About The Author Jeremiah Bourque is a professional English and Japanese tutor, author of Sun Tzu for the

Modern Strategist, former Japanese to English translator and director of the English and Japanese departments of earn !ut i"e# $ontact at %eremiahbourque&gmail#com , %eremiah#bourque on S'(pe, and at the English for )eal ife and Japanese for )eal ife groups on *aceboo'#

Table of $ontents i# About the Author+ Table of $ontents ii# ,ntroduction -# A Mo"ie After .or' /# A $oncert That .as ac'ing 0# Ten ong 1ears 2# The 3opularit( of Mone( !rders 4# Mozart5s Social 6races 7!r ac' Thereof8 9# The 6entle, :eadl( ;ippopotamus

,ntroduction The follo<ing e=planations are based on a collection of short, multiple>choice e=ercises intended to prepare English learners for the T!E* test# , ha"e added a great deal of e=planation and conte=t to demonstrate <h( the correct ans<ers are correct, and <h( the incorrect ans<ers are <rong#

-# A Mo"ie After .or'

:o (ou ha"e much <or' to do this afternoon? ,f not, ,5d li'e to ta'e (ou to a mo"ie# :o (ou ha"e @@@? is a simple present question# This is modern English5s /nd person equi"alent of :o , ha"e @@@? E=ampleA :o , ha"e something on m( face? This as's if someone has a piece of food on his or her face, or something similar# 1ou might be as'ed this if (ou are staring at someone5s face to a degree the other person finds unusual# The onl( other 'e( element in these sentences is <or'# .or' is an abstract concept# ,n English, abstract concepts are singular# *urthermore, a <ord gi"ing detail to <or' 7in other <ords, an ad%ecti"e8 must agree <ith <or' being a singular <ord# :o (ou ha"e man( <or'? B> .rong# .or' is singular# :o (ou ha"e much <or's? B> .rong# Much is singularC <or' is plural# :o (ou ha"e man( <or's? B> Still <rong# ,n agreement, but <or' is singular# .hen <or' is an abstract concept, it is al<a(s singular# $an there be multiple <or's? !h, (esD .hen <e describe a boo', a screenpla(, or a poem, as a <or' b( an author 7a piece of <or'8, multiple boo's etc# ma( be called <or's# ,n this case, <or' describes a tangible ob%ect, and therefore is not abstract at all#

/# A $oncert That .as ac'ing

.e <ere disappointed b( that concert# .e <ere disappointed is a complete sentence, but begs for more detail# ,n this e=ample, that concert is a tangible thing that is part of a prepositional phrase adding detail to <e <ere disappointed# .e <ere disappointed of that concert# B> .rong# Just does not match# .e <ere disappointing that concert# B> .rong# .ere is pastC disappointing is present# .e <ere disappointing in that concert# B> .rong, for the same reason as abo"e, in is simpl( e=tra# ,t5s not that (ou can5t sa(, .e <ere disappointed in someone# But, that is a pattern generall( used for a person# ;ere, <e ha"e the pattern, .e <ere disappointed b( something# A concert is a thing in English# 7Thing is a catch>all <ord for an ob%ect and originates from !ld English#8 So, since a concert is a thing, .e <ere disappointed b( that concert is acceptable# Eote that if a sentence is <ritten, .e <ere disappointed b( )obert5s performance, the issue is )obert5s performance, not )obert, so b( is still used# .e <ere disappointed in )obert suggests disappointment in the person himself#

0# Ten ong 1ears

Mr# Johnson has li"ed here for ten (ears# The real problem here is realizing that ten (ears is meant as a specific span of time# ,t is not a general span of timeC it is ten (ears, not nine or ele"en# Mr# Johnson has li"ed here during ten (ears# B> .rong# :uring the FG5s, ma(be, but not during ten (ears# Mr# Johnson has li"ed here since ten (ears# B> .rong# Ma(be since -HHG, or ma(be since ten (ears ago, but that is since one moment in time, ten (ears ago# Eot ten (ears Mr# Johnson has li"ed here <hile ten (ears# B> .rong# .hile stud(ing, ma(be# .hile <or'ing at a factor(, ma(be# Eot <hile ten (ears# That ma'es no sense# ,n this case, the issue is simpl( a process of elimination### once (ou understand that ten (ears is a specific span of time# E=ampleA Mr# Johnson has li"ed here for roughl( ten (ears# This uses for in a natural <a( <hile adding a little e=tra detail, and <ould also be completel( correct#

2# The 3opularit( of Mone( !rders

The fact that mone( orders can usuall( be easil( cashed has made them a popular form of pa(ment# ;ere, <e can reduce this to t<o parts easil(A 3art AA The fact that### 3art BA ###has made them

The fact that @@@@ has made them @@@@# Thus, the fact that is used in this construction because it is 3art A of a t<o>part sentence# The fact of mone( orders### B> .rong# Eo relation to the rest of the sentence# The fact is that mone( orders### B> .rong# This <ould be used in a declarati"e statement, li'e, The fact is that mone( orders are a popular form of pa(ment# This does not fit <ithin our 3art A+ 3art B structure# The fact <hich is mone( orders### B> .rong# This %ust ma'es the sentence a big mess# ,n this case, differentiating bet<een The fact that and The fact is that relies on identif(ing the structure of the sentence and ad%usting accordingl(#

4# Mozart5s Social 6races 7!r ac' Thereof8

6ifted though he <as b( remar'able natural musical talent, Mozart seemed to ha"e had little 'nac' for the necessities of social life at court# ,n this e=ample, <e need to be a<are that after the comma, the sentence comes to a natural end# talent, Mozart, <ho seemed to ha"e had little 'nac' for the necessities of social life at court# B> .rong, <rong, <rongD This could onl( be right if the sentence did not end after court and had another comma, follo<ed b( (et another phrase# 7That <ould ma'e this a long sentence#8 talent, it <as Mozart that seeming to ha"e had### B> .rongDDD This is a complete mess# There is no that seeming construction# There is that seemed to ha"e had, but again, this ans<er is nothing but a mess# talent, Mozart, seeming to ha"e had### B> .rong# Again, this might be acceptable if the sentence did not end <ith little 'nac' for the necessities of social life at court# 6i"en that the sentence does end there, an( Mozart, seeming to construction is a grammatical dead endC it leads no<here e=cept into a <all# So, Mozart seemed to ha"e had### ###at court# Eeat, simple, effecti"eC it is perfectl( good English#

9# The 6entle, :eadl( ;ippopotamus

E"en though the( are <idel( percei"ed as gentle creatures, hippopotamuses are responsible for more human deaths in Africa than an( other animal# ;ere, <e are gi"en a choice bet<een different <a(s to start a sentence, all of <hich are improperl( used e=cept for the abo"e# :espite of the( are### B> .rongDDD :espite of is terrible English# :espite the fact that### etc# fits a 3art A+ 3art B formulation, as an e=ample of proper usage# ,n spite of the( are### B> .rongDDD .rong for e=actl( the same reasonC it is terrible English# ,n spite of the fact that### <or's similarl( to :espite the fact that### ,n fact, in spite of and despite are ob"iousl( related to each other# Eonetheless the( are <idel(### B> .rongDDD The proper usage of this <ould be radicall( different# E=ampleA ;ippopotamuses are <idel( percei"ed as gentle creatures# Eonetheless, B> This <ould be correct# ,n this case, the learner must simpl( use a process of elimination and discard e"er(thing but the E"en though the( are### construction#