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gisellelx · 2 years ago

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Voice Lessons, Part 2: That's Intense

Voice Lessons, Part 1

One of the fastest changing parts of English are intensifiers. This is probably not a category you learned in English grammar; if you learned them at all, they were under the general category of adjectives and adverbs. Intensifiers are the way we indicate how "intense" a particular thing is: you can run kinda fast, or you can run very fast, or you can run extremely fast, and in each case, the intensifier is telling you just how fast you're running.

So voice tip 2: using different intensifiers can drastically change the age, gender, ethnicity or other social group of the character you're writing

Intensifiers vary a lot across regions and language varieties—if you're a southern Californian, for instance, you might have encountered hella, an intensifier which had a brief spread further north and throughout the USA, but which has ultimately stayed pretty focused among a particular subset of southern Californians. Or if you are a speaker of African American English, you might have encountered mad in constructions like, "That's mad cool," or "That movie was mad popular."

They also vary a lot across age. Older people are more likely to use certain intensifiers and younger people use different ones. For instance, one that is currently being charted as on the rise is super, which is an intensifier I use extensively--I come home and my dog is "super happy to see me" or I'm "super excited" about what I'm going to teach this week. But someone much older than me (and I'm not particularly young!) is not super likely to use super; they are much more likely to use something like really or very.

Picking the right intensifier for the character you're writing is an instant way to make them sound like they are from the age or region you want, or part of the community group you want. Conversely, picking the wrong one, even if everything else you write sounds on point, can throw a reader out of the character's voice.

Intensifiers are the #1 thing I edit after writing a post on the ole' sideblog. I am a user of so, really, and very often these days, super. But none of those are right for a nearly 400-year-old person who is a different gender than I am. So I often go back in and change things like really and sometimes even very to older intensifiers like quite or rather. (Rather is also more common in British English, and so it rings a little differently to an American reading ear.) Contrast that to if I am voicing Renesmee in 2023, who is a Gen Zer—she's going to be a super speaker or a so speaker, more often than not, and she needs to sound a little younger than I am! So I use the intensifiers that are most on the cutting edge. It's a very easy, and subtle, way to make a speaker sound like they are from the group they're from.

How do you figure out what intensifier a character would use? There are also a couple of tools you can use. A favorite free one is Google NGram, which will show you the frequency of words in books published since the 1800s. It can give a quick view of a flipping point, such as with really and rather which switched top spots sometime in the 2000s.

The Corpus of Contemporary American English/Corpus of Historical American English is another great source for finding out how words are trending: a free account allows you a few limited searches for trends, like this one for really that shows it's mostly used in spoken language, and is on a slight rise since 1990.

But the top tool is one is a good rule for writing more generally—make sure you listen! Take note of the way that people around you sound, and think about it in relation to the characters you are writing. If you're writing an older character, well, you want to think about the things your parents or even grandparents say that confuse you or doesn't sound the same way that you do. Those are the kinds of things you want to put in as a writer—they'll give your character a sense of remove or age. Same thing in the other direction—a younger character right now might be "super into that" whereas an older character might be "so into that" and a really old character might be "very much into that." (And probably doesn't use into that at all.)

Intensifiers are a super fast (see what I did there?) way to change the voice of a character from young to old, from one gender to another, from one ethnic group to another. They are well worth paying attention to so that you end up with a voice that makes sense for whomever you're writing. And if you just went "hmm that's weird" when you read "whomever you're writing"...well that's going to be Voice Lesson #3.

#carlisle cullen #writing #writing advice #voice #the ole sideblog

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anjujindal · 2 years ago

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ADVERBS OF FREQUENCY

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trangs-studyblr · 4 years ago

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VOCAB: Adverbs of emphasis and frequency

조금, 아주, and 정말 can be used with any sentence, but 별로 and 전혀 can only be used with negative sentences.

조금 = a little, a bit, a little bit

조금 비싸요= It is a little expensive 물 조금만 주세요 = Give me only a little bit of water 소금 조금만 주세요 = Give me only a little bit of salt

*When pronounced quickly, 조금 often becomes 좀 (often pronounced 쫌) and is frequently written this way as well.

The use of 조금 to mean “quite” or “very” is possible based on the assumption that the other person in the conversation understands what you mean. For example, in the first example, 조금 비싸요, can mean both “it is a little expensive” or “it is quite expensive” depending on tone and context.

정말, 진짜 = really, truly

정말 and 진짜 have almost the same meaning and can generally be used interchangeably. 진짜 is considered a little less formal than 정말.

정말 빨라요 = It is really fast 진짜 이상해요 = It is really strange

Whereas other words introduced here are used to describe the extent to which something is done or the intensity of a certain state (eg: “very” good, “a little” expensive, “quite” fast), 정말 and 진짜 can also be used to just express whether or not what is being said is true (eg: I “really” did it).

A: 제가 방 청소했어요! = I cleaned up my room! B. 아... 진짜? = Oh, really? A: 예, 진짜! 보고 싶어요? = Yeah, really! Do you want to see it?

아주 = very, quite

아주 is the most standard way of saying “very” in the written form, but often, in spoken Korean, 아주 is replaced with 정말 or 진짜.

아주 맛있어요 = It is very delicious 아주 멀어요 = It is very far away

별로 = not really; not particularly

Sentences containing 별로 and 전혀 are always used in negative sentences, regardless of whether the verb that follows has a negative or a positive meaning. 별로 means “really” or “that” in these types of sentences.

Rather than just using 별로, sometimes 안 must be added to the sentence to actually make it negative. Using 별로 allows the listener to guess that the end of the sentence will be something in negative form.

별로 안 비싸요 = It is not so expensive 별로 재미없어요 = It is not that interesting 별로 안 나빠요 = It is not too bad (It is not the worst, but it is still bad) *Note: This does not have the same meaning as the English phrase “it is not bad.” *Even if the word 나쁘다 has a negative meaning, saying only “별로 나쁘다” does not work.

You can use 별로 as an adverb within the sentence, and then finish the sentence with a negative conjugation.

별로 배고프지 않아 = I’m not really hungry 밖에 별로 나가고 싶지 않아요 = I don’t really want to go outside 그 사람은 별로 잘생기지 않았다 = He’s not that handsome

이다 usually does not attach to adverbs, but 별로 is an exception, as it is very common for Koreans to use this construction to describe their indifference towards something. The most common way you would hear this is in response to a question.

A: 밥은 맛있어?= Is the food delicious? B: 별로야= Meh, not really

A: 이 바지는 마음에 들어? = Do you like these pants? B: 별료야 = Meh, not really

In a formal setting, it is more common to just attach ~요.

A: 홍콩에 가고 싶어요? = Do you want to go to Hong Kong? B: 별로요= Meh, not really

In the past tense, the past tense conjugation of 이다 is used for both formal and informal situations.

A: 점심을 먹었어요? 어땠어요? = Did you have lunch? How was it? B: 별로였어요= Meh, it wasn’t that good

A: 그 남자를 만났어? 잘생겼어? = Did you meet that man? Was he handsome? B: 아니. 별로였어 = Nah, not really.

It can also be used immediately after a noun, almost as if it were an adjective. This allows it to be used by a speaker even if there was not a soliciting question.

우리가 먹었던 피자가 별로였어 = The pizza we ate wasn’t that good

This sentence is essentially the same as:

우리가 먹었던 피자가 별로 맛있지 않았어 = The pizza we ate wasn’t that delicious

The only difference is that using 별로이다 in these cases is very colloquial and more common in speech.

전혀, 하나도 = not at all

전혀 has a similar meaning to 별로, but it is more extreme. 전혀 means “at all.”

전혀 안 바빠요 = I am not busy at all 전혀 안 더워요 = It is not hot at all 전혀 배고프지 않아 = I’m not hungry at all 밖에 전혀 나가고 싶지 않아요 = I don’t want to go outside at all 그 사람은 전혀 안 잘생기지 않았다 = He’s not handsome at all

Another way to express a similar meaning to 전혀 is to attach ~도 to 하나 to make 하나도 ("not even one"). Like 별로 and 전혀, this is commonly used in negative sentences.

저는 친구가 하나도 없어요 = I don’t even have one friend 사진을 하나도 안 찍었어요 = I didn’t even take one picture 그 할아버지는 주름이 하나도 없어요 = That grandfather doesn’t even have one wrinkle

However, even though the word 하나 is used, it can be used even in situations where nothing is countable. In this case, it is better translated to something like “not at all” like 전혀.

밥을 하나도 안 먹었어요 = I didn’t eat at all 학교가 하나도 재미없어요 = School isn’t fun at all 그 여자가 하나도 안 웃었어요 = That girl didn’t laugh at all

In spoken Korean, the expression 하나도 is used more commonly than 전혀.

너무

*Sometimes shortened to 넘, but only in spoken language.

너무 = too (much), excessively

The dictionary meaning of 너무 is “too much” or “excessively.”

소연 씨 너무 커요 = Soyeon, you are too tall 이거 너무 비싸요 = This is too expensive 말이 너무 빨라요 = (Someone) speaks too fast 한국어 너무 어려워요 = The Korean language is too difficult 여기 너무 시끄러워요 = It is too noisy here

너무 = very, quite

In colloquial Korean, 너무 also has the meaning of “very,” “quite,” or “really.”

이 피자 너무 맛있어요 = This pizza is really tasty 이거 너무 좋아요 = I really like this 석진 씨, 너무 잘했어요 = Seokjin, you did a really great job 저 모델 너무 멋있어요! = That model is really cool!

In the past, 너무 was used only in negative sentences or contexts, but it has gradually become acceptable to use in positive contexts as well. Now, most people use 너무 in both ways.

너무 더워요 = It is too/very hot 너무 졸려요 = I am too/very sleepy 너무 바빠요 = I am too/very busy

너무 is usually combined with adjectives but it can also be used with verbs as well.

너무 보고 싶어요 = I miss you/him/her/them so much

Adverbs of frequency (빈도 부사)

To form a sentence which uses adverbs of frequency (빈도 부사) in Korean - such as “seldom”, “almost”, or “always” - it is important to not just memorize the words, but to also actually practice using them along with the verbs used in conjunction with 빈도 부사.

가끔 = sometimes

자주 = often

항상 = always [more common in written language]

맨날 = (lit. every day), always; all the time [more common in spoken language]

별로 = seldom; rarely

전혀 = not at all

거의 = almost (but) not at all

These 빈도 부사 usually go right before the verb of a sentence, but their position is very flexible. As long as the meaning of the sentence is clear, it does not matter where they are placed. You can, however, emphasize a certain part of a sentence by changing the word order and intonation.

가끔 서점에 가요 = I sometimes go to the bookstore 서점에 가끔 가요 = I sometimes go to the bookstore (might be emphasizing 가끔)

자주 한국 영화 봐요 = I often watch Korean movies 한국 영화 자주 봐요 = I often watch Korean movies (might be emphasizing 자주)

그런 말 정말 자주 들어요 = I hear/get that really often 항상 물어보고 싶었어요 = I have always wanted to ask you (that) 중국어를 맨날 공부하는데, 아직 어려워요 = I study Chinese all the time, but it is still difficult 요즘에는 운동을 별로 안 해요 = I rarely/seldom work out these days / These days, I do not work out that often 화장을 전혀 안 해요 = I do not put on (any) makeup at all / I never put on makeup 시간이 없어서, 친구들을 거의 못 만나요 = I do not have time, so I can hardly meet my friends 라디오를 거의 맨날 들어요 = I listen to the radio almost every day

References

HTSK Unit 2 Lesson 34: Explanations for Difficult Words

TTMIK Level 2 Lesson 16. Very, A bit, Really, Not really, Not at all / 아주, 조금, 진짜, 별로, 전혀

TTMIK Level 3 Lesson 1. Too much, Very / 너무

TTMIK Level 4 Lesson 14. Sometimes, Often, Always, Never, Seldom / 가끔, 자주, 별로, 맨날, 항상

#korean #vocab #vs

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thelanguagecommunity · 7 years ago

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this post is meant to be a directory of every resource I come across for Icelandic. It will be a continuous work in progress so thank you for your patience! if you have any issues or things to add, please reply to this post!

info

fun facts

icelandic: at once ancient and modern [pdf]

playlist of samples

the icelandic langauge - stefán karlsson [pdf]

why icelandic is easy to learn

alphabet

keyboard

book recommendations

blóðhófnir - gerður kristný

courses

bliubliu

colloquial icelandic - daisy l. neijmann [pdf]

icelandiconline

mangolanguages

memrise

teach yourself icelandic (2004) [pdf]

viltu læra íslensku

dictionaries

an icelandic-english dictionary - richard cleasby & gudbrand vigfusson

freelang

ordabanki

upenn.edu

flashcards

cram

quizlet

tinycards

forums

unilang

grammar

a very short icelandic grammar

adjectives / adjectives

adjective placement

adverbs

articles / articles

capitalization

compounding

conjunctions

definite vs indefinite articles

demonstratives

gender

icelandic primer with grammar, notes, and glossary - henry sweet

introduction to icelandic grammar

negation [strong]

nouns / nouns / nouns

nouns - irregular

overview of grammar

possessives

prepositions

pronouns / personal pronouns / pronouns / pronouns

questions

ultimate cheatsheet [pdf]

literature

Bible

children’s songs & rhymes

homepage for asterix & obelix

icelandic literary history

saga database - sagadb

saga links - nordurbok

universal declaration of human rights

virtual library - gutenberg

virtual library - runeberg

virtual, bilingual library - university of wisconsin

media

ævar vísindamadur [streaming link]

children’s tv show player

krakkafréttir [streaming link]

lundaklettur [streaming link]

movie & tv recommendations

cold fever (1995)

fiasco (2000)

jar city (2006)

rams (2015)

the sea (2002)

the wedding of palo (1934)

news

newspaper map

phrasebooks & travel guides

wikitravel

wikivoyage

podcasts

one minute icelandic

póetry gó

pronunciation

a basic guide for pronouncing icelandic

an introduction to icelandic sounds

difficult sounds

forvo [pronunciation dictionary]

getting your head around: the vowel system of modern icelandic - edmund gussmann [pdf]

ipa key

pronunciation basics

pronunciation notes

vowel shifts

quizzes & exercises

passive voice exercises

quizzes - iteslj

quizzes - surfacelanguages

reading exercises

tongue twisters

vocab games - digitaldialects

radio

list of radio links

radio in reykjavík

radio links - tunein

social media

twitter - @speakicelandic

wikipedia

speaking tips

proverbs

slang expressions

special topics

naming conventions

tumblrs

@everydayicelandic

@islenskafyriralla

verbs

auxiliary verbs

common verbs

conjugator - verbix

imperative tense

impersonal verbs / impersonal constructions

irregular verbs

middle voice verbs / middle voice

nominative case

past tense

present tense

present & past participles

strong & weak past participles [passive voice]

“to know”

verbs

verb classifications

verb frequency list

vocabulary

30 most spoken words

30 most written words

abstract concepts

animals / animals / animals

around the house / around the house

art

babadada [vocabulary tool]

basic phrases

body parts / body parts

business

city

colors

communication

countries & nationalities

days of the week

exonyms

family [w/ downloadable pdf] / family / family

frequency list

fruit

geography

greetings [& customs!] / traditional greetings & farewells / greetings

halloween [w/ downloadable pdf]

materials

mathematics

nature

neologisms

numbers / numbers / numbers / numbers

places

professions

restaurant

science

self-introductions

society

sports

street name endings

telling time / time / telling time

untranslatable words

weather / weather

youtube

common phrases in icelandic language [playlist]

cool icelandic lessons

#o #icelandic #icelandic language #íslenska #langblr

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radicalrevisions · 8 years ago

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If you try and figure out the rules about creative writing, you’re going to find that established authors and editors often disagree about nuances of the craft. There are, of course, some hard-and-fast rules about punctuation and grammar, but so many rules vary from genre to genre, generation to generation, audience to audience. Sometimes there are rules that boil down, simply, to consistency.

So you might even say that you have your own set of writing rules. Each and every author’s rules are slightly unique. That unique set of “rules” is part of what makes up your author’s voice.

So when are the appropriate times to break those rules, your own rules? They happen, don’t they? In my last post, I gave a list of filler words and overused words that you can consider cutting out of your writing to help sharpen it. But everything--even mediocre vocabulary, poor grammar, and repetitive structure--has a place in writing.

Breaking Your Mold to Write Character Voice

Jordan is an author (hypothetically). She has been writing for years, gotten an English degree, read a zillion books, and written several novel drafts of her own. Over her years of writing, she has finally come into her own voice. When she writes, she no longer feels derivative or inexperienced. It’s freeing and wonderful!

But there’s one thing that Jordan hasn’t figured out yet...and that’s character voice. Her authorial voice, while wonderful and unique, seeps into the voice of all of her characters. The result is that all of her characters, whether speaking or narrating, sound exactly the same: they sound like her.

Part of what makes a multi-POV novel come to life is variation in character voice. Part of what makes an author’s portfolio stand out is the vast scope of voices their characters use across their works. Part of what sets apart side characters as characters instead of tools for the protagonist or plot devices for the narrative is a unique and compelling voice.

So how does one accomplish such a thing?

Well, there are many ways. But today I’m focusing on language and syntax, particularly in the rule-breaking department.

The first exercise you can do is take a piece of dialogue, preferably just a back and forth between two characters, and write it one way, then switch roles. Have the characters say basically the same thing, but in their own voices.

Author Voice Conversation

R: Oh. You’re worried about me E: I am no such thing. Worrying about you sneaking into enemy territory is like...worrying about a fish drowning in the ocean. R: You sure seem dead set on stopping me from going. E: We need to come up with a plan. It would be foolish to just waltz into their territory with no idea what we’re doing. R: You’re really quite cute when you’re worried. E: You’d like me to be worried, wouldn’t you? Just go. I don’t know what I’m freaking out about, anyway. R: Me either. Bye. E: Bye, idiot. Don’t get caught. R: *sigh* Is that really what you expect of me?

There’s nothing wrong with this conversation at all. But I’m just writing as if I, personally, was speaking. I know what the personality of these characters are, but that isn’t necessarily enough. I’m going to inject a little bit of their own tics, their own backgrounds, into their speech.

Character Voice Conversations

R: Oh. You’re worried about me, aren’t you? E: Really? Please. I don’t worry about anyone. R: But you don’t want me to go. E: I just...think that we need to come up with a plan first. R: You’re really kinda cute when you’re worried. E: I’m NOT—Grah! Fine! Go, then. I don’t know why I’m trying to help you, anyway. R: Neither do I. I sure as hell didn’t ask for it. E: See ya, then. Try not to get blood on my shirt. R: Go drown in the tears of your unborn children, Tiger.

And now, roles switched:

E: Heh. You’re...worried. R: Fuck off. I don’t have energy to waste worrying about you. E: You want me to stay. Safe. R: I mean...having a plan would be a good idea, but what in hell do I know? The fuck are you doing? E: You’ve got some worry on your face. R: Don’t touch me. Don’t even talk to me. I’m sorry I mentioned anything about a plan. E: So am I. I’ll bring you skin of an atosh as a trophy. R: Bye, Tiger. If you’re not back in one day, I’ll assume you died. E: Don’t wait that long. I’d love to come back and find peace and quiet waiting for me instead of you.

What sort of things influence the diction of your characters? In example 1, R says, “You’re really quite cute when you’re worried,” whereas in example 2, she says “kinda,” instead. In both of the latter examples, R is more prone to using “fuck” and “hell.”

In one of my novels, I have two narrators: K and B. K is well-read, well-spoken and a little snobbish. B isn’t an idiot, but he dropped out of school in (what amounts to) the fifth grade. He’s spent a large portion of his life outside of society and largely lived his life how he wanted. So when they say basically the same thing, K might say,

“I’ve got this covered. Thank you, but, honestly, it isn’t anything to worry about.”

Where B would say,

“I’ve got this. For real. Thanks.”

In general, as I write their dialogue, B uses more contractions, shorter sentences, and doesn’t use many words beyond the 1000 most commonly used. He makes grammatical mistakes (Saying “me” when he should say “I”) He has more verbal tics, “Um...” “Er--” “Well, it’s just that...” etc. K speaks with much more flowery language and tends to elaborate beyond what is necessary. This means unneeded adverbs, “moment,” “rather/quite/somewhat,” superfluous reflexive pronouns, etc. I have one character who tends to speak in run-on sentences whenever she uses the word “because.” I have one character who compulsively addresses the people he’s speaking to, so much so that other characters make fun of him for it.

These are all things that, in general, I avoid doing. But using them purposefully helps to set character voices apart.

Narrator Voice

To some extent, narrator voice can use these same tactics. If you’re using multi-pov, especially, these kinds of nuances will help your reader really feel like they’re reading the words of multiple characters, rather than just being told they are. If you’re writing an intimate third-person or first person, these same principles can help bring your narrative voice to life, just like the words written in quotes.

Think about these two opening lines and how the voice of the narrator gives you two very different impressions about the same event:

The sun was rising. Though the scent of the overnight dew hung heavy over our tent, the sleeping bag hugged us close together. She smelled warm, and even the scent of our intermingled sweat was pleasant in the early morning. I wondered briefly if the residual alcohol was softening reality, but ultimately it didn’t matter. I was in love.

The sun was coming up. The air was heavy, humid in the muggy morning. Our sleeping bag was wrapped tight around us, the moisture from our breaths clinging around our heads. Sticky and warm, she still smelled like sex. It was probably an objectively terrible smell, but the memories made it nice. I blinked, wondering if that last glass of wine was still hanging over me, but I don’t guess it mattered. I fucking loved this girl.

So think about it! There are tons of factors that could go into how your characters speaks...and thus, what “rules” you break in their dialogue.

How educated or well-read is your character?

What influence does their culture have on their diction?

How wordy do they tend to be?

If they use as few words as possible, maybe mostly grunts, what is the motivation behind that?

How much attention do they like to bring to themselves?

How self-conscious are they about their voice? Their speech patterns? The effect their words have on others?

How long does it take them to get to the meat of what they’re saying?

How much do they make others laugh?

How optimistic or pessimistic are they?

How much do they try to avoid talking about themselves or their emotions?

At what point do they end a conversation they don’t like?

How long does it take them to get angry in a disagreement?

How does anger alter their speech?

How does overwhelming sadness alter their speech?

How does immense joy alter their speech?

What words do they use with noticeable frequency?

Do they speak differently in intimate settings than in public?

Don’t be afraid to use any and every word to give your characters their own voices. As I always say, to anyone in basically any situation: I don’t mind if you break any rule at all...as long as you broke it with deliberated intent.

Happy revising!

#amwriting #writing #revision #revising #editing #proofreading #character #writing voice #grammar #writing rules #help for writers #writing help #writing advice #writing things

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freecourses-blog · 5 years ago

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Complete English Course: Learn English Language | Beginners

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wildtm · 5 years ago

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Learn basic IELTS Vocabulary memory skills

Many students who prepare for the IELTS or TOEFL test are most worried about memorizing words every day.

To memorize the entire IELTS and TOEFL vocabulary in a short time, except for a few talented peoples with extraordinary memory, it is really painful for most people.

Believe me, I've been there. I was forced to grow the first list in my life with eight vocabulary words! So, here are some of the English teacher's experiences.

First of all, you must make a reasonable plan.

Whether you use a vocabulary book as English vocabulary in use or a mobile app, you need to plan how much time you spend on memorizing words each day, how many words a day memorize, and how many days to memorize a book, memorize several times before the test.

Start with a small amount and then add up slowly. For example, 50 words a day for the first five days. If you think it is not difficult, add 80 words a day.

However, it is best not to exceed one hundred. You can't be too greedy, because it is very dizzy with low efficiency.

You can use all kinds of software for memorizing words on your phone.

Choose one of them and stick to it every day.In terms of time allocation, the time for memorizing words every day should not be too long, not more than one hour at a time.

It is best to use fragmented time to memorize, for example, spend half an hour in the morning to read all the words to be memorized today, and review them at night after dinner.

Hear and write again according to the pronunciation of the word, and check if you remember it well.Although many software now have a task of backing words according to the memory curve, I don't know if everyone sees the mobile phone software like me to remind you to ignore it immediately.

Therefore, it is still necessary to improve self-control, or no matter how good the plan is not implemented and persisted, it is equal to zero.

Secondly, we need to find the correct way to memorize words.

Many students may have heard of associative memory, root affix, etc.

These methods are not good or bad. It is best to combine them and use more appropriate methods according to the situation.

For example, associative memory is suitable for the pronunciation of some words that are just slightly related to the meaning; of course, the root affix is of course used for various deformations of the word, especially the various parts of speech of the verb.

This has the advantage that it is not even heard when listening Familiar with the meaning of words, can also judge whether it can be an answer based on part of speech and collocation.

When memorizing compound words, we must understand how the word is formed, not just the mother-tongue meaning.

For example, mind-blowing comes from blow your mind “fascinating”, so this adjective should be interpreted as “exciting”.

Also pay attention to the polysemous of words, even some common words have different parts of speech and corresponding meanings.

For example, advance is more familiar when the verb means "advance", or the adjective form is advanced "advanced", then it is used as a noun.

It can also mean "prepayment" may not be familiar. Don't think that you should not take the test so biased, everything can be tested, and this is a very common vocabulary.

Many syllables remember the pronunciation according to the vowels of each syllable.

After all, sounds are more memorable than a bunch of letters, and it is not easy to mix with other similar words.In addition to the old-fashioned methods.

I personally find it very useful to pay attention to the collocation and usage of words, adjective adverbs synonyms, antonyms, verbs the same root words and verbs, prepositional phrases, entity nouns imagine specific items With pictures, abstract nouns have roots and synonyms.

For example, presentation comes from present "presentation", and becoming a noun means "statement, display", which is similar to show, display, and demonstration.

Especially high-frequency words commonly used in spoken writing, be sure to bring them into the sentence, read the phrases and example sentences.

You can also organize and classify words according to topics.

For example, IELTS speaking can recite related words and phrases according to each topic involved in part 1, and writing can be classified according to different topics in large compositions.

Summary

In the end, memorizing words is just an input, and you need to practice the output to really grasp it.

Cognitive vocabulary is generally activated during reading. You probably know the meaning of the word, so you do n’t have to worry about spelling.

For high-frequency words, you need to activate the pronunciation in your listening.

Read the phenomenon and repeat it to familiarize yourself with this reading method. This improves listening and improves spoken pronunciation.

Of course, the highest level of memorizing words is to use them in speaking and writing.

Use the topic vocabulary you have memorized before as much as possible to improve your vocabulary.