AnswersSLPS-1001315-English 1 B -CRSummarizing Central Ideas and Purpose: The Hot Zone

The Art of Creating Suspense: Central Ideas of Two Authors Answers

0 verified answers1 views
1
Free Preview

Writers Karin Slaughter and Lee Child share which ideas about creating suspense? Select 2 options.

A
Strong writing often includes an element of suspense.
B
Classic literature provides examples of suspense.
C
Leaving information unknown creates suspense.
D
Delaying answers to questions creates suspense.
E
Developing characters slowly creates suspense.
2
Free Preview

Review the excerpt from Lee Child’s "A Simple Way to Create Suspense".I learned that fact in my first job. I worked in television production from 1977 until 1995, and the business changed radically during that time, mainly because of one particular invention.Compare to this excerpt from the NPR interview with Karin Slaughter.And being a Southern author, you know, I grew up with Flannery O'Connor, and I love reading her essays because she was such a—not just a wonderful writer, but she was wonderful at talking about writing.

A
Both writers share personal anecdotes to develop their central ideas.
B
Both writers use their work experience to develop their central ideas.
C
Both writers were influenced by Flannery O’Connor.
D
Both writers worked in television production.
3

Which note best summarizes the central idea of "A Simple Way to Create Suspense"?

A
Lee Child – wrote books & television
B
good ingredients = good cake
C
no remote control in 1980
D
Make readers hungry for answers
4

According to the lecture, which of the following options is an effective strategy for note-taking?

A
being careful to spell correctly
B
writing down every word that is spoken
C
using symbols such as question marks
D
scribbling doodles instead of listening
5

Review the paragraph from the article "A Simple Way to Create Suspense."Readers are human, and humans seem programmed to wait for answers to questions they witness being asked. I learned that fact in my first job. I worked in television production from 1977 until 1995, and the business changed radically during that time, mainly because of one particular invention. It was something that almost no one had in 1980, and that almost everyone had in 1990, and it changed the game forever. We had to cope with it. We had to invent a solution to the serious problem it posed.

A
analogy.
B
anecdote.
C
example.
D
elective.
6

Review the paragraph from "A Simple Way to Create Suspense" the by Lee Child.Trusting such a simple system feels cheap and meretricious while you’re doing it. But it works. It’s all you need. Of course, attractive and sympathetic characters are nice to have; and elaborate and sinister entanglements are satisfying; and impossible-to-escape pits of despair are great. But they’re all luxuries. The basic narrative fuel is always the slow unveiling of the final answer.

A
To create suspense, writers must reveal details gradually so readers want more.
B
To create suspense, writers must include characters that are good looking and interesting.
C
Suspenseful stories should always contain complicated plot twists.
D
Suspenseful stories should always contain dangerous, exciting details.
7

Which is the most correct comparison?

A
Both Slaughter and Child agree that classic literature is full of suspense.
B
Both Slaughter and Child use a hungry family analogy.
C
While Slaughter agrees with Child on revealing information slowly, she also feels character development is important.
D
While Slaughter agrees with Child on his simple formula for creating suspense, she withholds information longer.
8

To identify the central idea of a text, readers must

A
study the middle paragraph.
B
read an author’s anecdote.
C
notice key words and details.
D
listen to an author’s interview.
10

Read the excerpt from Lee Child’s "A Simple Way to Create Suspense".Like the old cartoon of the big fish eating a smaller fish eating a very small fish, you’ll find out the big answer after a string of smaller drip-drip-drip answers. The big answer is parceled out slowly and parsimoniously.

A
I want it to change them, and I want my reader to feel that change through the character, as if it's them.
B
There has to be this peeling away of the onion, where you get to the core of the character as the story unfolds.
C
I mean, you know, crime is such a great tool for talking about the human condition, and that's what I like to do.
D
If you think about "To Kill a Mockingbird," for instance, some of those courtroom scenes are more tense than any Grisham novel, you know.

Did you find these answers helpful?