#how+adverb

[littlemizzlinguistics]

Studying linguistics is actually so wonderful because when you explain youth slang to older professors, instead of complaining about how "your generation can't speak right/ you're butchering the language" they light up and go “really? That’s so wonderful! What an innovative construction! Isn't language wonderful?"

[deliasamed]

Exclamatory Sentences

          Exclamatory Sentences

An exclamatory sentence is a type of sentence that expresses strong emotions, excitement, surprise, or urgency. It is characterized by its punctuation, typically ending with an exclamation mark (!). Exclamatory sentences can take various forms, similar to declarative, interrogative, or imperative sentences.   Declarative Exclamatory:  Declarative: The sky is so clear tonight. Exclamatory: The sky is so clear tonight!     Interrogative Exclamatory:  Interrogative: Did you see that amazing sunset? Exclamatory: Did you see that amazing sunset!         Imperative Exclamatory:  Imperative: Close the door quietly. Exclamatory: Close the door quietly!   They convey a heightened emotional tone to emphasize the speaker's feelings. These sentences often feature words or phrases that convey strong emotions, such as joy, surprise, anger, admiration, or frustration. The primary purpose of an exclamatory sentence is to convey a sense of intensity or strong sentiment in the expression of a thought or statement.             Exclamatory Sentence Intonation: The pitch and stress patterns of speech can help express the strong emotions. Rising intonation on key words or at the end of the sentence enhances the exclamatory effect.       Declarative Exclamatory: Declarative: The sky is so clear tonight. (Normal, neutral intonation) Exclamatory: The sky is so clear tonight! (Rising intonation on tonight to convey excitement or emphasis)       Interrogative Exclamatory: Interrogative: Did you see that amazing sunset? (Typically rising intonation at the end of the question) Exclamatory: Did you see that amazing sunset! (Similar to the interrogative, but with a stronger emphasis and excitement)       Imperative Exclamatory: Imperative: Close the door quietly. (Normal, neutral intonation) Exclamatory: Close the door quietly! (Rising intonation on quietly to emphasize urgency or importance)             Exclamatory sentences with pronouns What and How: Exclamatory sentences can begin with the pronouns what and how when these words are used to express strong emotions or surprise. Here are examples:   Exclamatory sentence starting with What: What a beautiful sunset! What an incredible performance!     Exclamatory sentence starting with How: How amazing that magic trick was! How stunning the view from here! What is used with nouns, and How is used with adjectives and adverbs.       What with nouns:   Word Order/Structure: What + (a/an) + adjective + noun Example: What a fantastic idea!       How with adjectives/adverbs:   Word Order/Structure: How + adjective/adverb/adjective phrase/adverb phrase + subject + verb Example: How beautifully she sings! How beautiful her voice is!   The word order, structure, and intonation work together to create a sense of excitement or strong emotion.         What with countable/uncountable/plural Nouns: The use of articles with What in exclamatory sentences depends on whether the noun following What is countable or uncountable.   Countable Nouns: Use the indefinite article a or an before the countable noun. The adjective usually stands before a noun. Examples: What a beautiful garden! What an interesting movie! What a talented artist!     Uncountable Nouns: Do not use an article before the adjective and uncountable noun. Examples: What delicious cake! What stunning scenery! What incredible talent!     Plural Nouns: Typically, do not use an article before the adjective and plural noun. Examples: What wonderful friends! What amazing achievements! What fantastic opportunities!             How with adjectives and adverbs: When using How in exclamatory sentences with both adjectives and adverbs, the structure and word order can vary based on the context.     How with Adjectives: Word Order/Structure: How + adjective + subject + verb Examples: How beautiful the sunset is! How talented she is! How amazing the performance was! .       How with Adverbs: Word Order/Structure: How + adverb + subject + verb Examples: How quickly time flies! How gracefully she dances! How effortlessly he solved the problem!        

Variety in Structure:

Exclamatory sentences can have various structures. They may follow the traditional subject-verb-object pattern, or they may involve inversions (changing the usual word order for emphasis), especially when starting with What or How.     Traditional subject-verb-object (SVO) patterns of Exclamatory Sentences: The basic structure follows the common syntactic arrangement found in declarative sentences. The key difference is the expression of strong emotions or emphasis through the choice of words and punctuation.   Subject + Verb + Object:  1.I can't believe it is snowing so heavily today! 2.She has done an incredible job on the project! 3.You've created a masterpiece with this artwork! 4.This is the most delicious meal I've ever taste! 5.Our team won the championship! 6.They bought a new house, and it's absolutely gorgeous!      

Inversed exclamatory sentences: The typical word order is altered for emphasis, often starting with What or How at the beginning of the sentence. This inversion is a common feature in exclamatory constructions, and it contributes to a more dramatic or impactful expression of emotion.   Inverted Subject + Verb + Object: What a treasure he found! How amazing the concert is!     Inverted Auxiliary Verb + Subject + Main Verb: What a project she has completed!     Inverted Prepositional Phrase: How over the lake the birds flew!     Inverted Adverbial Phrase: How gracefully she danced!           Implied Subject: Exclamatory sentences may sometimes have an implied subject, especially when focusing on the emotion or the quality being emphasized. For example, What a beautiful day! may imply It is such a beautiful day!  In  implied exclamatory sentences, the speaker relies on modifiers, adverbs, or specific language choices to convey enthusiasm, surprise, intensity, or urgency, creating an exclamatory effect.   Implied Emotion: This cake is delicious! (Declarative) This cake is so delicious. (Implied exclamatory)     Implied Intensity: She's a talented musician. (Declarative) She's such a talented musician. (Implied exclamatory)     Implied Surprise: I found the missing keys. (Declarative) I found the missing keys in the most unexpected place! (Implied exclamatory)     Implied Urgency: Please complete the task. (Imperative) Please complete the task as soon as possible! (Implied exclamatory)             Context &Tone /Types of Exclamatory Sentences: The tone of exclamatory sentences can vary widely, from excitement and joy to surprise, anger, or urgency. Exclamatory sentences can take various forms, expressing a range of emotions, intensity, or emphasis. Here are different types of exclamatory sentences:   Surprise or Astonishment: What a surprise to see you here! Joy or Happiness: How happy I am to see you! Admiration or Appreciation: What a talented artist she is! Frustration or Anger: How frustrating it is to deal with this situation! Urgency or Importance: What an urgent message you have! Agreement or Confirmation: What a fantastic idea! Disbelief or Disapproval: How irresponsible that behavior was! Anticipation or Excitement: What an exciting adventure awaits us!             Omitting the Subject or To Be: In an exclamatory sentence, it's common to omit elements for brevity and emphasis. If you want to express How cold it is! and choose to omit the subject and the verb to be, you can simply say: How cold!   In the sentence What a fine building! the subject and the verb to be are implied or omitted for brevity and impact. What a fine building!                   Exclamatory Sentences Imperative Sentences Negative Declarative Sentences: Structure, Usage, and Style Tag Questions (Interrogative Sentence) Alternative Questions (Interrogative sentence) Adverbial Modifier in Declarative Sentence What is Adverbial Modifier of a Sentence Adverb, conjunction, and preposition examples Read the full article

[essektheylyss]

Okay, there has been a quote from a blog post going around about the increase of visual description and decline in interiority in novels and prose more widely, which I do agree with, and I think the advice in the full post beyond the link and quoted section are sound and currently relevant. As a prose writer who took a long detour into screenwriting and is a spatial thinker, I do find myself getting caught up in the idea of conveying what's happening on a screen and needing to return to the affordances of the medium, even several years on from writing scripts, and knowing that scripts themselves often have very scant description.

However, I think many of the comments that I've seen going around on that post overcorrect into an idea that any description in prose should be eliminated, especially as they seem to ignore how setting, and conveying a sense of place, plays a role genre to genre. Many novels do not need much description, if they are not looking to create an atmosphere grounded in place, but other stories, and certain genres in particular, rely upon the grounding involved in describing the setting. In Science Fiction and the Mass Cultural Genre System, John Rieder notes that in its full-fledged form, when it began to be used as its own genre, sci-fi leaned substantially upon an "[a]ttunement to such a distinctive handling of the setting" to impart the norms of the world and conceit that satisfied the higher level of audience buy-in that was necessary for the story to function. I would argue that something of this ilk has long been a hallmark of genres in the more speculative realm, fantasy of course being another major one, but also those grounded in reality but in some way distanced, like historical fiction. To point to a few generic hallmarks, Hugo might've been getting paid by the word, but many of the descriptions of Paris and its systems are to an extent important to achieve audience investment in the plight of the poor of the city, and Tolkien's establishment of the feel of Middle Earth is crucial to creating in the reader an echo of the love the members of the Fellowship feel for their homes that drives them on their journeys.

I do think authors should generally be more willing to explore character interiority and not simply write out a blow-by-blow recount of the action that might be taking place on screen, but given how prone writing circles are to taking writing advice as all or nothing, I think it would be a mistake to run with the idea that interiority is the only way a prose format should or can convey the information needed to tell a story, and I'd encourage writers not to apply it unthinkingly or unilaterally to their own work.

[itsawritblr]

Typical Creative Writing teacher:

[lilliancdoodles]

learning portuguese is going to make me learn more about english, cause if I want to know how to do something in portuguese I have to know what part of speech im trying to get to so i'm learning what a past participial is in english and portuguese

[evil-mcytblrconfessions]

I had a dream people started using "deadly" "deadliest" ect as a slur against lifestealers

.

[ailelie]

Why do people hate adverbs?

A person on reddit asked this question. This was my reply (shared here b/c as one of over 250 replies on reddit, I know it will be lost there).

People enjoy and gravitate toward vivid writing. Therefore, many writers strive to strengthen their writing by making it more vivid.

Adverbs are not evil. However, many writers misuse them because they are easy.

That said, I feel I need to point out that rules have levels again. In high school, teachers tell you to never use first person in academic writing. Then, in college, many professors ask that you do. High school teachers harp on the three-part thesis. College professors hate the three-part thesis. Etc.

Does this mean the rules in high school are wrong or bad? NO.

Rules do not exist in isolation. They are always in service of a goal. The three-part thesis is in service of students learning how to organize their essays and support their ideas. Using third person is in service of students learning to rely on evidence over their own, unsupported opinions. In college, professors expect students to no longer need those rules to still organize essays, support ideas, and rely on evidence.

We erect guardrails in the earlier stages to help teach the habits and build the knowledge we need to thrive in later stages when those guardrails are no longer necessary.

The rule against adverbs is in service of writing strong and vivid prose.

"No," she said softly.

But did she murmur, mumble, or whisper? Each of those make her "no" sound different.

This does not mean remove adverbs always, but rather to examine each use and ask: is this the clearest, most vivid image I can create?

Of course, vivid writing is not the only goal for writers. Other goals include the sound of writing. Maybe "said softly" isn't the most vivid option, but maybe it does fit the rhythm of the scene better. You have to decide which goal is more important in that moment.

Writing or, at least, editing is an active process. Word choice and order matter. Be deliberate.

[willowser]

hi willow 👉🏾👈🏾, i have a writing question if you don’t mind me asking. how do you personally write with such detail??? i find it so challenging to make my writing consice and to the point but also interesting without dragging unnecessary descriptions out, and you can only use so many adverbs without them becoming annoying. i know writing is inherently telling, but how can you still show the readers without being too boring or over-descriptive?

hi kennie, friend !! i don't mind you asking at all, though i don't know if i'm the best person to ask alkfhagha also i didn't know how to get all my thoughts together enough to type out (read: eepy....) so have these two voice notes instead LOL

[teh-nos]

i don't know really. i have to add things to fics so they're long enough to be worth writing, but also i am to not add things to them. they are just to become the right length on their own. but the length they usually end up at is wrong. but everyone writing 500k is wrong too. but they are more right than me because longfics are apparently "better" (according to some fucking idiot on that 'novels are a snack' post). but also long has got longer. on it's own. because nobody else has to think of things to add.

[ros-sauce]

Interesting kind of person on tumblr: individual who adds captions to posts with no image id for accessibility reasons but the whole caption reads like they just learned what a thesaurus is

[unityrain24]

WAIT WHAT?!?! HERE/THERE ARE CONSIDERED ADVERBS IN ENGLISH?!??? IN JAPANESE THEY ARE CONSIDERED PRONOUNS WHICH MAKES WAY!? MORE!? SENSE!?

[spectralgecko]

hi spectral

spiffy

spoon

spangled

spooky

specifically

space

spying

spam

spoof

you’re the coolest!!

Well if it isn't the incredibly

irreducibly

irresistibly

irrevocably

indubitably

illustriously

impressively

insightfully

inspiring

Indie!

ASjHFKJH thank you!! :D You, also, are the coolest!!! Lovely goober. Lil snek. *Boops you with my gecko snoot* akjhgjd you're so cool how is u so cool

[8ethespider8ite]

Chapters: 24/? Fandom: Sally Face (Video Games) Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Relationships: Sal Fisher/Larry Johnson Characters: Sal Fisher, Larry Johnson, Ashley Campbell, Todd Morrison, Neil (Sally Face), Lisa Johnson, Chug (Sally Face), Maple (Sally Face) Additional Tags: Alternate Universe - College/University, Supernatural Elements Summary:

Sal Fisher, a late-starting college freshman with a coffee problem and a notable lack of friends, moves into Addison apartments to attend Nockfell University and takes on all-nighters, noisy neighbors, and...vampires? Join Sal and the first friends he's ever actually had on the adventure of a lifetime, or possibly just to order pizza and hate-watch Lifetime original movies. But there's something dangerous lurking in the background of Nockfell, and Sal is at a greater risk than anyone realizes.

[bedlamsbard]

for the wip game: fly?

"I probably can’t fly you into Russia, even after the war ends,” he warned.

[katytheinspiredworkaholic]

WIP Wednesday

Dreamwalker (Eddie’s Story) Summary: Steddie Canon compliant/fix-it fic paired with a corresponding story in Steve’s POV, each chapter happens in tandem with the other. Eddie wakes up alone in the Upside Down, not knowing how he survived, and unable to reach anyone topside in Hawkins. Wounded and alone, he finds shelter at the Harrington’s house (the place is a damn fortress after all), and while hiding out there discovers that he has gained the ability to walk into other people’s dreams.

((Content warnings in tags))

(un-beta’d snippet of Chapter 2; Eddie made it to the Harrington’s house in one piece last chapter, and hasn’t tried to step outside of it ever since. It’s safe, he has room and food and endless supplies (make-shift or otherwise), and he’s still pretty injured and needs to rest. But idle hands and all that, plus adjusting to living in the Upside Down isn’t exactly a walk in the park.)

--

It takes over a week before Eddie leaves Steve’s house.

To be fair, he sleeps a lot of it. (Still healing, and all that; blood loss is no fucking joke.) He doesn’t dream of Steve, or with Steve, in that time. In fact, he’s not dreaming much at all, thank Jesus, because when he does… it always ends with the bats. 

Gnawing, swarming, rows and rows of teeth digging into his sides, going for vital organs. A tail around his neck, more pulling at each limb, like he’s being drawn and quartered. Screaming as teeth sunk into him over and over again. Being disemboweled alive – sounds metal as fuck. Actually sucks balls. 

He wakes up far too many times to a double tap of paralyzing fear. First shot – being eaten alive in his dreams, not knowing if it’s real or if it’ll stop. Second shot – not knowing if he’d screamed when he woke up, and what might have heard him if he did. It’s enough to make anyone curl up in the fetal position and shake.

But then Eddie focuses on trying to contact Steve. After a few days of rest, his head no longer swimming, and his wounds in the gross, early stages of healing and scarring, Eddie realizes he needs out. No one was going to come looking for him here, at Harrington Manor (now Casa de Munson), so if he wants the rescue party to locate him he’d have to send up some flares. Discreetly. 

He tries the lights. He tries the doors. He tries the TV (à la Poltergeist), and the stereo system in Steve’s room. The walkie-talkie radio that is obviously Henderson’s handiwork. He even tries Harrington’s fucking hair dryer. God knows he’d noticed that thing on the fritz. He lets his hand pass through the drifting bits of tickling light whenever Steve actually deigns to be home and turn something on, but half the lights are too high for him to reach (damn rich people’s homes and their fucking vaulted ceilings) and the rest don’t seem to have any kind of impact on the guy.  

Eddie calls Steve many unflattering names this particular morning, specifically after the hair dryer incident. He messed with it until the damn thing blew a fuse, and it yielded results he never in a million years would have predicted. It seems Steve did in fact notice this, and then? Then Eddie could hear Steve, loud and clear. Just like they had with Henderson when they were stuck over spring break, as if he was trapped in the walls. Steve yells right back at him, or to God or whoever, some choice words very similar to Eddie's own a moment ago. And it was so dramatic and so… good to hear a voice again in the pulsating nothingness of the Upside Down that Eddie laughs until he cries. 

Sometimes in the mornings (when he can’t bother to pull himself out of bed) he could hear Steve and Buckley talking in the kitchen, but he hasn’t heard Steve’s parents and most of the time Steve doesn’t talk at all when he’s home. It gets to the point where Eddie starts to worry he might have to make the trip to Henderson or Sinclair's house. If any of those little brats has the intelligence to count on in a dire situation like this, it’s Sinclair’s 11-year-old sister. (Heaven help him.)

The biggest problem with that plan is… there are things out there. The bats swarm daily; when they pass over the house it sounds like a tornado is about to take off the roof. There’s creatures that stalk about between the trees, taller than a normal man, and scavenging creatures of all sizes. Dog-sized, rat-sized, more he can’t even make out. The vines creep and move, try to wiggle under the doors of the house sometimes but can’t make it past the weather seals. And there’s something huge, vaguely Jabba The Hut shaped, that slithers about and Eddie is fucking terrified it might move faster than it looks.

There’s more, too, he knows this. He hears the cries and shrieks in the night of the creatures hunting each other. If that’s not a terrifying enough scenario for you, imagine how Eddie felt the moment he realized they eat each other and are still a hive mind. They are starving. No wonder they are so hostile and ravenous for human flesh. It’s food that doesn’t hurt to eat. 

It’s about this time that Eddie starts to take notes. A day or two before he makes his first venture outside the house. His mind is a maddening buzz of information and fears and observations and questions. He can’t think, he can’t put anything in order, it makes him want to knock himself out just for a moment of peace. But the risk of nightmares starts to deter that. So he finally does the one thing he swore he would never do; he takes the long suffering advice of his old middle school guidance counselor. The one he was too full of anger to hear properly, at the time.

He writes it all down.

It starts as stream of consciousness, dumping all the chatter and words in his head onto paper just to put it somewhere. To save his dwindling sanity. And soon his brain, trained and honed like a broadsword blade by his DM campaigns, begins to group information on instinct. Ideas. Categories. Plans.

Ten hours and a hell of a cramp in his hand later, he actually has a plan. He might have… started to lose it a little by then, too, because the layout sounds a bit like the intro monologue to one of his campaigns:

Eddie the Banished has been left behind; not out of hate or convenience, but out of circumstance. He doesn’t blame his party for doing so. They are at war with a fearful, deadly foe. They thought he’d been vanquished. Defeated. 

Alas, he endured.

He survived.

Eddie the Banished was now in hiding, behind enemy lines.

He found himself in quite an advantageous position — and if this were a D&D campaign, he knew just what he would do. He’d do reconnaissance. He’d make maps and creature dossiers, stash weapons and provisions, he'd be the best ‘presumed dead�� spy a campaign had ever asked for. He could do so much good, getting everything ready.

So what was stopping him doing the same, here?

Easy:

Fear.

The very real reality that he could be eaten by a monster.

The fact he’s a storyteller, not a fighter.

The pros and cons list literally began to write itself, filling pages in Steve’s (very worryingly unused) high school notebooks that Eddie had commandeered. But the pros are a lot longer than the cons.

In summary: 

Pros = prepare everyone for what comes next. (If his brief glimpse of downtown was anything to go by. They still had a boss battle to fight.)

Cons = he’s a coward at heart, who knows how to keep himself alive first and foremost.

… It takes him rereading his own notes until the wee hours of the morning to realize… that may be a skill, and not a flaw. The ability to keep himself alive. At least here, it was. In the Upside Down. And wasn’t that the coolest adaptive mindset ever, enough that it propelled him into preparatory action. All the way to the following morning, where he stood just inside the interior door of the Harrington’s garage, working up the nerve to step outside.

—

tbc

—

Series Snippets:

- Dreamwalker (Eddie’s Story) (Part 1) (Part 2) (Part 3) (Part 4)

- Subconscious (Steve’s Story) (Part 1) (Part 2) (Part 3) (Part 4)

[neosatsuma]

so much catch-all "writing advice" is so ludicrously bad, NEVER or ALWAYS use adverbs, em-dashes, figurative language, specific dialogue tags, and it prompts young writers to timidly raise their hands and posit possible exceptions to these "rules," so might an adverb be allowed in this case...? And I always want to shake these poor people and say "look at me. look me in the eyes. this is the solution, are you ready? Here it is: say what you mean."

You're right, "whispered" does feel different than "said softly." So which did he do? Did he droop or did he hunch sadly? Which is accurate? Which flows better in the sentence? Forget the edicts, forget the "rules" barring this type of word or that type of word. Use the right word.