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Marcus opened a high - profile courtroom closing argument by explaining how stylistic grammar variation shapes reader attention . It is clarity that the witness testimony lacks when authors refuse stylistic variation altogether . The text centred on it - cleft emphasis in a closing argument , where deliberate syntax must remain interpretable at C2 level . Helena noted that Jonas had fronted a clause too early , obscuring the main verb in the diplomatic note . Clara reminded the group that one construct per section keeps a high - profile courtroom closing argument pedagogically honest . It is not ornament but control that an it - cleft introduces into the memoir fragment . Marcus and Helena debated how a high - profile courtroom closing argument could sustain stylistic control without sounding artificial . A shared principle emerged : stylistic devices work only when the surrounding syntax stays transparent . It is not ornament but control that an it - cleft introduces into the editorial revision . It is clarity that the theatre review lacks when authors refuse stylistic variation altogether . During revision of a high - profile courtroom closing argument , Clara marked every instance where word order departed from neutral prose . It was after a high - profile courtroom closing argument that the team understood why it - clefts rescue buried predicates . When the discussion turned to stylistic grammar , the chair reminded everyone that variation must remain interpretable . Helena argued that literary register in a high - profile courtroom closing argument depends on choosing one marked device at a time . It was the rhythm of the lecture transcript that persuaded Helena to keep the marked structure . Helena and Marcus debated how a high - profile courtroom closing argument could sustain stylistic control without sounding artificial . Even at C2 level , authors hesitate before fronting a clause that might obscure the main predicate . It was the rhythm of the opening monologue that persuaded Marcus to keep the marked structure . It was Marcus who first showed how the theatre review could carry an entire paragraph through cleft emphasis . When the discussion turned to stylistic grammar , the chair reminded everyone that variation must remain interpretable . In a high - profile courtroom closing argument , readers notice when a deliberate syntactic shift signals emphasis rather than error . It was the rhythm of the theatre review that persuaded Marcus to keep the marked structure . Even at C2 level , authors hesitate before fronting a clause that might obscure the main predicate . Helena argued that literary register in a high - profile courtroom closing argument depends on choosing one marked device at a time . It is not ornament but control that an it - cleft introduces into the final stanza . It is clarity that the theatre review lacks when authors refuse stylistic variation altogether . Jonas argued that literary register in a high - profile courtroom closing argument depends on choosing one marked device at a time . Clara argued that literary register in a high - profile courtroom closing argument depends on choosing one marked device at a time . It is clarity that the theatre review lacks when authors refuse stylistic variation altogether . It was the rhythm of the final stanza that persuaded Jonas to keep the marked structure .
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