Stream-of-consciousness is a very stylistic form of free indirect discourse. It is not spontaneous, or unintentional, or anything of the sort. In fact, if anything, it's just the opposite. It's highly stylized, but also purposeful and calculating. It sees the world wholly through the character's mind instead of through their senses, save for how the mind and the senses interact.
It relates to a lot of things - free association, synesthesia, free indirect discourse, without actually being any of them.
<span>There's only a handful of writers that can actually do stream-of-consciousness writing with any success - Joyce and Faulkner come to mind immediately. In short, there's nothing wrong with trying it, but there's also nothing wrong with not having done that, but having done, say, free association instead.</span>
Answer:
86.7%.
Explanation:
Considering the diagram, the path of the tip of the blades is a circle.
Hence, determine the circumference of the circle.
C = 2πr = 2π * 3 ft = 6π ft.
Then determine how long the blade edges are all together.
6 in * 5 blades = 30 inches
Therefore, to determine the fraction of the circumference of 30 inches, convert circumference to inches
6π ft * (12 in ÷ 1 ft) = 72π in.
Hence, the probability of Gerald’s randomly timed shot hitting a blade of the windmill
=> 30 ÷ 72π
=> 30 ÷ [72 * (22/7)]
= 13.3%.
Finally, the probability of his shot getting past the blades is then 100 – 13.3 = 86.7%.
Which excerpt?
Then we can figure it out
Answer:
Use Sentence Fragments Sparingly and When the Story Calls for It. Sentence fragments in fiction can be a useful way of conveying pace, tone, and intensity. However, overuse can lead to lazy writing—fragments should be used sparingly, and for a good storytelling purpose. I think it’s when the cast of characters includes just two characters I’m not 100% right on this
Papa would be angry if Jeanne dated (him/her)
