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Keyboard question - I have two languages active in the settings. Til very recently I could slide the spacebar to change the active language. Not working anymore.

The spacebar also used to show two arrows on each side when that option was available. Now it's gone.
I have tried to tinker with the language and keyboard settings but the matter remains unresolved.
Android 4.4, Samsung Galaxy S4, No keyboard app installed.
submitted by raytrace75 to AndroidQuestions

[OT] Teaching Tuesday: Active Language Workshop (Part 2)

Happy Tuesday!

Helloooo friends and welcome back to another week of Teaching Tuesday. I’m Static, and sometimes I’m helpful. ;)
This week we’re starting Part 2 of our workshop on active language. If you missed last week’s post—where we covered work from sevenseassaurus, -Anyar-, and codeScramble—you can click here to see it. :)
Here’s our remaining schedule for the next two weeks:
Week 2 (April 21)
  • shuflearn
  • Susceptive
  • bobotheturtle
Week 3 (April 28)
  • mobaisle_writing
  • wizardessunishi
  • errorwrites
If you wrote for the workshop and your name isn’t on the list, that’s because you forgot to crit at least one other workshop poster! If you go back and write at least one crit, I’ll happily stick you on the list for a future post. :)

How Does Workshopping… Work?

We’re going to go over the workshop pieces from the four writers listed under Week 2 to look at what's working and what could be strengthened.
My goal here is to look at the points we reviewed in the original article, which were:
1) Who is the actor in the sentence?
2) How are you treating logical/temporal order?
3) Overusing “to be” verbs
4) Strutting up weak verbs with a prepositional phrase
5) Avoiding filtering language
6) Anthimeria: getting flexible with parts of speech
If you need to review the hows and whys behind any of those, check out the original active language post I did a couple of weeks ago. <3

A Quick Note on Formatting

I like to put my workshop-specific comments in bold and any miscellaneous editing thoughts in italics. I do that so I can add other, not-quite-directly-related edits that might pop into my brain as I'm reading.
Now onto the crits! :)

Shuflearn’s Piece

From high in the sky, the sun broiled the desert. The hotted-up sand baked the air, and the air drifted sunward. (Example 1) Perfect conditions for a hawk on the hunt.
Below, on a rock, a lizard basked. Though it rested, its eyes moved constantly.
A shadow flitted past. [Static note: past might be a little non-specific, as it doesn’t tell us if the shadow flitted past the lizard or the hawk. I think you could fix it by substituting a more precise preposition]
The lizard dashed to the side of the rock, (Example 2) leapt to the sand, and spun round to burrow to safety, only to find itself flying. (Example 3)
A hawk gripped (Example 4) the lizard's neck and abdomen. It screamed in victory.
Later, the hawk returned to its nest, where it swallowed the lizard whole.
What’s working well:
This scene is a good example of where those prepositional phrases we discussed are being used exactly as they should be: giving direction to already-strong verbs, rather than substituting for work the verb ought to be doing alone. Good work there!
Example 1: Here an adjective (sunward—good word) is used as an adverb, giving a strong and vivid sense of scene setting, all hinged on a brief four-word phrase. Really nice and concise
Example 2: This is a strong example of skipping over the filtering verb (the lizard seeing the shadow) in order to get into the meat of the action. The act of seeing is shown by the nature of the subsequent action, so good place to elide that detail and keep up the pace of the scene.
What could be improved:
Example 3: I think this spot could use its temporal logic ironed out a bit. The climax of the scene is truncated and communicated in pseudo-retrospect with “only to find itself flying.” I think, if the scene showed this action, the “camera” of the narrative perspective could follow this much more cinematically, which would keep the tension high at the crux of the conflict.
Example 4: This verb could be stronger (or perhaps complemented by stronger verbs) to communicate the imagery of this moment. With a stronger verb, we could get sharper sensory images of the experience of those talons snatching up the lizard, without spending a whole lot of extra words on the moment. ;)


In a sun-bleached (Example 1) field of sand, the gecko prowled. It darted beneath sweltering sandstone. It stepped gingerly between thorny, white-tipped cacti. (Example 4) It took shelter beneath a thick slab of slate and waited. It hungered. It hadn’t eaten in days, and weariness crept into the corners of its eyes. Life in the desert was unforgiving. Eat or die.
It’s [Static note: its] prey—a beady black ant—scuttled nearby. The ant climbed the Saguaro with determination. Antenna [Static note: antennae] explored the rough grooves of the cactus, searching for an opening, begging for a teardrop of cactus juice. Drink or die. It climbed higher and higher like an angel ascending. (Example 3)
The gecko blinked in its worship.
And in the crunch of the ant’s mucus-filled abdomen, (Example 2) the gecko found salvation.
It gave thanks with its eyes, opaline and damp. It licked the lids and tasted dirt. It scurried. It reflected on ceaseless hunger, on the heat of the sand, and on the shadow flying overhead.
The shadow lengthened.
The hawk cried salvation as it pounced.
Eat or die.
What’s working well:
There are strong, effective verbs peppered throughout this. “The shadow lengthened” in particular springs to mind, as it invokes a precise and vivid image. I think that’s a great example of a verb working triple-duty: it imagizes the scene, moves the narrative along, and uses showing to up the tension/stakes. I think this piece also effectively avoids filtering language to its benefit.
Example 1: This is a good example of using a verb-phrase as an adjective. Nice repurposing those parts of speech there! Descriptions like that work well as they are active, snappy, and provide a clear image for readers to hook onto — in only two words.
Example 2: This is a strong instance of writing around the need for a sensory-based filtering word like tasted. The use of crunch as a noun operates well to describe the action and give us a highly tactile image through effective choice of words.
What could be improved:
This is only indirectly related to the active language we’ve discussed in this workshop, but I would advise watching for repeated sentence structure. This piece has many of its sentences that follow the “It verbed” structure, which can inadvertently impact pacing.
Example 3: I would be careful of repeating language here. It can often work well to repeat words to rhetorical effect, but the repeated “climb” here isn’t doing as much work as it could. Consider making your simile (“like an angel ascending”) more active by perhaps repurposing it as the main verb, as right now it functions to repeat the information given by climb rather than building off of it.
Example 4: Watch for over-relying on prepositional phrases. There are seven in the opening paragraph. Though many of them are necessary scene setters, this is an example of one that could be replaced with a more active, vivid verb that makes those cacti the direct object (the object being acted upon) rather than the indirect object, which might also save a word if the sentence could show “gingerly” through strengthening the verb.

Susceptive’s Piece

A hatefully orange sun turned miles of sand below [Static note: I think “below” is implied already so not needed] into a crackling wasteland. (Example 4) But life would not be denied, resolving itself (Example 1) into two opposites: An ignorant, parched lizard with a blistered belly and the silent, feathered predator above.
Piercing eyes watched patiently, timing a lethal dive for the perfect moment between stones. Less than a minute passed before instincts snapped into play, (Example 3) winging the hawk over [Static note: I don’t think you need both prepositions here] into an earthward arc (Example 2) that abruptly terminated on his darting target. A frozen glimpse of sprinting terror passed into silence as scaly remains slid down a greedy gullet.
"The taste never improves," the hawk complained to no one in particular.
What’s working well:
This piece does a good job alternating paragraph actors to build up the tension of the scene. It plays off dramatic irony by switching between the hawk and the lizard to show the readers the exchange in action between the lizard.
Example 1: This verb does cool rhetorical work by personifying life in the desert, setting us up for the thematic and dramatic angles that this scene is moving into. Nice job there!
Example 2: This is a good example of keeping active, linear narrative language that establishes a distinct image that’s easy to visualize. “Earthward” functions well to describe and show us the direction of the hawk’s plunge precisely and efficiently.
What could be improved:
Example 3: I would watch the temporal order here. This phrase inadvertently communicates action out of order, which paradoxically slows the pace, even though the simultaneity seems like it should move the pace along. This is because it causes the reader to pause and put the actions back into order. Consider the same sentence without the “before”: “Less than a minute passed. Instincts snapped into play.” Even without adding more information or giving additional details on timing, keeping a linear order of events makes the language here snapping and active, as we can see it occuring cinematically in real time. (This advice could be applied to second-to-last sentence as well, in my opinion.)
Example 4: Watch your prepositional phrases here. This sentence has a sparkling verb (“crackling”) hidden in the prepositional phrase. Perhaps the opening paragraph would benefit if “turned into” was replaced with a more vivid and imagistic verb that strongly shows us this scene.

Bobotheturtle’s Piece

The Sun [Static note: accidental capital there, friend] battered the desert dunes from its high noon seat in the sky. (Example 1) The sands lay bare, all life hiding from its withering blaze.
Except a hawk. [Static note: nitpicky, but “the” hawk is stronger as it tells us this is one particular hawk, cuing the readers it should be the focus of our action here.] It flew circles above the shimmering haze, eyes scanning (Example 2) for fish in the dusty ocean below. Among the bent over, surrendering shadow of a sun beaten cactus, it eyed its quarry.
The lizard felt the chill (Example 3) before looking up, doe eyed. [Static note: doe-eyed; noun phrases like that are hyphenated when used as an adjective] It sprinted, tail and claws flailing, but it was too late. The desert dunes receded fast below it as it flew caged in the hawk's claws. (Example 4)
When the hawk landed, the lizard would be swiftly eaten by smaller, eager beaks.
What’s working well:
This scene makes good use of participles (verbs acting as adjectives, in this case) to imagize the scene setting nicely for us. Withering, shimmering, surrendering — it’s a verb list that paints an image even out of context. Nice work there!
Example 1: The sun “battering” the sand is a strong and striking choice of detail that clearly communicates a ton of setting description, especially that cloying desert heat. I think that makes a highly effective scene-setter, though I’d wager you don’t need the “in the sky” bit as it’s a given ;) But the primary verb is sharp and effective
Example 2: This is a good way to avoid filtering language and instead show us the action of the hawk hunting. This verb is an effective choice, imo, because it really illustrates for us how the action of the hunt is being carried out.
What could be improved:
Example 3: “Felt” is a filtering word that could be replaced with a stronger verb, allowing us to more directly experience the “chill” that shuddered through this little critter. I think a more imagistic verb would help readers more fully engage in that dramatic moment.
Example 4: This is a cool and cinematic description, and caged is quite a strong verb choice. Making the actions simultaneous, however, muddies the clarity of the narrative action. The sentence might be stronger if that act of caging was introduced first rather than second, so that the readers can contextualize the ground receding within that.

...and that’s it!

Thank you to all the workshop writers for contributing to this series on active language. :) It’s been really neat seeing how everyone plays with the language and what pieces of the original exercise that different writers bring into dramatic focus.
If you have any questions, comments, ideas, feedback, etc., feel free to comment down below!
Thanks for tuning in for another episode of our workshop series. The final active language workshop post will be next Tuesday. :) See you then!
submitted by ecstaticandinsatiate to WritingPrompts

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