Neck Surgery On C3 And C4 Bulging Disc

Simple is the right thing

ANDRESNIPORESAS

Simple is right.
Although I see some downtime, it strikes me that there are some simple rules that we must not forget when we write. And take them into account when assessing a story. I will dare in case someone wants more or better.
Choose short, simple words, rather than long words and cultists. Ex approximates approximate. Avoid words
wildcard generic. Eg The tree is full of fruit. Best: The apple tree has fragrant apples.
Prefer concrete to abstract words. Eg problems in the sector. Best: the problems of the hotel. Avoid
modal verbs and passive constructions, it can be said with a verb in the form dicrecta best to find the idiom. Ex has been negative for the field. Best: It is negative for the field.
avoid repetitions and crutches. Eg level of first aid. Best: The first aid. Fleeing
personal pronouns at the beginning of the paragraph or sentence. Eg I think ... Best: I think.
Avoid adverbs in mind. Formerly eg eating healthier ... Best: Before eating healthier. And other rules
evident.
May you continue the good at health.

26/08/2007, 20:20

Blue Prints For High School

The rhythm, the sound in the narrative elements of a story

ANDRESNIPORESAS

The rhythm, the sound in the story.
few days ago we had a little discussion about adverbs in mind. We took by the fact that Gabriel García Márquez avoids it. Today, reflecting on the stories, our stories, I stumbled upon the pace, with the sound. And I thought the reason why an adverb in mind is hateful to GGMárquez is because of its dual emphasis.
The adverb so often has two accents and break the sound of the text, break their musicality. And who knows Gabo, avoid them. Let
. A text has accents prosodic and spelling (accents). Are strategically placed to read rhythm and sound. If we give the impression that the action is fast, fast, never utilies cuatrisílabas words, rather monosyllabic or disyllabic, to cause the accents are so close and cause a rhythm, a cadence faster.
If you have the patience to replace a word by a series of Os (ooo) and accented it or replacing the stressed syllable, we check if our letter or not a rate. The pace, like it or not repetition cadence.
Ancient already knew and the Greco-Roman lines and there are names that define the so-called "feet." That the dactyl, iambic, trochee, etc..
Consider the beginning of Don Quixote. "Somewhere in La Mancha whose name I do not remember." Rhythmic transcription: oooo or oooo oooo oo oo o oo. And if you count the syllables would have two time periods: a spot = 8 syllables. Whose name I do not want-to cordate = 11 syllables.
is, Cervantes uses a combination of eight-syllable and eleven-syllable to the beginning of Don Quixote. That is, looking for a rhythm, a cadence, a sequence.
Perhaps this is a foolish erudition, but there are texts that read well because they have some musical and some are jerks. Pythagoras said it best: all music, everything is mathematical.

Here comes the train / and the clear trumpet sound. (Music total).


25/08/2007, 13:15 Posts

What Are T He Effects Of The Tibiscus Mushrooms

analyze the stories I think we should distinguish the four elements that make up a story said. Nuclei, sequences, information and evidence. If there is a good nucleus there is no story.

[...] I will get with my own story.
The core might be something silly: a strange place with strange events. As these events are more sobados that it mu pasiegos sobaos wrong.
Information overload, too careful in giving details that do not assert the core because they are just units themselves without being sticks that are compatible with the core narrative.
The signs do not fit the rest and do not help advance the story, rather, are disappearing and that data are not "used" later to round out the text. Abuse
informants: the sin of the Nerds! What we mean everything, that we are not miss anything and the result is already seen. A story very ornate and some condensate, a slender tree trunk and many branches.