted forms of shortened words.

Can you guess what each of the following mean?

NA ++ 123
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Test the KWO.
After you finish writing your KWO, you must test it. To test a KWO, begin by putting
the source text away. Use only your notes. If a note is unclear, check the source text
and fix your KWO.
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Use the KWO for an oral report (optional).

A KWO helps you organize your thoughts. A KWO is used to write a paper. It can also be
used to give an oral report.

Read a line of notes.

Think of a sentence.

Look up so your eyes are not on the paper.

Speak in complete sentences. With practice, you can use your

KWO to give an oral report about a source text.

Investigations in Writing: Student Book 13

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UNIT 1: NOTE MAKING AND OUTLINES

Source Text

History of Maps

People have drawn maps of the Earth for centuries. The oldest known maps were

carved in clay and hardened in the sun by people from the ancient Babylonian

civilization. In the second century, the ancient Greek geographer Ptolemy designed

lines of latitude and longitude to draw maps of the known world. Eventually,

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European explorers and cartographers drew maps of new coast lines of the

lands they found. To navigate their ships, explorers used special instruments to

determine direction and distance on their maps. When English settlers arrived in

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North America, John Smith drew the first maps of Virginia and New England.

As explorers such as Lewis and Clark traveled west and surveyed the new land,

they measured and recorded details to make maps. Nowadays cartographers use
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computers and satellites to draw maps of the Earth.
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Mechanics
Capitalize north, south, east, and west when they refer to a region or proper name.
Do not capitalize these words when they indicate direction.

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 Lesson 1: History of Maps, Mercator Projection

Key Word Outline

On the lines below, write two or three key words from each sentence of the source text.
Choose words that help you remember the meaning of the sentence. Use symbols, numbers,
and abbreviations when possible. They do not count as words. Be sure you can remember what
they mean.

I.

1.

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2.

3.

4.

5.

6.
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7.

Test your KWO. This is a test of the outline, not your memory.
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To test your KWO, look at your notes, not the source text. If a note is unclear, check the source
text and fix your KWO.

Use your KWO to give an oral report.

Read a line of notes.

Think of a sentence.

Look up so your eyes are not on the paper.

Speak in complete sentences.

Investigations in Writing: Student Book 15

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UNIT 1: NOTE MAKING AND OUTLINES

Source Text

Mercator Projection

A globe is the most accurate representation of the Earth because it is a sphere. A

projection is a method of drawing the round Earth on flat paper. However, it is not

possible to accurately represent the curved surface of the Earth on a flat map. As

cartographers draw maps on paper, some of the land they draw becomes distorted,

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making navigation difficult. In 1569 a Flemish cartographer named Gerardus

Mercator designed a map with straight lines to help sailors navigate their ships.

The Mercator projection shows the true shape of land areas although lands near the

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North and South poles appear much larger than they really are. For example, on

a Mercator projection, Greenland is eight times larger than on a globe. Countries

closer to the equator have more accurate sizes. Although the Mercator projection is
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not perfect, it remains one of the most popular maps shown in atlases.
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Mechanics
The first time you write a name, write the first and last name.
After the first time, write the first and last name or only the last name.

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 Lesson 1: History of Maps, Mercator Projection

Key Word Outline

On the lines below, write two or three key words from each sentence of the source text.
Choose words that help you remember the meaning of the sentence. Use symbols, numbers,
and abbreviations when possible.

I.

1.

2.

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3.

4.

5.

6.
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m
7.

8.

Test your KWO. This is a test of the outline, not your memory.
Sa

To test your KWO, look at your notes, not the source text. If a note is unclear, check the source
text and fix your KWO.

Use your KWO to give an oral report.

Read a line of notes.

Think of a sentence.

Look up so your eyes are not on the paper.

Speak in complete sentences.

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UNIT 1: NOTE MAKING AND OUTLINES

Vocabulary Practice

Listen to someone read the vocabulary words for Lesson 1 aloud.

Speak them aloud yourself.
Read the definitions and sample sentences on the vocabulary cards.
Write two sentences using one of this lesson’s vocabulary words in each sentence.
You may use derivatives of the words. For example, you may add an -ed, -s,
or -ing to a basic vocabulary word.

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cartographer

pl distorted
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Think about the words and their meanings. Can you use them in your KWOs?
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Structure Review
Review page 13. Answer these questions orally.
What is a key word?
How many words can you put on one line of a KWO?
When you write a KWO, what are free?
After you write a KWO, what do you have to do?

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 Lesson 27: The Little Match Girl, Part 1

UNIT 9: FORMAL CRITIQUE

Lesson 27: The Little Match Girl, Part 1

Goals
• to learn the Unit 9 Formal Critique structural model
• to create a KWO
• to write the body paragraphs of a short story critique
• to learn and practice critique vocabulary
• to use new vocabulary words: antagonist, protagonist

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Assignment Schedule
Day 1
1. Play Find the [Link] Clause Starters or Two Strikes and You’re Out.

Day 2
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2. Read New Structure—Formal Critique Model: Body Paragraphs.
3. Read “The Little Match Girl.”
4. Write a KWO by answering the Story Sequence Chart questions.

1. Review your KWO from Day 1.

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2. Complete Style Practice.
3. Look at the vocabulary cards for Lesson 27. Complete Vocabulary Practice.
4. Using your KWO as a guide, begin writing a rough draft.
5. Look at the checklist. Check each box as you complete each requirement.
Day 3
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1. Review the vocabulary words and their meanings.

2. Finish writing your three body paragraphs.
3. Turn in your rough draft to your editor with the completed checklist attached.
Day 4
1. Write or type a final draft, making any corrections your editor asked you to make.
2. Paperclip the checklist, final draft, rough draft, and KWO together.

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UNIT 9: FORMAL CRITIQUE

New Structure
Formal Critique Model: Body Paragraphs
In Unit 9 you will write critiques of literature. Do this by combining your knowledge of how
to retell narrative stories (Unit 3) with how to write introduction and conclusion paragraphs
(Units 7 and 8). You may follow this model to critique any story.
The model contains an introduction, three body paragraphs, and a conclusion. The body
paragraphs follow the Story Sequence Chart. The elements required in the introduction and
conclusion are specific to critiques.
This model does not contain topic sentences or clincher sentences.

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I. Introduction attention getter
background information
II. Characters and Setting
Who is in the story?

Story

Sequence
pl III. Conflict or Problem
What are they like?
When does it happen?
Where do they live/go?

What do they need/want?

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Chart What do they think?
What do they say and do?

IV. Climax and Resolution How is the problem/need resolved?

What happens after?
What is learned?
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V. Conclusion your opinion

why

Like other 5-paragraph compositions, begin with the body paragraphs. When you write a
critique, do not tell about every character or detail of the story. Instead, write a brief summary
of different parts of the story in order to give your opinion about those specific parts. Use the
Story Sequence Chart.
When you write the first body paragraph, write “The Little Match Girl” is set in . Later
write The main character is .
When you write the second body paragraph, write The problem is .
When you write the third body paragraph, write The climax occurs . Later write In the
resolution .

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 Lesson 27: The Little Match Girl, Part 1

Sample Body Paragraphs

The following three paragraphs are a critique about “The Old Woman and the Physician.” Each
paragraph tells about the main components found in the Story Sequence Chart and the student’s
opinion of the story.
As you read the critique, look for opinions.
Notice that the writer does not use the pronouns I or you. I you
Characters
The setting begins in an old woman’s home and ends in a court room. and Setting
Leaving the reader to imagine what these places look like, the author Who is the main
character(s)?
simply states that the woman owns goods in her home but does not provide Is he/she likable?

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description. The main character is an elderly blind woman. Aesop does not What is the
setting?
name her. The woman finds a physician who claims that he can heal her.
Is it descriptive?
Hastily she makes a bargain with him, not realizing that he is deceitful. When

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the physician examines her, he tells her that he can cure her. Throughout the

tale the author reveals the woman’s sharp mind.

Immediately readers understand the problem. As the story unfolds,

readers are shocked because the physician eventually steals everything.

Conflict or
Problem
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Claiming to have healed her, he asks for payment. The old woman, who What is the
main conflict or
gasps when she opens her eyes, identifies her home but not her goods. Her problem?

belongings are missing. She insists that she is not cured and refuses to Is it interesting,
boring, upsetting?
pay. According to the physician his remedy has worked, so he takes her to Does the main
character get what
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court. The audience feels sympathy for the woman and frustration with the he/she wants?
physician.
Climax and
The unexpected climax occurs when the old woman, who faces the Resolution
judge, states that the physician has told the truth about their agreement. When does the
climax occur?
Readers wonder how she will convince the judge that the physician is a thief. Does it cause
At this point, she explains the bargain and why she refuses to pay. Since the suspense?
Is the ending
physician believes he can win the case, he confidently declares that the old predictable or
a surprise?
woman is healed. Admiring the old woman’s wit, readers chuckle as she
Is the reader
reveals her clever plan. Triumphantly she exposes the physician as a thief. satisfied or
disappointed?
Readers are satisfied.

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UNIT 9: FORMAL CRITIQUE

Source Text

The Little Match Girl

Most terribly cold it was; it snowed, and was nearly quite dark, and evening—the

last evening of the year. In this cold and darkness there went along the street a poor

little girl, bareheaded, and with naked feet. When she left home she had slippers

on, it is true; but what was the good of that? They were very large slippers, which

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her mother had hitherto worn; so large were they; and the poor little thing lost

them as she scuffled away across the street, because of two carriages that rolled by

dreadfully fast.

pl
One slipper was nowhere to be found; the other had been laid hold of by an

urchin, and off he ran with it; he thought it would do capitally for a cradle when

he some day or other should have children himself. So the little maiden walked
m
on with her tiny naked feet, that were quite red and blue from cold. She carried a

quantity of matches in an old apron, and she held a bundle of them in her hand.

Nobody had bought anything of her the whole livelong day; no one had given her a

single farthing.
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 Lesson 27: The Little Match Girl, Part 1

She crept along trembling with cold and hunger—a very picture of sorrow,

the poor little thing!

The flakes of snow covered her long fair hair, which fell in beautiful curls

around her neck; but of that, of course, she never once now thought. From all the

windows the candles were gleaming, and it smelt so deliciously of roast goose, for

you know it was New Year’s Eve; yes, of that she thought.

e
In a corner formed by two houses, of which one advanced more than the

other, she seated herself down and cowered together. Her little feet she had drawn

close up to her, but she grew colder and colder, and to go home she did not venture,

pl
for she had not sold any matches and could not bring a farthing of money: from her

father she would certainly get blows, and at home it was cold too, for above her she

had only the roof, through which the wind whistled, even though the largest cracks
m
were stopped up with straw and rags.

Her little hands were almost numbed with cold. Oh! A match might afford

her a world of comfort, if she only dared take a single one out of the bundle, draw

it against the wall, and warm her fingers by it. She drew one out. “Rischt!” How
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it blazed, how it burnt! It was a warm, bright flame, like a candle, as she held her

hands over it: it was a wonderful light. It seemed really to the little maiden as

though she were sitting before a large iron stove, with burnished brass feet and a

brass ornament at top. The fire burned with such blessed influence; it warmed so

delightfully. The little girl had already stretched out her feet to warm them too;

but—the small flame went out, the stove vanished: she had only the remains of the

burnt-out match in her hand.

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UNIT 9: FORMAL CRITIQUE

She rubbed another against the wall: it burned brightly, and where the light

fell on the wall, there the wall became transparent like a veil, so that she could

see into the room. On the table was spread a snow-white tablecloth; upon it was

a splendid porcelain service, and the roast goose was steaming famously with its

stuffing of apple and dried plums. And what was still more capital to behold was,

the goose hopped down from the dish, reeled about on the floor with knife and fork

e
in its breast, till it came up to the poor little girl; when—the match went out and

nothing but the thick, cold, damp wall was left behind. She lighted another match.

Now there she was sitting under the most magnificent Christmas tree: it was still

pl
larger, and more decorated than the one which she had seen through the glass door

in the rich merchant’s house.

Thousands of lights were burning on the green branches, and gaily-colored

m
pictures, such as she had seen in the shop-windows, looked down upon her. The

little maiden stretched out her hands towards them when—the match went out. The

lights of the Christmas tree rose higher and higher, she saw them now as stars in

heaven; one fell down and formed a long trail of fire.

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 Lesson 27: The Little Match Girl, Part 1

“Someone is just dead!” said the little girl; for her old grandmother, the only

person who had loved her, and who was now no more, had told her, that when a

star falls, a soul ascends to God.

She drew another match against the wall: it was again light, and in the lustre

there stood the old grandmother, so bright and radiant, so mild, and with such an

expression of love.

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“Grandmother!” cried the little one. “Oh, take me with you! You go away

when the match burns out; you vanish like the warm stove, like the delicious roast

goose, and like the magnificent Christmas tree!” And she rubbed the whole bundle

pl
of matches quickly against the wall, for she wanted to be quite sure of keeping

her grandmother near her. And the matches gave such a brilliant light that it was

brighter than at noon-day: never formerly had the grandmother been so beautiful
m
and so tall. She took the little maiden, on her arm, and both flew in brightness

and in joy so high, so very high, and then above was neither cold, nor hunger, nor

anxiety—they were with God.

But in the corner, at the cold hour of dawn, sat the poor girl, with rosy
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cheeks and with a smiling mouth, leaning against the wall—frozen to death on the

last evening of the old year. Stiff and stark sat the child there with her matches, of

which one bundle had been burnt. “She wanted to warm herself,” people said. No

one had the slightest suspicion of what beautiful things she had seen; no one even

dreamed of the splendor in which, with her grandmother she had entered on the

joys of a new year.

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UNIT 9: FORMAL CRITIQUE

Key Word Outline—Story Sequence Chart

Identify the Story Sequence Chart elements. Use the words setting, characters, problem, climax,
resolution.

Characters and Setting II.

When and where does the 1.

story occur? This is the
setting. 2.
Name and describe each
main character. 3.

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4.

(5.)

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Conflict or Problem

What does the main

character want or need?
This is the conflict.
III.

1.

2.
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Tell what the main
characters do, say, 3.
and think in order to
solve the problem. 4.
Tell how they feel as they
try to solve the problem. (5.)
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Climax and Resolution IV.

What event in the story 1.

reveals how the conflict
will work out (whether the 2.
problem will be solved or
not)? This is the climax.
3.
What is the outcome for
the main characters at the 4.
end of the story? This is
the resolution.
(5.)
These paragraphs do not contain topic-clincher sentences.

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 Lesson 27: The Little Match Girl, Part 1

Style Practice
Who/Which Clause Dress-Up

What does a who/which clause describe?

Place commas a who/which clause.

[Link].b Clause Dress-Up

Write the [Link].b clause pattern.

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Write eight www words.

pl
Sentence Openers
a comma

Which two sentence openers always need commas?

a [Link].b clause.
m
When does a #2 prepositional opener need a comma?

When does a #3 -ly adverb opener need a comma?

Decorations
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Look at your KWO and consider where you can include alliteration, simile/metaphor, and 3sss.
You could use one of these in your conclusion.

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UNIT 9: FORMAL CRITIQUE

Vocabulary Practice

Listen to someone read the vocabulary words for Lesson 27 aloud.

Speak them aloud yourself.
Read the definitions and sample sentences on the vocabulary cards.
Write two sentences using one of this lesson’s vocabulary words in each sentence.

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antagonist

pl protagonist
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Think about the words and their meanings. Use them in your critique.
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 Lesson 27: The Little Match Girl, Part 1

Unit 9 Composition Checklist Formal

Critique
Lesson 27: The Little Match Girl, body paragraphs

Name:
STRUCTURE
 name and date in upper left-hand corner _____ 2 pts
 composition double-spaced _____ 2 pts
 checklist on top, final draft, rough draft, key word outline _____ 6 pts
Body

e
 follow Story Sequence Chart _____ 9 pts
STYLE
¶2 ¶3 ¶4 Dress-Ups (underline one of each) (3 pts each)
   -ly adverb _____ 9 pts

pl
   who/which clause
   strong verb
   quality adjective
   [Link].b clause
Sentence Openers (number; one of each as possible) (2 pts each)
   [1] subject
_____
_____
_____
_____

_____
9 pts
9 pts
9 pts
9 pts

6 pts
m
   [2] prepositional _____ 6 pts
   [3] -ly adverb _____ 6 pts
   [4] -ing _____ 6 pts
   [5] clausal – [Link].b _____ 6 pts
   [6] vss _____ 6 pts
CHECK FOR BANNED WORDS (-1 pt for each use): _____ pts
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think/thought, see/saw, go/went, say/said, good, bad, big, small

MECHANICS (-1 pt per error)
 spelling, grammar, and punctuation _____ pts
VOCABULARY
 vocabulary words – label (voc) in left margin or after sentence
Total: _____ 100 pts
Custom Total: _____ pts

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 Appendix III

Vocabulary Quiz 5

demolish expertly invigorating stimulate

elaborate fulfilling inspire strenuous

Fill in the blanks with the appropriate word. Be sure to spell correctly.

1.
to smash or destroy 1. ____________________

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2.
to motivate or influence 2. ____________________

3.
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requiring great energy and effort 3. ____________________
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4.
to encourage or cause to develop 4. ____________________

5.
showing special skill or knowledge 5. ____________________
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6.
providing happiness or satisfaction 6. ____________________

7.
giving energy, strength, and vitality 7. ____________________

8.
made with great care or with much detail 8. ____________________

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