Answer:
This story revolves around two step brothers and their mother. One of the brother Alexis lives with his father and other brother is Aaron who lives with his mother. Both of the brothers have never seen each other.
Alexis returns to meet his mother since his father is going to India for some religious matters. When Alexis reaches the airport he meets his step brother Aaron for the first time.
During their journey from airport to home Alexis shows off his seventeen scars to Aaron and tells a story for each scar. Aaron is not interested in these stories and does not believes in the stories narrated by Alexis.
Alexis has a habit of using abusive language but his mother interrupts and forbade him to use these type of words but he continues using this language without letting his mother know as he then speaks in lower tone so that his mother doesn't notices his abusive language.
They stop their car at Burger King for dinner but Alexis does not eat anything except for fries since he is vegan. When they return to car due to some issue his mother starts crying and worrying about the problem but Alexis helps his mother in fixing the issue.
When they reach the house, Alexis went to backyard and Aaron follows him to see. Alexis have coke in his hand along with 1 white envelopes in which he has several white pills. He eats 2 pills and has it with coke and also offers these pills to Aaron and he has 1 of it. When they go to dining table suddenly everything seems slow to Aaron and he feels that his mother is talking in underwater. Aaron and Alexis both look at each other and laugh loudly.
Context clues are hints that an author gives to help define a difficult or unusual word. The clue may appear within the same sentence as the word to which it refers, or it may follow in a preceding sentence. Because most of one’s vocabulary is gained through reading, it is important that you be able to recognize and take advantage of context clues.
There are at least four kinds of context clues that are quite common: 1) a synonym (or repeat context clue) which appears in that sentence; 2) anantonym (or contrast context clue) that has the opposite meaning, which can reveal the meaning of an unknown term; 3) an explanation for an unknown word is given (adefinition context clue) within the sentence or in the sentence immediately preceding; and 4) specific examples (an example context clue) used to define the term.
There may also be word-part context clues in which a common prefix, suffix, or root will suggest at least part of the meaning of a word. A general sense context clue lets the reader puzzle out a word meaning from whatever information is available – and this is the most common kind of context clue. Others describe context clues in three ways: 1) semantic or meaning clues, e.g., When reading a story about cats, good readers develop the expectation that it will contain words associated with cats, such as “tail,” “purr,” “scratch,” and “whiskers”; 2) syntactic or word order clues where the order of the words in a sentence can indicate that a missing word must be (for example, a verb); and 3) picture clues where illustrations help with the identification of a word.
Answer:
Jonas goes to The Giver and receives his first memory, that of sledding down a hill in the snow. He also receives the memory of sunburn, his first encounter with pain in a memory. Jonas sees Fiona's hair "change" the same way the apple did. When he asks The Giver about it, the old man explains to him all about color.
Explanation:
Ur welcome.
Counter claim disagrees with with a position.
They go against someone's claim to prove that person wrong.
Answer:
The hourglass structure is one such device. A story shape that journalists can employ when they have news to report and a story to tell. Earlier this week, I listened to Christine Martin, dean of West Virginia’s Perley Isaac Reed School of Journalism, describe the form to Poynter’s summer fellows as a useful tool for reporters searching for a form.The best stories often create their own shape; writers consider their material, determine what they want the story to say, and then decide on the best way to say it.But journalists, like all writers, sometimes rely on tried-and-true forms and formulas: the inverted pyramid, the “five boxes” approach, the nut graf story. You need to be familiar with these forms whether or not you decide to write your story in a completely new way.“Formulaic writing has gotten a bad name,” says Poynter Online Editor Bill Mitchell, a veteran reporter and editor. “Done right, it diverts creatively from formula in ways that serve the needs of the story at hand. Tying the reporting, as well as the writing, to the form lends a discipline and focus that produce better stories.”The hourglass was named by my colleague Roy Peter Clark in 1983 after he had begun to notice something new in his morning paper.Clark was a likely discoverer. A college English literature professor-turned-newspaper writing coach and reporter, he used his skills as a literary scholar and his experience in the newsroom to deconstruct the form.In an article published in the Washington Journalism Review (since renamed American Journalism Review), he described this form and gave it a distinctive name: the hourglass. It provided an alternative, Clark said, “that respects traditional news values, considers the needs of the reader, takes advantage of narrative, and spurs the writer to new levels of reporting.”Clark said the hourglass story can be divided into three parts:Here you deliver the news in a summary lead, followed by three or four paragraphs that answer the reader’s most pressing questions. In the top you give the basic news, enough to satisfy a time-pressed reader. You report the story in its most concise form. If all that is read is the top, the reader is still informed. Because it’s limited to four to six paragraphs, the top of the story should contain only the most significant information.Here you signal the reader that a narrative, usually chronological, is beginning. Usually, the turn is a transitional phrase that contains attribution for the narrative that follows: according to police, eyewitnesses described the event this way, the shooting unfolded this way, law enforcement sources and neighbors agree.The hourglass can be used in all kinds of stories: crime, business, government, even to report meetings. It’s best suited, however, for dramatic stories that can be told in chronological fashion. In the right hands, as the following story from The Miami Herald illustrates, the hourglass is a virtuoso form that provides the news-conscious discipline of the inverted pyramid and the storytelling qualities of the classic narrative.
