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Ivy Global SSAT ENGLISH Look inside this book:  Table of Contents  Synonym Questions (p 44 -47 )  Analogy Questions ( p 100 -103 )  Types of Passages (p 139 -15 1)  The Short Story (p 262 -273 )  Word Roots, Prefixes, and Suffixes (p 319 -332 ) Version 1.3 Distribution of our PDF files without consent is prohibited by law. Downloaded files may include a digital signature to track illegal distribution. Suspected piracy may also be reported to the US ISBN agency. SSAT is a registered trademark of the Seconda ry School Admission Test Board which is not affiliated with and does not endorse this product.

CONTENTS Chapter 1: Introduction ................................ ................................ ................................ ................................ .............. 1 How to Use this Book ................................ ................................ ................................ ................................ ................................ ............................... 3 About the SSAT ................................ ................................ ................................ ................................ ................................ ................................ .......... 5 Chapter 2: Test -Taking Strategies ................................ ................................ ................................ ....................... 11 Approaching the SSAT ................................ ................................ ................................ ................................ ................................ ......................... 13 Chapter 3: The Verbal Section ................................ ................................ ................................ ............................... 29 Introduction ................................ ................................ ................................ ................................ ................................ ................................ ............. 31 Part 1: Synonyms ................................ ................................ ................................ ................................ ................................ ................ 33 Synonym Strategies ................................ ................................ ................................ ................................ ................................ .............................. 34 Synonym Practice Questions ................................ ................................ ................................ ................................ ................................ ............. 44 Part 2: Analogies ................................ ................................ ................................ ................................ ................................ ................. 73 Analogy Strategies ................................ ................................ ................................ ................................ ................................ ................................ 74 Types of Analogies ................................ ................................ ................................ ................................ ................................ ................................ . 78 If You Get Stuck ................................ ................................ ................................ ................................ ................................ ................................ ....... 87 Word Classifications ................................ ................................ ................................ ................................ ................................ ............................. 89 Analogy Practice Questions ................................ ................................ ................................ ................................ ................................ ............. 100 Chapter 4: The Reading Section ................................ ................................ ................................ .......................... 123 Introduction ................................ ................................ ................................ ................................ ................................ ................................ ........... 125 Critical Reading Strategies ................................ ................................ ................................ ................................ ................................ ............... 127 Types of Passages ................................ ................................ ................................ ................................ ................................ ................................ .. 139 Types of Questions ................................ ................................ ................................ ................................ ................................ ............................... 159 Reading Practice Questions ................................ ................................ ................................ ................................ ................................ ............. 172

Chapter 5: The Writing Sample ................................ ................................ ................................ ........................... 243 Part 1: About the Writing Sample ................................ ................................ ................................ ............................. 24 5 Introduction ................................ ................................ ................................ ................................ ................................ ................................ ........... 246 Writing Basics ................................ ................................ ................................ ................................ ................................ ................................ ....... 247 Part 2: The Short Story ................................ ................................ ................................ ................................ ................ 26 1 Introduction ................................ ................................ ................................ ................................ ................................ ................................ ........... 262 Writing a Short Story ................................ ................................ ................................ ................................ ................................ ......................... 263 Sample Stories and Prompts ................................ ................................ ................................ ................................ ................................ ........... 279 Part 3: The Essay – Upper Level Only ................................ ................................ ................................ ................................ ..... 28 5 Introduction ................................ ................................ ................................ ................................ ................................ ................................ ........... 286 Persuasive Essays ................................ ................................ ................................ ................................ ................................ ................................ . 289 Informative Essays ................................ ................................ ................................ ................................ ................................ .............................. 300 Chapter 6: Vocabulary Building ................................ ................................ ................................ .......................... 31 1 Introduction ................................ ................................ ................................ ................................ ................................ ................................ ........... 312 Word Roots, Prefixes, and Suffixes ................................ ................................ ................................ ................................ ................................ 319 Common Word Roots, Prefixes, and Suffixes ................................ ................................ ................................ ................................ .......... 326 SSAT Core Vocabulary ................................ ................................ ................................ ................................ ................................ ....................... 353 Chapter 7: Answer Keys ................................ ................................ ................................ ................................ ......... 399 The Verbal Section ................................ ................................ ................................ ................................ ................................ ............................... 401 The Reading Section ................................ ................................ ................................ ................................ ................................ ........................... 407 The Writing Sample ................................ ................................ ................................ ................................ ................................ ............................ 409 Vocabulary Building ................................ ................................ ................................ ................................ ................................ ........................... 414

THE VERBAL SECTION | 44 SYNONYM PRACTICE QUE STIONS SECTION 2 In this section, you will find 246 practice questions to prepare you for the types of synonym questions you might find on the SSAT. There are 6 sets of questions, grouped by difficulty. Pay attention to the difficulty of each set to determine which questions are appropriate for the Middle and Upper Levels. WARM -UP QUESTIONS Use these questions to test your familiarity with basic synonym strategies for both the Middl e and Upper Levels. 1. ERROR: (A) edit (B) fear (C) mistake (D) frustration (E) pause 2. EXIT: (A) open (B) leave (C) wave (D) undo (E) experience 3. CREATE: (A) find (B) glimpse (C) adore (D) break (E) make 4. REPLACEMENT: (A) mission (B) stand -in (C) pretense (D) move (E) location

THE VERBAL SECTION | 45 5. BOLD: (A) old (B) nasty (C) daring (D) weak (E) submissive 6. TRY: (A) attempt (B) hold (C) plow (D) desire (E) put 7. EMBRACE: (A) laugh (B) spoil (C) hug (D) scold (E) lug 8. SCARE: (A) cry (B) frighten (C) scold (D) shove (E) lose 9. BOTHER: (A) tickle (B) snuggle (C) snap at (D) ignore (E) annoy 10. STUMBLE: (A) hum (B) chatter (C) trip (D) rage (E) throw

THE VERBAL SECTION | 46 BASIC QUESTIONS Use these questions to practice the most basic difficulty level you might see in both the Middle and Upper Level synonym sections. The Middle Level exam will include more basic questions than the Upper Level exam. 1. DEMAND: (A) employ (B) punish (C) give to (D) ask for (E) yell 2. SHRIEK: (A) ghost (B) prince (C) screech (D) whistle (E) song 3. CASUAL: (A) unnecessary (B) traditional (C) disrespectful (D) resulting (E) informal 4. HAZY: (A) sad (B) unclear (C) sloppy (D) laughable (E) harmful 5. MIRACLE: (A) gift (B) fortune (C) life (D) wonder (E) symbol 6. TECHNIQUE: (A) point (B) engineer (C) detail (D) direction (E) method 7. INSPECT: (A) answer (B) plan (C) examine (D) ignore (E) require 8. ATTRACT: (A) fight (B) annoy (C) refuse (D) interest (E) surprise

THE VERBAL SECTION | 47 9. REALITY: (A) vision (B) theory (C) truth (D) sorrow (E) persistence 10. DECEIVE: (A) clarify (B) unwrap (C) predict (D) control (E) lie to 11. REGRETFUL: (A) enraged (B) sorry (C) stubborn (D) gleeful (E) homesick 12. DETACH: (A) curse (B) separate (C) attack (D) torture (E) knock down 13. CRATER: (A) cavity (B) lake (C) mountain (D) sphere (E) moon 14. FERTILE: (A) productive (B) deserted (C) warm (D) sympathetic (E) girlish 15. REFRESH: (A) polish (B) caress (C) practice (D) renew (E) retreat 16. COMBINE: (A) join (B) whisk (C) list (D) braid (E) visit 17. CONSTRUCT: (A) carry (B) withdraw (C) explain (D) destroy (E) build 18. VILE: (A) tasty (B) disgusting (C) strong (D) syrupy (E) unknown

THE VERBAL SECTION | 100 ANALOGY PRACTICE QUE STIONS SECTION 5 In this section, you will find 18 5 practice questions to prepare you for the types of analogy questions you might find on the SSAT. There are 6 sets of questions, grouped by difficulty. Pay attention to the difficulty of each set to determine which questions are appropriate for the Middle and Upper Levels. WARM -UP QUESTIONS Use these questions to test your familiarity with basic analogy strategies for both the Middle and Upper Levels. 1. Soda is to can as banana is to (A) seed (B) eat (C) peel (D) fruit (E) split 2. President is to country as mayor is to (A) school (B) stadium (C) house (D) city (E) author 3. Desk is to office as (A) window is to attic (B) table is to kitchen (C) lamp is to ceiling (D) study is to library (E) ottoman is to sofa 4. Painter is to painting as architect is to (A) building (B) song (C) sculpture (D) wood (E) wall

THE VERBAL SECTION | 101 5. Lamp is to lampshade as (A) bird is to fly (B) dog is to leash (C) window is to curtain (D) fire is to chimney (E) snow is to ground 6. Bluebird is to fly as (A) human is to stand (B) mute is to talk (C) lion is to attack (D) otter is to swim (E) frog is to amphibian 7. Ski is to mountain as swim is to (A) val ley (B) rainforest (C) park (D) lake (E) sunshine 8. Happy is to sad as (A) messy is to sloppy (B) smiling is to laughing (C) nice is to mean (D) angry is to tired (E) confused is to puzzle 9. Butterfly is to caterpillar as (A) puppy is to kitten (B) frog is to tadpole (C) crab is to lobster (D) joey is to elephant (E) cat is to sphinx 10. Hide -and -seek is to game as (A) play is to win (B) basketball is to baseball (C) coat is to shirt (D) follow is to lead (E) fairy tale is to story

THE VERBAL SECTION | 102 BASIC QUESTIONS Use these questions to practice the most basic difficulty le vel you might see in both the Middle and Upper Level analogy sections. The Middle Level exam will include more basic questions than the Upper Level exam. 1. Trim is to hair as prune is to (A) plum (B) grass (C) fruit (D) hedge (E) shear 2. Salmon is to fish as grizzly is to (A) burly (B) polar (C) hunt (D) bear (E) prey 3. Europe is to continent as Atlantic is to (A) Pacific (B) America (C) channel (D) glacier (E) ocean 4. Hunger is to food as (A) sadness is to fighting (B) thirst is to beverage (C) clown is to sick (D) tired is to bedtime (E) dirty is to clean 5. Laugh is to comedy as (A) film is to watch (B) scream is to horror (C) drama is to suspense (D) fantasy is to imagine (E) argue is to agree 6. Palm is to hand as (A) shoulder is to arm (B) ankle is to leg (C) neck is to spine (D) sole is to foot (E) bone is to tendon 7. Hinge is to door as (A) knee is to leg (B) sp oke is to wheel (C) notebook is to spine (D) lead is to pencil (E) motion is to stillness 8. Musician is to band as (A) club is to member (B) performance is to an actor (C) playwright is to play (D) opera is to aria (E) singer is to chorus

THE VERBAL SECTION | 103 9. Foot is to sock as hand is to (A) bracelet (B) glove (C) ring (D) palm (E) sole 10. Car is to garage as (A) bicycle is to vehicle (B) boat is to dock (C) train is to locomotive (D) shed is to tractor (E) pedestrian is to foot 11. Field is to wheat as (A) plant is to carrot (B) garden is to cultivate (C) soil is to potato (D) pasture is to cow (E) vine is to trellis 12. Chef is to apron as (A) ballerina is to tiara (B) painter is to smock (C) lawyer is to suit (D) gardener is to glove (E) fireman is to protect 13. Couch is to chair as (A) expensive is to leather (B) soft is to flexible (C) pool is to lake (D) bus is to car (E) horse is to camel 14. Look is to cook as (A) cool is to boot (B) soot is to foot (C) aroma is to drama (D) manage is to carnage (E) rough is to plough 15. Kite is to wind as (A) candle is to wax (B) chair is to wood (C) lantern is to flame (D) helium is to balloon (E) surfboard is to wave 16. Mitten is to glove as (A) spoon is to fork (B) scarf is to hat (C) snowball is to tennis ball (D) boot is to ankle (E) soup is to bread 17. Lion is to zebra as (A) whale is to frog (B) dog is to pet (C) owl is to mouse (D) squirrel is to hawk (E) wolf is to predator 18. Mechanic is to wrench as (A) spatula is to cook (B) nurse is to health (C) spinster is to wheel (D) tailor is to needle (E) carpenter is to wood

THE READING SECTION | 139 TYPES OF PASSAGES SECTION 3 The SSAT Reading Section includes approximately seven or eight short passages that you will need to read and analyze under a time limit. In this section, we’ll discuss the four main types of passages you will see on the exam: informative passages, persuasive passages, short stories, and poems. Continue reading for specific strategies to help you analyze each type of passage. INFORMATIVE PASSAGES Informative passages explain or describe a main topic. You might find an info rmative passage in an encyclopedia, textbook, or even a newspaper story that informs readers about a recent event. On the SSAT, you might see a wide range of topics, from science to art to history. MAJOR COMPONENTS A common structure for informative pass ages includes the following components:  Introduction : The opening sentences of a passage normally introduce the reader to the main topic of the passage. However, sometimes the introduction for an SSAT passage will be very brief, and sometimes it might be m issing altogether! In that case, it will be up to you to figure out how the ideas in the passage are connected.  Body : In an informative passage, each paragraph will give information about a particular idea related to the main topic. For example, in a passa ge about ice cream, one paragraph might be about how ice cream is made, and another might detail the history of ice cream. In the previous section, we looked at strategies for identifying the key ideas in each body paragraph.  Conclusion : The final sentence s of a passage might summarize the main idea of the passage. However, in an SSAT passage, the conclusion might be very brief or missing altogether.

THE READING SECTION | 140 To illustrate these components, let’s take another look at the platypus passage from the last section, whic h is an informative passage: Line 5 10 15 The Duckbilled platypus is a small animal, native to Australia, with many unusual characteristics. It is a very odd -looking animal; in fact, when Europeans first heard about the platypus, many thought such an odd -looking animal must be a fraud. Its head an d feet are like a duck’s, its body is like a weasel’s, and its tail is like a beaver's. Its webbed feet help it swim, its odd ; shaped tail helps it to store fat, and its duck ;like beak helps it find food in rivers. A platypus is a mammal, but is remarkably unlike almost every other mammal. The platypus lays eggs; it doesn't give birth like other mammals. Also, although all mammals give their young milk, the platypus has an unusual way of doing this: it actually sweats milk all over its body. But despite th ese differences, the platypus has fur, like other mammals. Finally, the platypus has some amazing abilities. The platypus can see electricity: it senses electricity coming from other animals in the water and uses this ability to catch food and avoid predat ors. The platypus also has venomous spurs on its feet that allow it to defend itself. An animal that gets too close to the platypus’s feet will be stung with a poison. Does this passage have an introduction? We might call the first sentence of the passage its (very brief) introduction, because it states the main topic of the entire passage: “The Duckbilled platypus is a small animal, native to Australia, with many unusual characteristics.” The body of this passage includes the rest of the first par agraph and the next two paragraphs. As we have already seen, each of these paragraphs describes a specific topic related to the main idea: the way the platypus looks, the way it is unlike other mammals, and some of its special abilities. Does this passag e have a conclusion? No — there is no sentence or paragraph at the end that summarizes the main idea of the passage again. This is an example of a passage that ends before its conclusion. It might be incomplete — the author might go on to talk about some more unusual traits of the platypus! PARAGRAPH STRUCTURE Many informative passages also have special internal structures within their paragraphs. Just like the passage as a whole, each paragraph has a topic sentence that serves as its introduction. The topic se ntence introduces readers to the main idea of the paragraph. The next few sentences can be thought of as the body of the paragraph; they present

THE READING SECTION | 141 supporting details related to the topic sentence. Finally, a paragraph might end with a concluding sentence tha t summarizes the main topic of the paragraph. The concluding sentence can also provide a transition to the next paragraph. For example, let’s take a look at the second paragraph of the platypus passage again: 10 A platypus is a mammal, but is remarkabl y unlike almost every other mammal. The platypus lays eggs; it doesn't give birth like other mammals. Also, although all mammals give their young milk, the platypus has an unusual way of doing this: it actually sweats milk all over its body. But despite t hese differences, the platypus has fur, like other mammals. The topic sentence of this paragraph is its first sentence: “The platypus is a mammal, but is remarkably unlike almost every other mammal.” This sentence tells us that the topic of the paragraph is how the platypus is different from other mammals. The body of this paragraph includes the second and third sentences, which provide supporting detail about how the platypus is different from other mammals. These details include its egg -laying and milk -sweating habits. The final sentence of this paragraph might be called its conclusion because it explains why the platypus is still a mammal, despite these differences. STRATEGIES When you read an informative passage, ask yourself the same three questions we discussed in the Critical Reading section: 1. What are the author’s topics , or the key details being discussed in this passage? 2. What is the author saying about these topics, or what is the main point of the passage? 3. What is the author’s purpose in this passage? The third question should be easy to answer: the purpose of an informative passage is to inform, explain, or describe. To answer the first two questions, review the strategies from the Critical Reading section. Looking for the main stru cture of the passage and the internal structure of each paragraph will help you locate this information. Be careful: even if the topic of the passage is familiar to you, don’t allow your reading to be swayed by your own opinion or prior knowledge! The SSAT will only test you about what the author is saying. Ignore any information you might already know about the topic and look only at the information on the page in front of you.

THE READING SECTION | 142 Exercise #1 : Read the sample informative passage below, and then answer th e questions that follow. Ask a trusted reader to check your work. Line 5 10 One of the Seven Wonders of the Ancient World, the Hanging Gardens of Babylon is the only one of the Wonders that may have been a legend. The gardens were attributed to King Nebuchadnezzar II, who ruled the ancient city -state of Babylon between 605 and 562 BC. He is said to have constructed the gardens to please his homesick wife, Amytis of Media, who longed for the plants of her homeland. The gardens were so massive tha t they required a minimum of 8,200 gallons of water per day to remain lush and green. To prevent flooding and erosion from the daily watering, Nebuchadnezzar is reported to have used massive slabs of stone beneath and around the gardens. Unfortunately, sev eral earthquakes after the Second Century BC are said to have destroyed the gardens. While ancient Greek and Roman writers documented the Hanging Gardens of Babylon, there is no definitive archaeological evidence confirming their existence. 1. Identify each of the following structural components of the passage as a whole: Introduction: Body: Conclusion: 2. For the second paragraph (lines 3 -9), identify the following components: Topic sentence: Supporting details: 3. What are the author’s topics, or the key details being discussed in this passage? 4. What is the author saying about these topics, or what is the main point of the passage?

THE READING SECTION | 143 5. What is the author’s purpose in this passage?

THE READING SECTION | 144 PERSUASIVE PASSAGES In a persuasive passage, the author tries to convince the reader of a specific position or argument. A persuasive passage might come from a political speech, an opinion essay, or a newspaper op -ed or letter to the editor. MAJOR COMPONENTS A persuasive passage differs from an informative passage because the author is p resenting an opinion about a situation, rather than simply explaining or describing a topic. This opinion is called the author’s thesis , and an author normally uses specific supporting points or evidence to prove his or her opinion. Authors can use objective evidence , or facts and statistics from outside sources. Authors can also use subjective evidence , or examples from their own experiences. While a persuasive passage written with objective evidence will sound more detached and analytical, a persua sive essay written with subjective evidence will sound more personal. Persuasive passages follow the same basic structure as informative passages, with a few differences:  Introduction : The opening sentences of a passage normally introduce the reader to th e author’s main argument and thesis. Just like informative passages, however, the introduction for a persuasive passage on the SSAT might be very brief or missing altogether. In that case, it will be up to you to find the author’s main argument and thesis by reading the rest of the passage.  Body : In a persuasive passage, each paragraph will provide a specific reason or example that proves why the author’s thesis is true. These paragraphs contain the author’s evidence, either from outside sources (objective) or personal experience (subjective).  Conclusion : The final sentences of a passage might summarize the main argument of the passage. However, in an SSAT passage, the conclusion might be very brief or missing altogether. To illustrate these components, let ’s take a look at this example persuasive passage:

THE READING SECTION | 145 Line 5 10 15 Cell phones have become a staple of modern life. While they have many benefits, such as improved communication, they can also be dangerous and counterproductive. For one, cell phone use while driving is becoming increasingly controversial. Being distracted while operating a motor vehicle has resulted in an alarming increase in the number of car accidents. Because of this, many jurisdictions prohibit the use of mobile phones while driving. Egypt, Israel, Japan, Portugal, and Singapore banned both handheld and hands -free use of a mobile phone; others — including the UK, France, and many U.S. states — banned handheld phone use only, allowing hands -free use. In addition, cell phone use is being closely watched in schools. Because so many students have been using them to cheat on tests and bully others, cell phone use is usually restricted in schools. The benefits of cell phone use in schools have yet to be found because students’ use of cell phones has, for the most part, threatened the school’s security, distracted other students, and encouraged gossip and other social activities that harm learning. Besides being monitored in cars and schools, many cell phones are banned in school l ocker room facilities, public restrooms, and swimming pools due to the built -in cameras that most phones now feature. Does this passage have an introduction? Yes, the first paragraph of the passage states both the main topic of the passage (cell phone usage) as well as the author’s position about this topic. The author’s thesis is stated in the second sentence: “While they have many benefits, such as improved communication, they can also be dangerous and counterproductive.” Based on this thesis statemen t, we expect that the rest of the passage will prove why and how cell phones can be dangerous and counterproductive. The body of this passage includes the second, third, and fourth paragraphs. Each of these paragraphs explains a specific situation where c ell phones may be dangerous:  Paragraph 2: Cell phones can be dangerous to use while driving.  Paragraph 3: Cell phones can be dangerous to use in schools.  Paragraph 4: Cell phones can be dangerous to use in locker rooms, restrooms, and swimming pools. In each paragraph, the author provides specific details about why cell phones can be dangerous in each of these situations. All of these details work together as the author’s evidence to support her thesis. Does this passage have a conclusion? No — there is no sentence or paragraph at the end that summarizes the author’s thesis and argument again. This is another example of a passage

THE READING SECTION | 146 that ends before its conclusion. If the author were to continue the passage, what do you think she would discuss next? STRATEGIES When you read a persuasive passage , start by asking yourself the same three questions we discussed in the Critical Reading section: 1. What are the author’s topics , or the key details being discussed in this passage? 2. What is the author saying about these to pics, or what is the main point of the passage? 3. What is the author’s purpose in this passage? The third question should be easy to answer: the purpose of a persuasive passage is to persuade or convince you of the author’s opinion. To answer the first two questions, review the strategies from the Critical Reading section. In addition, help yourself by looking for the main components of the passage: the author’s thesis and supporting evidence. If you’re having difficulty understanding the passage, try to i magine who is speaking and whom he or she might be speaking to. Is this the type of passage that would be delivered as a speech or a letter to a group of people, or as a speech or a letter to one specific person? If so, who do you think those people are? W hat type of situation might have led the author to propose this argument? If you’re having difficulty locating the author’s main point or thesis, pay close attention to the author’s tone . Because a persuasive passage presents an opinion, the author will frequently have a positive or negative feeling about the topic he or she is discussing. In the cell phone passage above, the author uses words like “dangerous,” “counterproductive,” “controversial,” “alarming,” and “threatened” to describe cell phone usage. These words indicate that the author feels negatively about using cell phones in the situations she is describing. Be careful: even if you disagree with the author’s position, don’t allow your reading to be swayed by your own opinion! The SSAT will only test you about what the author is saying, so only look at the argument on the page in front of you. Exercise #2 : Read the following sample persuasive passag e, and then answer the questions that follow. Ask a trusted reader to check your work.

THE READING SECTION | 147 Line 5 10 15 The purpose of Black History Month is to draw attention and pay tribute to people, organizations, and events that have shaped the history of African Americans and their contributions to American society. In this spirit, we should honor De lta Sigma Theta, a black women's organization that fought for civil rights and made a difference in the lives of many for over a century. Delta Sigma Theta was founded in 1913 by 22 women at Howard University in Washington. The sorority of college -educated women pledged to perform public service in the black community. Nearly six weeks after its founding, Delta Sigma Theta members took part in the historic Women's Suffrage March in Washington, and were the only African -Americans present. The Deltas have par ticipated in every major civil rights march since. In addition to its political involvement, Delta Sigma Theta has a strong tradition of community involvement. For years, the sorority's local chapters have funded programs providing assistance to persons in need and promoting academic excellence. The groups work as mentors to young people and provide scholarships to help them pursue their education. Today, Delta Sigma Theta has 260,000 members. For the next century, these sorority sisters say they will cont inue to leave their mark on black history while helping transform the lives of young people. 1. Identify each of the following structural components in the passage as a whole: Introduction: Body: Conclusion: 2. What are the author’s topics, or the key details being discussed in this passage? 3. What is the author saying about these topics, or what is the main point of the passage? 4. Who might the author be addressing in this passage? 5. What specific evidence does the a uthor use to support his or her thesis? 6. What is the author’s tone in this passage?

THE READING SECTION | 148 SHORT STORIES Unlike informative and persuasive passages, a short story is an example of fiction. Informative and persuasive passages discuss real -life people, places, and events. By contrast, works of fiction discuss people, places, and events that are made up by the author’s imagination. Novels are examples of fiction, and many short story passages on the SSAT might be taken from sections of a larger book. Other short stor y passages might stand alone by themselves, designed by the author to tell a brief story about made -up characters and events. MAJOR COMPONENTS Short stories have f ive main components. We can think of these components in terms of the “5 w’s”: the who, what, where, when, and why of the story.  Characters are the who of the story: the people (and sometimes animals) that exist in the world of the story.  The narrator is another who of the story: the person telling the story. The narrator can be a character in the story, or somebody outside of the story.  The setting is when and where the story takes place.  The plot is what happens in the story, or the major events that take place.  The conflict is why and how the plot moves forward. Often the characters need to achi eve something, but there is some sort of obstacle in their way. The plot of the story centers on why and how they choose to overcome this obstacle. To illustrate these components, let’s take a look at this example short story: Line 5 10 A Wolf had got a bone stuck in his throat. He was in the greatest agony, and he ran up and down, beseeching every animal he met to help him. He promised that the animal who could successfully remove the bone would receive a very handsome reward. A Crane heard his entreaties and promises, and she decided to help. She ventured her long neck down the Wolf's throat and drew out the bone. She then modestly asked for the promised reward. The Wolf grinned and showed his teeth. He replied, "Ungrateful creature, why would you need any other reward? You have put your head into a Wolf's jaws, and brought it safely out again!” Those who provide help only in the hope of a reward must not be surprised if, in their dealings with evil men, they meet with more jeers than thanks<

THE READING SECTION | 149 Who are the characters in this story? In other words, who is this story about? The Wolf and the Crane are the two animals who interact in this story, so they are the story’s characters. Who is the story’s narrator? In other words, who might be telling the story? The narrator does not seem to be another character in the story because he or she does not interact with the characters or take place in the events. We can conclude that the narrator is someone outside of the story. What is the story’s setting? In other words, when and where does the story take place? We can tell that this story took place in the past, but the exact time isn’t specified — it might have taken place long ago, or just yesterday. Similarly, the place for this story is unclear, but we migh t guess that it takes place somewhere that wolves and cranes live. What is the plot of the story, and what is the conflict that moves the plot forward? The Wolf has a bone stuck in his throat, and he needs another animal’s help in order to remove this bon e. The plot centers on how he gets another animal (the Crane) to help him: by promising a reward that isn’t what the Crane expects! STRATEGIES To find the major components of a short story, simply go back to your “5 w’s” and ask yourself the following ques tions:  Who are the characters in the story, and who is the narrator telling the story?  When and where is the story set?  What happens in the story?  Why and how does this happen? What conflict do the characters need to overcome? For some short stories, you might not be able to answer all of these questions. For example, the story of the Wolf and the Crane did not have a clear setting. Make sure you only use the information in the story to answer these questions — don’t use your own opinion or speculate too muc h. The SSAT will only ask you about information that can be answered on the basis of the story alone. Be careful: don’t confuse the story’s narrator with its author! Every story has its own point of view , which is the perspective of the person telling the story. This may or may not be the same as the author’s point of view, because the author can invent a completely made -up narrator! If you’re not sure who might be the narrator of the story, focus on the words the narrator uses to show his or her point of view:  If the narrator uses the word “I” to tell the story (“I talked to Sarah yesterday”), we call this a first -person point of view . The narrator is most likely a character in the story who is interacting with the other characters and taking part in the e vents.

THE READING SECTION | 150  If the narrator uses the words “he” or “she” to tell the story (“She talked to Sarah yesterday”), we call this a third -person point of view . There are some exceptions, but the narrator is frequently not a character in the story. Instead, the narrato r is outside of the story, telling about events that he or she did not take part in. Finally, in addition to the main components of a story, you might be asked to analyze a major theme of a story. A story’s theme can be described as its “main idea,” or th e message it conveys about life and behavior. For example, the last sentence of the Wolf and Crane story summarizes a specific lesson to be learned: “Those who provide help only in the hope of a reward must not be surprised if, in their dealings with evi l men, they meet with more jeers than thanks.” What does this mean? You might interpret this as saying that people should not volunteer to do nice things only on the basis of a reward, because evil men won’t appreciate their efforts. Not every story will have a clear -cut lesson for the reader, so it will be up to you to decide if there is any theme you can take away from the story. Do the characters find success or disappointment, and why might this be? Do the characters end up with a greater understanding of themselves and others? How might the events in the story relate to other events you have experienced in real life? Relating a story to your own life is a great way to better understand the characters, events, and major themes in a story. Exercise #3 : Read the sample short story below, and then answer the questions that follow. Ask a trusted reader to check your work. Line 5 10 15 The next time that Ginger and I were together in the paddock, she told me about her first place. “After my breaking in,” she said, “I was bought by a dealer to match another horse. For some weeks he drove us together before selling us to a fashionable gentleman in London. I had been driven hard by the dealer, and I hated it worse than anything else. But now, my new owner drove us even harder because he thought we looked more stylish. We were often driven about in the Park and other fashionable places. It was dreadful.” She continued, “I like to toss my head about, and hold it as high as any horse. But know that if you tossed your head up high and had to hold it there for hours, your neck would ache until you did not. The worst was when we had to stand by the hour waiting for our mistress at some grand party or entertainment. If I stamped with impatience, the whip was laid on. It was enough to drive one mad.” “Did not your master take any thought for you?” I asked. “No,” said she.

THE READING SECTION | 151 1. Who are the characters in this story? 2. Who is the narrator telling the story? Is the narrator one of the characters, or is the narrator someone outside of the story? 3. When and where is the story set? 4. What happens in the story? 5. Why and how does this happen? What conflict do the characters need to overcome? 6. Is there any lesson or theme from this story that you can relate to your own life?

THE WRITING SAMPLE | 262 INTRODUCTION SECTION 1 A well -written story engages its readers and brings them into the world of the characters. Your challenge is to establish a character and to tell a story that matches the prompt given. When reading the prompt, think about the causes that may have contribut ed to the scenario presented. What are some potential effects? There shouldn’t be too much happening in your story. One conflict is usually sufficient. If you are writing a short story on the SSAT, the prompt must be the first sentence of the story, so p ay attention to the words in it. What is the tense? Is it written from the first person or second person point of view? Who might this character be? Is there more than one character? What setting or situation is suggested? Show, don’t tell. Employ your d escriptive writing skills: use your five senses, identify key characteristics, and establish cause and effect. Let yourself be imaginative. Your story can be based on an actual event or completely made up. You can set it somewhere you’ve been or somewhere you’ve never been; your characters can be people from anywhere, who do whatever you want them to do. They don’t have to be people at all! Be yourself and write a story you would want to read.

THE WRITING SAMPLE | 263 WRITING A SHORT STOR Y SECTION 2 There are many things to think about when writing a short story. You’ll want to consider point of view, tense, plot structure, conflict, sentence structure, punctuation, and the level of detail you put into the writing itself. Finally, Upper Level and advanced students will want to con sider elements of style. Sounds like a lot? Don’t stress. Take a deep breath and take a lesson from Imhotep who lived in ancient Egypt. Whenever we find a statue of him, he’s always depicted writing! He was an engineer, architect, and physician and he kne w that you couldn’t build a pyramid without a sound foundation. The same is true for writing short stories. Take a look at the pyramid below. We’ll start with the foundation and work our way up. The concepts on the bottom are the most important and as we move higher on the pyramid, the skills become more stylistic. Point of View, Tense, and Setting Plot Structure and Conflict Sentence Structure Dialogue Show, don’t tell Rhetoric

THE WRITING SAMPLE | 264 HOW TO BEGIN In this section, we’ll look at the very first questions you should consider when starting your story. These concepts form the foundation of your creative writing pyramid. POINT OF VIEW, TENSE , AND SETTING Before you start writing, decide on a point of view : who is telling the story? Sometimes the point of view is established by the sentence provided. For the purposes of this short story, you’ll have to choose between two distinct points of view: first person and third person point of view.  First person poin t of view uses “I”: “I couldn’t believe my eyes.”  Third person point of view uses “he”, “she”, “they”, or “it”: “He couldn’t believe his eyes.” You’ll also want to decide what tense you will use for your story: is it taking place right now, or sometime in the past? Sometimes the tense is established by the sentence provided. For the purposes of this short story, you'll have to choose between two distinct tenses: past tense and present tense .  Past tense: “I went, ” “I saw, I did. ”  Present tense (rarer and mo re difficult to maintain): “I go, ” “I see, ” “I do. ” Once you’ve decided on the point of view and the tense, you’ll need to establish the setting: where and when is the story taking place? Sometimes the setting has been suggested by the prompt. Sometimes y ou’ll have to invent one on your own. Whatever you do, you will want to describe the setting using vivid description involving the five senses. Exercise #1 : Identify whether the following sentences are written in present tense, past tense, first person, o r third person. Answers to these questions are provided at the end of this section . Then, write a few sentences in which you maintain a consistent tense and point of view that helps establish the setting. The first exercise has been completed for you. Have a trusted reader check your work. 1. He didn’t want to go. Point of View: Third Person Tense: Past Tense Establish the setting: He didn’t want to go to his grandparents’ house. Mario’s grandfather always made him work in the garden to help protect it from the constant assault of vermin and rodents.

THE WRITING SAMPLE | 265 2. I saw the car speed away. Point of View: Tense: Establish the setting: 3. I know I can’t do it alone. Point of View: Tense: Establish the setting: 4. She can’t believe she can fly! Point of View: Tense: Establish the setting: 5. I thought about the problem. Point of View: Tense: Establish the setting: 6. I tell my mother I will be right back. Point of View: Tense: Establish the setting: 7. He finds it. Point of View: Tense:

THE WRITING SAMPLE | 266 Establish the setting: 8. She had the strangest dr eam. Point of View: Tense: Establish the setting: Exercise #2 : The following passages are written incorrectly. The tense and point of view shifts as the passages unfold. Rewrite the passages so that they employ the tense and point of view indicated. Check your answers at the end of this section. 1. Re -write this passage so it is consistently in the past tense: When she was two years old, she was playing in a garden, and she plucks a flower. She looked rather happy. Her mother wonders where she found the flower. 2. Re -write this passage so it is consistently in the present tense : Marley was dead. There is no doubt about it. We all know. The death certificate was signed by the clerk, the undertaker, and the chief mourner. Even Scrooge signed it. 3. Re -write t his passage so it is consistently in the first person : When I was left alone, I began to feel hungry. She went to the cupboard and cut herself some bread. I gave some to my dog and, taking a pail from the cupboard, she carried it down to the brook and fill ed it with clear sparkling water. 4. Re -write this passage so it is consistently in the third person : She opened the door and saw that it led to a small passage, no smaller than a rat -hole. I knelt down and looked into the prettiest garden I ever saw. I lo nged to wander through those flower beds! She could not get her head through the doorway.

THE WRITING SAMPLE | 267 ESTABLISHING THE CON FLICT In addition to establishing the tense, the point of view, and the setting, you will want to establish the conflict of your story. Conflict, put generally, is the problem, difficulty, or challenge facing the main character. Certain kinds of conflict recur throughout literature and short stories. Listed below are some of the more common conflicts: COMMON CONFLICTS Type of Conflict Description Examples Main Character vs. Other People The main character faces a daunting foe, struggles against a cruel oppressor, or fights a powerful figure in order to attain a certain goal. Matilda by Roald Dahl, Peter Pan by J.M Barr ie Good vs. Evil The main character, often representing a force of good, faces a force of evil that threatens the character or the character's family, friends, society, or world. The Wizard of Oz by L. Frank Baum, The Lion, the Witch, and the Wardrobe by C.S. Lewis, the Harry Potter series by J.K. Rowling, A Wrinkle in Time by Madeline L’Engle Main Character vs. Society The main character fights to overthrow or overcome an oppressive society or government. The Giver by Lois Lowry, The Hunger Games by Suzanne Collins Main Character vs. Nature The main character goes out into the wild and faces the dangers of weather, wilderness, and beasts. “To Build a Fire” by Jack London, The Lord of the Flies by William Golding Main Character vs. Self The character struggles to overcome personal flaws or weaknesses in order to achieve a goal. The Secret Garden by Francis Hodgson Burnett, Ramona Quimby, Age Eight by Beverly Cleary SSAT prompts are often vague. If you have a sense of what kinds of stories you are interested in writing for each of the traditional conflicts, you’ll save time when you write the test. Being prepared to write on the following conflicts can help you. Sometimes the sentence will suggest a certain kind of conflict and sometimes you’ll have to interpret the sentence yourself. Arrive at the test prepared with some ideas!

THE WRITING SAMPLE | 268 Exercise #3 : For each of the following conflicts, can you think of some short story ideas of your own? Have a trusted reader check your work! 1. Main Character vs. Other People : 2. Good vs. Evil: 3. Main Character vs. Society: 4. Main Character vs. Nature: 5. Main Character vs. Self: PLOT STRUCTURE Put very simply, every story should have a beginning, middle, and end. It is also helpful to know classic short story structure. Most stories ha ve:  a beginning that establishes the setting, tense, point of view, and conflict  rising action in which the main character devises a plan to resolve the conflict  a climax , or the moment right before we learn whether the plan works  falling action , in which the problem is resolved  a c onclusion in which all loose ends are tied up At the beginning of your story, use the techniques we outlined earlier in this section to introduce your setting, point of view, and the main conflict of your story. During the rising action , describe the conflict in detail and have your character develop a plan to overco me the conflict. For example: Establish Setting and Point of View Rising Action Climax Falling Action Conclusion

THE WRITING SAMPLE | 269  A girl trapped in a tower plans to grow out her hair in order to escape.  In order to defeat a despotic ogre, a valiant knight rallies up an army.  A character lost in the wilderness on a cold day plans to build a fire. The climax is the moment in the story of greatest uncertainty. It is the moment when the forces working against the main character (other people, evil, society, nature) seem most likely to make the character fail. For example:  The character throws her hair out the window, but the prince is nowhere to be seen.  The evil ogre rallies an army of his own; the army seems likely to defeat the knight’s army.  The twigs are all damp and won’t light. The character thinks she will freeze. The falling action is the descrip tion of the outcome. Your character has set the plan into motion, and now the plan either fails or succeeds. For example:  We learn that the prince, who had been delayed by a dragon, arrives just in time.  The knight’s army forms a phalanx and defeats the ogre’s disorganized army.  The resourceful character cuts a patch from her sweater and lights it on fire. The heat produced dries the twigs, allowing them to light. The conclusion is the end of your story. You want to make sure to tie up all loose ends. Ma ke sure your story doesn’t just stop. The conclusion should resolve your story. In many cases, a good way to show the reader that the conflict has been resolved is to describe a character's reaction to it. This also gives the reader a feeling for why the e vent was important. Another good thing to do is to refer back to what happened in the beginning to show what has changed. In other words, has the conflict been resolved? For example:  The girl who had been trapped in tower becomes the queen.  The ogre and hi s army is banished to Antarctica.  The sun rises, the day warms up, and the character finds her way home out of the wilderness. As you think of ways to end your story, ask yourself the following questions:  Does it have to end this way? Sometimes the most i nteresting story is one tha t doesn't end the way we expect it to.  Do I need to say that? Don't feel you need to end with a moral lesson or a “happier ever after.” Just ending your main event is enough.  What questions would my reader ask now? Your reader mi ght be left wondering what will happen to your characters in the future, but he or she should not be

THE WRITING SAMPLE | 270 wondering what just happened, who those people were, or why any of it was important. Exercise #4 : In Exercise #1, you established the setting and point of view for a story. Now, we’re going to take another look at those sentences in order to establish conflict, rising action (your character’s plan to overcome the conflict), climax, falling action, and conclusion. Make a plan for the following topics using t his plot structure. You might need to use another sheet of paper. Have a trusted reader look over your responses. 1. Prompt: He didn’t want to go Conflict: Mario didn’t want to spend all day working in his grandfather’s garden. His fortunes changed when a big meteorite landed right in the middle of the yard. He noticed a door in the meteorite but he didn’t know what to do. Rising Action: Mario decided to investigate the door. Inside, he discovered two squid - like aliens who informed him that his parents were in danger because their cruise ship might hit a reef. Mario decided to help the squid in a plan to save his parents. Climax: Mario was left alone to steer the meteorite spaceship while the squid dove into the sea to try to save his parents. Falling Action: The squid created a whirlpool in the ocean that diverted the cruise ship from the perilous reef. The squid then returned to the meteorite and helped Mario get back to his grandparents’ house. Conclusion: After dropping Mario off at home, the aliens returne d to their own home planet. Mario’s parents returned from their vacation, none the wiser about their son’s adventure. 2. Prompt: I saw the car speed away. Conflict: Rising Action: Climax: Falling Action: Conclusion:

THE WRITING SAMPLE | 271 3. Prompt: I know I can’t do it alone. Confl ict: Rising Action: Climax: Falling Action: Conclusion: 4. Prompt: She can’t believe she can fly! Conflict: Rising Action: Climax: Falling Action: Conclusion: 5. Prompt: I thought about the problem. Conflict: Rising Action: Climax:

THE WRITING SAMPLE | 272 Falling Action: Conclusion: 6. Prompt: I tell my mother I will be right back. Conflict: Rising Action: Climax: Falling Action: Conclusion: 7. Prompt: He finds it. Conflict: Rising Action: Climax: Falling Action: Conclusion: 8. Prompt: She had the strangest dream. Conflict:

THE WRITING SAMPLE | 273 Rising Action: Climax: Falling Action: Conclusion: ORGANIZE YOURSELF Once you understand how to plan for content, planning how you will structure your story actually becomes rather easy: STORY STRUCTURE Paragraph Content First paragraph Establish tense, setting, point of view, and conflict. Second paragraph Show rising action (character devises a plan). Third paragraph Character sets the plan into motion. Fourth paragraph Conclude the story. Show whether the plan works or doesn’t work and explain why. If you get stuck, here are some questions you can ask yourself to stay focused:  Who will be in the story?  When does it take place?  Where does it take place?  What conflict will my characters face?  What plan should my characters develop in order to deal with the confli ct?  Will my characters succeed or fail?

VOCABULARY BUILDING | 319 WORD ROOTS, PREFIXES AND SUFFIXES SECTION 2 In English grammar, many words can be broken into basic parts. Learning these basic parts will help you decipher unfamiliar vocabulary and speed up your vocabulary building process. Learning only 30 key word parts can help you decode over 10,000 words! In this section, learn about the basic parts that make up English words and practice breaking down words into these parts. Learn some of the most common word parts by working your way through the list at the end of this section. WORD ROOTS The root of a wor d is the main building block that carries a specific meaning. If different words have the same root, they are related in meaning. Therefore, looking for a word’s root or thinking of other words that have the same root can help you guess at a word’s meaning . Knowledge of French, Spanish, German, or Latin can be helpful here, because many English word roots are similar to words in these languages. For example, you might guess that the word root “act” means “to do.” The words ACTION, ACTOR, and ACTIVE all inv olve doing things because they all have this same word root. For a more advanced example, look at the word AMIABLE. If you know that “ami” in French and “amigo” in Spanish mean “friend,” you can guess that this word might have something to do with friends . In fact, AMIABLE means “friendly.” This is because AMIABLE contains the word root “am,” which has to do with love or liking. Can you think of some other words with the roots “am,” “ami,” or “amor,” which relate to love or liking? Here is a list to get started:  AMICABLE: friendly  AMITY: friendly or peaceful relations  ENAMOR: to fill with love

VOCABULARY BUILDING | 320 As another exa mple, consider the word BENEFIC ENT, which contains the word root “ben.” This root is related to the words “bien” in French and “bene” in Italian, whi ch mean “good.” We can guess that BENEFICIENT means something good. In fact, it means “performing acts of kindness or charity.” Here are some other English words with the root “ben”:  BENEFICIAL: favorable, resulting in good  BENEVOLENT: kind, well -meaning  BENIGN: gentle, kind, not harmful Exercise #1: Look at the list of word roots at the end of this section to find the meaning of the underlined roots below. Then, look up the definition of each word in a good dictionary. Notice how the root influences the meaning of the word! The first word has been filled out for you. WORD ROOT MEANING DEFINITION OF WORD biblio graphy biblio: related to books a list of books referred to in a scholarly work carn ivore chrono logy civ ilian fid elity juve nile mort uary poten tial sac red vacu ous eloq uent

VOCABULARY BUILDING | 321 PREFIXES Sometimes a word has a prefix , which is a small component that comes before the root. Not all words have prefixes — in fact, as you saw in Exercise #1, many words start with roots. However, when a word has a prefix, the prefix can significantly change the word’s meaning. For example, the word UNHAPPY has two parts: the prefix “un” and the root “happy.” The prefix “un” means “not,” so UNHAPPY means “not happy.” As a more advanced example, con sider the word INCORRIGIBLE. “In” is another prefix that often means “not” — for instance, “inadequate” means “not adequate.” So, INCORRIGIBLE means “not corrigible.” What does “corrigible” mean? We can think of another word with the root “corr”: “correct.” “Corrigible” means “able to be corrected” or “correctable.” Therefore, INCORRIGIBLE means “not able to be corrected.” It is often used to describe a person who is so bad or so stubborn that his or her behavior cannot be improved! Exercise #2: Look at the list of prefixes at the end of this section to find the meaning of the underlined prefixes below. Then, look up the definition of each word in a good dictionary. Notice how the prefix influences the meaning of the word! The first word has been filled out for you. WORD PREFIX MEANING DEFINITION OF WORD amphi bian amphi: both an animal that can live both in water and on land circum ference contra dict dys functional inter mediate poly gon peri meter trans parent

VOCABULARY BUILDING | 322 SUFFIX ES A word might also have a suffix , which is a small component that comes at the end of a word. Not all words have suffixes. However, when they do, the suffix frequently changes the word’s meaning or function. A suffix might change a word to a noun, verb, adj ective, or adverb. Take a moment to review the definitions of nouns, verbs, adjectives, and adverbs: TYPES OF WORDS Word Type Definition Examples Sample Sentence Noun a person, place, or thing: “things” can also include qualities or categories that you might not be able to touch or see teacher, lawyer, city, Italy, animal, car, water, tool, hunger, comfort, curiosity, trust, emotion, science, art, biology The young puppy ran quickly. Verb an action word: what the subject of the sentence (the main no un) is “doing” run, hit, dig, carve, learn, hear, enjoy, understand, become, be The young puppy ran quickly. Adjective a word that describes, identifies, or defines a noun soft, sharp, green, full, loud, wet, happy, thoughtful, diligent, humorous, good Th e young puppy ran quickly. Adverb a word that describes a verb, adjective, or another adverb: often ends in “ -ly” quickly, desperately, sadly, suddenly, freely, quietly, strangely, well The young puppy ran quickly. Notice how many of the adverb examples in the chart above end with the suffix “ -ly.” This is because the suffix “ -ly” is a very common way to change an adjective into an adverb. For example, if you start with the adjective QUICK and add “ -ly,” you’ll have the adverb QUICKLY. As anothe r example, let’s start with the adjective MUSIC. If we add the suffix “ -al,” we’ll get the adjective MUSICAL, which means “related to music.” The suffix “ -al” can change a noun to an adjective. Here are some other English words that use this suffix:  ACCIDE NTAL: by accident

VOCABULARY BUILDING | 323  FUNCTIONAL: working, relating to a specific function  GLOBAL: relating to the whole world (the globe) Suffixes can be added to other suffixes to create longer and longer words! For example, if we start with the adjective GLOBAL and add th e suffix “ -ize,” we’ll have the verb GLOBALIZE. If we then add the suffix “ -ation,” we’ll have the noun GLOBALIZATION. Exercise #3: Look at the list of suffixes at the end of this section to find the meaning of the underlined suffixes below. Then, look up the definition of each word in a good dictionary. Notice how the suffix influences the meaning of the word! The first word has been filled out for you. WORD PREFIX MEANING DEFINITION OF WORD manage able able: capable of able to be managed or controlled critic ize apti tude aer ate defens ible futil ity tens ion triumph ant eco logy

VOCABULARY BUILDING | 324 CHALLENGE TACTIC: PU TTING IT ALL TOGETHE R Now that you know the meaning of some common roots, prefixes, and suffixes, let’s look at how you would break down a complicated word with several of these parts in combination. For example, consider the word COLLABORATE. You probably know that this word m eans “to work together,” but did you know that you could break it into a prefix, root, and suffix?  “col” is a prefix that means “with”  “labor” is a root that means “work”  “ate” is a suffix that turns a word into a verb Therefore, we can break down COLLABO RATE as follows: COL + LABOR + ATE From these parts, we see that COLLABORATE is a verb that literally means to work with someone else. Exercise #4: Look at the list of roots, prefixes, and suffixes at the end of this section. Use this information or your own knowledge to break the following words into parts and guess at their combined meaning. Then, check your answer with the answer key that follows . The first word has been filled in for you. # WORD WORD PARTS MEANING 1. prenatal pre + nat + al before birth (adjective) 2. inaudible 3. amorphous 4. synchronize 5. rejuvenate 6. incredulous 7. ambivalent with work verb

VOCABULARY BUILDING | 325 8. philanthropy 9. vivisection 10. retrospective

VOCABULARY BUILDING | 326 COMMON WORD ROOTS, P REFIXES , AND SUFFIXES SECTION 3 Here is a list of some of the most common roots, prefixes, and suffixes that make up words in the English language. Remember that roots carry a word’s basic meaning, prefixes come before a root and change its meaning, and suffixes come at the end of words and tell you whether they are nouns, verbs, adjectives, or adverbs. Start learning some of these basic word parts to cement your vocabulary knowledge and help decipher new, unfamiliar vocabulary. COMMON ROOTS ag, act do action, activity, agent ambul walk, move ambulance, ambulatory, amble ami, amo love amiable, amorous anim mind, soul, spirit animal, animate, unanimous anthro human anthropology, philanthropy aud, audit hear audible, auditorium, audience auto self automobile, autobiography, autograph belli war belligerent, rebellious, bellicose ben good benefactor, beneficial, benevolence biblio book bibliography, Bible

VOCABULARY BUILDING | 327 bio life biography, biology carn flesh, meat carnivore, carnal, incarnate chron time chronic, chronology, synchronize cid, cis cut, kill incision, homicide, insecticide civi citizen civilization, civilian, civil corp body corporation, corporeal, corpse dem people democracy, demographic dic, dict speak dictate, contradict, prediction, verdict domin master dominant, domain, domineering err wander error, erratic, errand eu good, beautiful eulogize, euphoria, euphemism fall, fals deceive fallacious, infallible, falsify fid faith fidelity, confide, confidence graph, gram writing grammar, telegram, graphite loqu, locut talk soliloquy, loquacious, elocution luc light elucidate, lucid, translucent magn great magnify, magnate, magnanimous mal bad malevolent, malediction, malicious mori, mort die mortuary, immortal morph shape, form amorphous, metamorphosis nat born innate, natal, nativity

VOCABULARY BUILDING | 328 nom name misnomer, nominal nov new novice, innovate, renovate, novelty omni all omniscient, omnipotent, omnivorous pac, pas, pax peace pacify, pacific, pacifist path, pass disease, feeling pathology, sympathetic, apathy, antipathy phil love philanthropist, philosophy, philanderer port carry portable, porter, transport, export poten able, powerful potential, omnipotent, potentate, impotent psych mind psyche, psychology, psychosis, psychopath reg, rect rule regicide, regime, regent, insurrection sacr, secr holy sacred, sacrilegious, sacrament, consecrate scribe, script write scribe, describe, script somn sleep insomnia, somnolent, somnambulist spec, spic see, look spectators, spectacles, retrospect tang, tact, ting touch tactile, tangent, contact, contingent terr land terrain, terrestrial, subterranean urb city urban, urbane, suburban vac empty vacation, vacuous, evacuate, vacant ver truth veracity, verify, veracious verb word verbose, verbatim, proverb viv, vit alive revival, vivacious, vitality

VOCABULARY BUILDING | 329 COMMON PREFIXES ambi, amphi both ambidextrous, ambiguous, ambivalent an, a without anarchy, anemia, amoral anti against antibody, antipathy, antisocial circum around circumnavigate, circumspect, circumscribe co, col, com, con with, together coauthor, collaborate, composition, commerce contra, contro against contradict, contravene, controversy di, dif, dis not, apart digress, discord, differ, disparity dia through, across diagonal, diameter, dialogue dys abnormal, bad dysfunction, dyslexia, dystopia e, ex, extra, extro out, beyond expel, excavate, eject, extrovert in, il, im, ir (1) not inefficient, inarticulate, illegible, irrepressible in, il, im, ir (2) in, upon invite, incite, impression, illuminate inter between, among intervene, international, interjection, intercept intra within intramural, introvert, intravenous mis bad, hatred misdemeanor, mischance, misanthrope mono one monarchy, monologue, monotheism non not, without noncommittal, nonentity, nondescript pan all, every panacea, panorama, pandemic

VOCABULARY BUILDING | 330 peri around, near perimeter, periphery, periscope poly many polygon, polygamist, polyglot post after postpone, posterity, postscript, posthumous pre before preamble, prefix, premonition, prediction pro forward, for, before propulsive, proponent, prologue, prophet re, retro again, back reiterate, reimburse, react, retrogress sub, suc, sup, sus under, less subway, subjugate, suppress super, sur over, above superior, supernatural, supervise, surtax syn, sym, syl , sys with, together symmetry, synchronize, synthesize, sympathize trans across transfer, transport, transpose un not unabridged, unkempt, unwitting

VOCABULARY BUILDING | 331 COMMON SUFFIXES able, ible ADJ: capable of edible, presentable, legible ac, ic, ical ADJ: like, related cardiac, mythic, dramatic, musical acious, icious ADJ: full of malicious, audacious ant, ent ADJ/N: full of eloquent, verdant ate V: make, become consecrate, enervate, eradicate en V: make, become awaken, strengthen, soften er (1) ADJ: more bigger, wiser, happier er (2) N: a person who does teacher, baker, announcer cy, ty, ity N: state of being democracy, accuracy, veracity ful ADJ: full of respectful, cheerful, wonderful fy V: to make magnify, petrify, beautify ism N: doctrine, belief monotheism, fanaticism, egotism ist N: dealer, doer fascist, realist, artist ize, ise V: make victimize, rationalize, harmonize logy N: study of biology, geology, neurology oid ADJ: resembling ovoid, anthropoid, spheroid ose/ous ADJ: full of verbose, lachrymose, nauseous, gaseous osis N: condition psychosis, neurosis, hypnosis tion, sion N: state of being exasperation, irritation, transition, concession

VOCABULARY BUILDING | 332 tude N: state of fortitude, beatitude, certitude

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