Verb Tense and Voice — Unit test Answers

Which sentence from the narrative portion of Monster reveals that it is written using a first-person point of view?

Which statement correctly describes the difference between the narrative and dramatic text structures in Monster?

Read the excerpt from The Building of Manhattan.The BOOM is usually 70 to 90 feet long and is hinged to the mast at its base, so that both move together when the derrick swings to a new direction.

Read the excerpt from The Building of Manhattan.A temporary, small narrow-gauge track system was installed on each floor as it was needed. This enabled the material to be moved from the truck at ground level onto dump carts, raised by elevator to the designated floor, wheeled onto the track, and moved quickly to the exact spot needed. Turntables built into the track allowed the carts to be shifted about in any direction.

Read the introduction.Every leader must become a competent public speaker. Leaders communicate their ideas to big groups of people, and they rally supporters with engaging oration. Critics suggest that some leaders are just as effective behind the scenes, working effectively without recognition, but the best leaders have charisma that can be conveyed through their speeches during public appearance events.

Read this sentence from The Evolution of Useful Things.Making waterproof sandpaper would allow wet sanding, which in turn would cut down on dust, and thus be a great improvement.

Read the excerpt from Last Lecture.There are 50 students drawn from all the different departments of the university. There are randomly chosen teams, four people per team, and they change every project. A project only lasts two weeks, so you do something, you make something, you show something, then I shuffle the teams, you get three new playmates and you do it again. . . .The first assignment, I gave it to them, they came back in two weeks and they just blew me away. I mean the work was so beyond, literally, my imagination, because I had copied the process from Imagineering’s VR lab, but I had no idea what they could or couldn’t do with it as undergraduates, and their tools were weaker, and they came back on the first assignment, and they did something that was so spectacular that I literally didn’t, ten years as a professor and I had no idea what to do next. So I called up my mentor, and I called up Andy Van Dam.

Which sentence uses passive voice?

Writing a screenplay in Monster gives Steve Harmon a more accurate view of his situation because it

Read the excerpt from The Evolution of Useful Things.Fry was committed to his brainchild, however, and he finally convinced an office-supply division of 3M to test-market the product, which "met an unperceived need."

Read this excerpt from "Poor Harold.”A room in Washington Square South. By the light of a candle, a young man in tousled hair and dressing gown is writing furiously at a little table. A clock within strikes seven.A door at the back opens, and a young woman looks in, sleepily. She frowns. The young man looks up guiltily.SHE. What are you doing?HE. (innocently) Writing.SHE. So I see. (She comes in, and sits down. It may be remarked that a woman's morning appearance, in dishabille, is a severe test of both looks and character; she passes that test triumphantly. She looks at the young man, and asks) – Poetry?HE. (hesitatingly) No. . . .SHE. (continues to look inquiry).HE. (finally) A letter. . . .SHE. (inflexibly) – To whom?HE. (defiantly) To my wife!SHE. Oh! That's all right. I thought perhaps you were writing to your father.HE. (bitterly) My father! Why should I write to my father? Isn't it enough that I have broken his heart and brought disgrace upon him in his old age –SHE. Disgrace? Nonsense! Anybody might be named as a co-respondent in a divorce case.HE. Not in Evanston, Illinois. Not when you are the local feature of a notorious Chicago scandal. Not when your letters to the lady are published in the newspapers. – Oh, those letters!SHE. Were they such incriminating letters, Harold?HAROLD. Incriminating? How can you ask that, Isabel? They were perfectly innocent letters, such as any gentleman poet might write to any lady poetess. How was I to know that a rather plain-featured woman I sat next to at a Poetry Dinner in Chicago was conducting a dozen love-affairs? How was I to know that my expressions of literary regard would look like love-letters to her long-suffering husband? That's the irony of it: I'm perfectly blameless.