Avoid Using Contractions In Essays

Avoid Using Contractions In Essays-10
Again, the unvoiced consonants of /t/ and /k/ slow things down, and the cluster of /n/ /t/ /th/ is bound to displease speakers and listeners alike.(On the other hand, you might be able to get a fun little EDM beatboxing started with just /nt'th/ /nt'th/ /nt'th/ /nt'th/.) has a much more musical trochaic flow.I don't see why writing it fully out is better than using a contraction, since it's shorter and it doesn't affect your argument.

Again, the unvoiced consonants of /t/ and /k/ slow things down, and the cluster of /n/ /t/ /th/ is bound to displease speakers and listeners alike.(On the other hand, you might be able to get a fun little EDM beatboxing started with just /nt'th/ /nt'th/ /nt'th/ /nt'th/.) has a much more musical trochaic flow.I don't see why writing it fully out is better than using a contraction, since it's shorter and it doesn't affect your argument.

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Simply download the Grammar e Book Understanding the Parts of Speech.While I do see avoiding contractions completely as fairly arbitrary for expository writing in a History class, in a composition or creative writing class, there is a case to be made for seemingly arbitrary rules such as "no contractions".When we learn the craft of writing, it is helpful to take us out of our natural conversational style.In some cases, two or more unvoiced consonants are put together (e.g., ).Consonant clusters can slow down singing and speaking and also create phonological noise and ambiguity.Tack on another two to seven metrically related syllables and repeat at least part of the line, and you've got the beginning of a song or persuasive speech.There is only one unvoiced consonant, /p/, and the stop there can be effective in strongly establishing the pattern of two trochees.There is no one universal key that unlocks all doors.You have to learn what each group's shibboleths are in order to gain entry to that group.Contractions share a few tonal qualities that can be problematic.Contractions are formed by eliminating vowel sounds and compressing two or more consonant morae into one syllable.

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