Rewrite the following sentences to correct the dangling modifiers
While my consultants never asked about fundamentals (like comma splices and fused sentences), they were, however, having trouble choosing the proper pronoun case, recognizing dangling modifiers
, and using the right number of the verb after neither/nor and either/or.
There are other whoppers in the joint resolution, including this attempt to deflect De Lima's accusation of bias-in a sentence marked by a precipitously dangling modifier
and unapologetically melodramatic prose: 'Stand charged and bruised beyond redemption by popular opinion, the issue of fraternity affiliation of President Rodrigo Roa Duterte, Secretary Vitaliano N.
A dangling modifier
is a modifier, such as a participial phrase, that is intended to modify something that was left out of the sentence.
The problem with a dangling modifier
, which is often an initial participial phrase, is that it does not refer to an actual word in the sentence.
If we spot a dangling modifier
in your paper, we will gently point it out to you with our pink fuzzy pen instead of circling the error with a harsh red mark of death.
The best defense against the dangling modifier
is to read our work aloud.
The first dangling modifier
no doubt came not long after the first complete sentence.
In addition to errors related to capitalization, the weighted index identified "missing or wrong article," "unnecessary shift in verb tense," "misplaced/ dangling modifier
," and "incorrect singular/plural application" as the most predominant grammatical errors in the sample.
Inspired, in part, by a Dangling Modifier
article from the Cedarville University (Ohio) tutors Jennifer E.
participial phrases are the most common form of dangling modifier
My only quibble with this book is the sometimes lax editing, which permits the presence of the occasional dangling modifier
and lapse in subject-verb agreement.
Some look the other way upon spying a dangling modifier
in their copy.
I think the book would gain in professional credibility if someone were to fix the spelling errors, the dangling modifiers
, and other grammatical atrocities, but nonetheless, the style is engaging.
In addition to minor errors and typos (for example, on page 123, Wilde's dialogue is titled "The Critic as Art"; on page 181, Rae Greiner is repeatedly referred to as Rae Grenier; on page 192, a contemporary review of Middlemarch is dated October 1786), the text contains a surprising number of dangling modifiers
, sentence fragments, and subject-verb agreement errors.