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stepladder [879]
3 years ago
12

Which sentence is spelled correctly? A. The Wilsons asked you to return their camera when you see them. B. Their are several rea

sons Sam quit the basketball team this year. C. The principal at they're school just started her job this year. D. Despite there best efforts, the team was bound to lose the game.
English
2 answers:
Natali5045456 [20]3 years ago
8 0

Answer:

The Wilsons asked you to return their camera when you see them. APEX Verified

Explanation:

Murrr4er [49]3 years ago
5 0
The right answer is A
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George Orwell intended for his novel to be a warning against totalitarianism.
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George Orwell's favorite book, 1984, describes the dystopian world where media is king and every citizen of Oceania is instructed to repress their pure human nature. This book serves as a warning to the citizens of this world today. Orwell's novel was planned for his audiences to take attention to the reality that media is the most significant force of loss-of-self. -Since the revival of these Olympic games in 1896, these games have quickly turn into compromised by governments and propaganda. The virtue of this athleticism has been tarnished with outrage, dishonesty, commercialism, boycotts, political conflicts, reputation advancement, as well as acts of coercion. Mega sporting events, e.g., the Olympics have this strange power to not only momentarily join national societies, But, Conversely, reflect real life rivalries and disputes (Grix ).

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Read these sentences from the passage:
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A. Fill in the blanks with suitable forms of the verbs given in brackets. The first one
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i dount know this at all

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2 years ago
Consider your experience reading science fiction and your knowledge of the genre. Write a science fiction story that is at least
sasho [114]

What questions do SFF authors ask themselves when creating a futurescape, and what worldbuilding considerations do they make? Tor.com has assembled a roundtable of authors with exciting new books out this year to give you a look behind the scenes of their writing processes. We asked them several questions to start with, and then gave them control of the table to ask their own questions. Their replies are as varied as their work, and their worlds.

Participating today are Peng Shepherd (The Book of M), Malka Older (Infomocracy / The Centenal Cycle), Tade Thompson (Rosewater, The Murders of Molly Southbourne), Lauren C. Teffeau (Implanted), and Mike Chen (Here and Now and Then).

 

Fran Wilde: What is the most important thing to keep in mind when writing / worldbuilding in near future or distant technical future worlds?

Tade Thompson: To me, that would be using worldbuilding to ground the reader and characters in place, but to avoid piling it on in a fit of “isn’t this cool?” or “hey, wouldn’t it be great if…?”. The worldbuilding should serve the story and while I may know everything about the place/time/setting, I will only give the reader enough to be able to follow the story and extrapolate. I’m not a fan of showy worldbuilding. You know how in some game engines the 3D world is rendered just before the player character arrives, and it decides just how much to render? That’s sometimes what I feel worldbuilding should be like. The grounding should, of course, let us know how this future world deviates from ours.

I’d like to add here that a recent example of excellent worldbuilding (in my view) is The Murderbot Diaries by Martha Wells. The balance is perfect.

Mike Chen: I think the most important thing is that the world needs rules established, and then the worldbuilding has to follow those rules. It’s okay to have fantastical elements as long as they don’t do anything to contradict something that’s previously established—any conflict or contradiction will cause the reader to pause and go “Wait, I thought they couldn’t do that?” and that’s gonna at best create confusion, at worst lose the reader and cause them to rage quit the book.

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Lauren C. Teffeau: For me, it’s finding the right entry point into a story world. In those crucial opening scenes you’re not only establishing the rules, but you’re also setting up the reader’s expectations just by virtue of it being their first glimpse of your world, now destined to color everything that comes after. When deciding how to open a story, I try to create scenes that not only introduce my main character in an engaging way and portray some driving action approaching a plot, but also introduce at least two or more aspects of my world that help ground the reader in the story (good) and hint at cool or intriguing aspects to come (better). Getting the reader oriented so they’ll tag along for the whole ride is best of all.

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