Answer:
ummm okay ummm this is a dum question parents guide u thru ur love life so u dont fail e
Explanation:
Mary Rowlandson is a Puritan.
Answer:
Nothing
Explanation:
Nothing is a word for what does not exist or meaning nothing not a thing.
Answer:
The disagreement in this sentence is misplaced modifier.
Explanation:
A modifier, as the name suggests, is a word or phrase used to modify another element mentioned in the sentence. For that reason, <u>modifiers tend to stand close to the word they refer to in order to avoid ambiguity.</u> <u>A misplaced modifier happens</u> when ambiguity is not avoided. <u>The modifier is placed incorrectly, too far from the word it refers to</u>, which makes it difficult to understand and connect the ideas.
<u>In the sentence we are analyzing here "[s]unny yet dusty" is a misplaced modifier. It makes no sense for the word "sunny" to refer to "traveler" in this context. That means this modifier refers to "destination", but is too far away from it in the structure. One way to correct it is:</u>
The traveler finally arrived at her destination, which was sunny yet dusty.
Answer:
I will try
Explanation:
Paragraph writing in fiction doesn’t follow traditional rules. Like storytelling itself, it is artistically liberated, and that liberation gives it the potential to contribute to the story’s aesthetic appeal. Paragraphs build a story segment-by-segment. They establish and adjust the pace while adding subtle texture. They convey mood and voice. They help readers visualize the characters and the way they think and act by regulating the flow of their thoughts and actions.
In this series, adapted from “The Art of the Paragraph” by Fred D. White in the January 2018 issue of Writer’s Digest, we cover paragraph writing by exploring different lengths and kinds of paragraphs—and when to use each one. [Subscribe to Writer’s Digest today.]
How to Write a Descriptive Paragraph:
Descriptive paragraphs enable readers to slip into the story’s milieu, and as such can be relatively long if necessary. Skilled storytellers embed description within the action, setting the stage and mood while moving the story forward. Here is an example from Douglas Preston and Lincoln Child’s The Lost Island, a thriller in which the protagonists hunt for a lost ancient Greek treasure on a Caribbean island, of all places:
