Modifying, etc

Generally, In general, As a rule, On the whole, For the most part, To some extend, To a certain extend, Up to a point, As far as I know, To the best of my knowledge, For all I know, According to…, By all accounts, Under the circumstances, As it is, Things being as they are, Clearly, Obviously, Needless to say, There is no need to say, Naturally, Supposedly, Presumably, As everyone knows, In particular, Especially, In other words, That is to say, As regards…, With regard to…., In this connection, As far as …is concerned, It proves that… At least for orientation it is necessary to… Therefore it is reasonable… To gain a deeper/more profound insight into… In any case, Anyway, At any rate, It is desirable.., From the point of view of…, On the contrary , Vice versa, The other way round, Furthermore, Therefore, Thus, For this reason, On the whole, Hence, That’s why, Essentially, In order to…I have been debating with myself constantly as to how I could best express the sentiments I want want to convey to you…I’ll switch to the main issue now and start discussing the subject at length and in detail…I can’t make up my mind where I stand on this…I must admit, I’m afraid I’m tempted to agree…I shall put across my massage in more ordinary terms… Or I could just state a few useless facts and figures and leave it at that.

In the course…

The main weight of my analysis will fall upon… One of the fundamental principal issues discussed in the article is… It emerges clearly that…The interpretation of the main idea doesn’t go beyond the surface… The identification of the main idea doesn’t require much effort ... It takes great pains to identify the main idea… The plot of the story is put around… The author intentionally supplies details aimed to confuse/disorient/ bewilder the reader… Consideration is given to… The differences of opinion center mainly on… Controversial standpoints were expressed in connection with opinions regarding… Different assessments can be made of…A question still to be examined in detail is… This goes to show… The general considerations provide a rich harvest of comments. The action unfolds dramatically/chronologically/naturally/coherently …In the first paragraph of the story, the narrator is intent on establishing his voice and identity as …

The concrete, factual details are introduced without comment….

The differences in sensibilities are first clearly signalled by …

The story we witness and assemble largely by ourselves is one of….

The characters do not yield a clear-cut or satisfactory resolution.

The passage perfectly illustrates the famous… style –economical & terse/highly-figurative & colourful

It is characterized by short, simple sentences and active verbs; by an informal, commonplace vocabulary of short, denotative words; the absence of unnecessary adjectives and adverbs, and by concentration on particular concrete images that record the surface level of experience.

Descriptive details of setting are sparse though important…

The setting is intimately and organically connected with the meaning and unity of the total work.

The setting establishes an appropriate mood/tone (humorous, joyful, ironic, light, hopeful, brisk, lyrical, celebratory, wistful, sad, dreary, mournful, lugubrious, tragic, solemn, poignant, earnest, curt, hostile, sarcastic, cynical, ambivalent, etc ) that anticipates and foreshadow our eventual meeting with the main character.

We subsequently discover that this setting has direct thematic relevance to the author’s conception of…

Such details, however, are clearly subordinate to the dialogue, which carries the narrative movement of the story and temperance of the character-participants.

The dialogue itself is difficult to follow. It is random, deadpan, indirect, and inexplicit…

The author juxtaposes/depicts/reveals…

The aim is to raise expectation and emotional tension.

The style is simple and straightforward (sophisticated and obscure), much as you would expect from someone trying to persuade us that he is a real person worthy of belief.

The author’s obvious intent is to establish, from the outset, the appropriate setting and atmosphere for the story - one that will simultaneously arrest the reader’s attention and evoke an appropriate emotional response.

The opening sentence, surely one of the most famous in all of American literature, is a long, periodic one, in which a series of rhythmic phrases and clauses are deliberately arranged to suspend, until the very end, and prepare the way for, the object of the narrator’s search.

The writer carefully intensifies his visual details with adjectives and adverbs and reinforces their effect through the use of alliteration and onomatopoeia.

The details he uses are less important for their concrete, denotative qualities, however, than for the way they capture and reflect the character’s own subjective appreciation of life and its sensual pleasures.

What the author provides is a series of rich, lyrical, and evocative images which convey a sense of life in motion – images that are made all the more alive and poetic because they seem to spring from the crowded associations of memory.

The writer employs a number of devices…that are used to suggest the hypnotic and sensual appeal.

Such statements help to explain the playful, self-conscious quality of the author’s own fiction; they help to explain his choice of subject matter and narrative technique, and his choice of style as well.

His style – with its long, complex, and convoluted sentences, its abstract diction, its rapid changes in point of view, its use of such visual devices as italics, blank spaces, quotation marks, and dashes – is designed to make the artifice part of the point and to solicit our active involvement as intelligent readers.

The objective point of view places the burden of interpretation on the reader …

Conflict and complication are neither shown nor prepared for, but only revealed; the situation and the “story” are to be understood and completed through the active participation of the reader.

The temporal sequence of events is broken, we encounter the characters in the middle of their “story” and must infer what has happened up to “now”. Note that narrator makes no direct comment nor expresses ….

I have to say that the author leaves too much unsaid , unspoken.

Exposition and complication are omitted in favour of a plot that begins “in the midst of things”.

The story takes the form of a single, self-contained episode.

The story is specific, making me engage myself fully with the plight of individuals.

Focusing on …., I am led to think about personal…

Let me to quote a few lines…The strongest position of the text is…It makes the desired impact on the reader.

Most of the (dreadful) details - such as… - played down.

I’m left with a host of feelings: pity, tenderness, outrage, anxiety and fear, and sense of vertigo, my mind in a whirl from the rapidity of events.

All go into the making of how I feel and what I am made to see.

The author’s speech fully discloses the feelings and thoughts of the character, his world outlook.

This details are used deliberately to suggest and reinforce meaning, to provide enrichment by enlarging and clarifying the experience of the work, and to help to organize and unify the whole.

The protagonist – narrator controls the content, pace, and method of presentation.

Certain events are fully/partially dramatized as the protagonist witnesses them; others are transmitted to the reader indirectly through the use of summary and comment.

The protagonist – narrator tends to dominate his work to the disadvantage of other characters, and by continually calling attention to his own presence, and to his own thoughts and feelings, fully characterizes himself in the process.

The story can be characterized by/have : - an absorbing/enthralling plot — a fascinating insight into - a well thought-out plot - many dazzling/ enchanting/ picturesque moments/details - a powerful climax - thoroughly enjoyable –sensational colour – thrilling speed – a gripping climax – tremendous fun –

-an excessively slow and boring look at life -a chaotic story-line - horribly unnatural dialogue - an anti-climax - an ending that was ludicrous — absurd — laughable — ridiculous – drab – grotesque – hideous - totally nonsensical -dreadfully disappointing - absolutely worthless – pointless.