writing.exchange is one of the many independent Mastodon servers you can use to participate in the fediverse.
A small, intentional community for poets, authors, and every kind of writer.

Administered by:

Server stats:

318
active users

#tense

0 posts0 participants0 posts today

I'm a big proponent of "someone who..." rather than saying "someone that..."
I know it's grammatically acceptable, I'm saying it's not just a missed opportunity, it's dumbing-down our #language and making our #communications less human. Literally.
Calling a #person "that" demotes us to become just as boring as an #object and not worthy of distinction from same. What are your thoughts, fediverse?
#grammar #tense #use #personify #personification #human #gender #verb #past #English #writing #style

There is no grammatical #tense in either #Cantonese or #Mandarin, but there are a whopping 39 verb suffixes in Cantonese, including 15 #aspect markers! In contrast, Mandarin has 3 aspect-marking verb suffixes. (For reference: there are 4 aspects in English, of which 3 are marked.)

#華語#廣東話 一樣,冇 #時態 (tense),但係會用 #動詞後綴 表示 # (aspect,類似英文嘅進行式、完成式)。

華語只有3種動詞後綴:了、著、過
廣東話就有39種動詞後綴,包括 15 種「體」:咗、過、落(實現體)、定、緊、吓、住、實、生晒、衡晒、起上嚟、起、得、落(開始體)、開

Source 來源:
《語法講義》朱德熙
《粵語語法講義》鄧思穎

I almost exclusively use movie and TV scores for #ttrpg #backgroundMusic, letting it play through, and simply adjusting the volume up or down to affect the impact on the scene, or I guide the scene to match the score.

Reasons I do this:
1. I don't want to play DJ while I'm juggling everything else.
2. The audio and production quality is unrivaled.

Here are a couple #mysterious, #melancholy, and #tense scores I like.

music.apple.com/album/the-span

music.apple.com/album/the-esse

Apple MusicThe Spanish Princess, Season 1 (Original Score) by Chris Egan & Samuel SimAlbum · 2019 · 26 Songs

Children’s awareness of irregular verbs

I’ve been enjoying Steven Pinker’s Words and Rules: The Ingredients of Language (1999). More technical and focused than his popular bestseller The Language Instinct, it is effectively a monograph on linguistic irregularity, examining in particular how we inflect verbs for past tense and plurality, and what the exceptions can tell us about the structure of language and our minds.

In chapter 7, ‘Kids Say the Darnedest Things’, Pinker points out that children sometimes know that the mistakes they make are mistakes. He cites Dan Slobin and Tom Bever, psycholinguists who inserted their children’s speech errors into their own speech and recorded the results:

TOM: Where’s Mommy?
CHILD: Mommy goed to the store.
TOM: Mommy goed to the store?
CHILD: NO! (annoyed) Daddy, I say it that way, not you.

CHILD: You readed some of it too . . . she readed all the rest.
DAN: She read the whole thing to you, huh?
CHILD: Nu-uh, you read some.
DAN: Oh, that’s right, yeah, I readed the beginning of it.
CHILD: Readed? (annoyed surprise) Read! (pronounced rĕd)
DAN: Oh yeah, read.
CHILD: Will you stop that, Papa?

Pinker infers from this, and from the evidence of more controlled studies, that children know irregular forms better than we might suppose; as they progressively master these forms, their errors are ‘slip-ups in which they cannot slot an irregular form into a sentence in real time’. Adults make similar slips, though nowhere near as often.

The main points of Words and Rules are set out in a short lecture (PDF) of the same name, while the London Review of Books has a critical review by Charles Yang.