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I have been using LaTeX Overleaf for around one year now, and I am currently working on an English project, but after I made some subsubsubsections, suddenly the compiler crashed, and when I undid the subsubsubsections, it still isn't working.

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\begin{document}

\begin{titlepage}
   \begin{center}
       \vspace*{1cm}

       \Huge
       \textbf{Homework On}\\
       
       \vspace{1.75cm}
       
       \Large
       Skellig by David Almond
       
       \vspace{1.75cm}
       
       \LARGE
        4th May, 2022 -- \today
            
       \vspace{1.5cm}

       \textbf{Written by}\\
       Anonymous
            
   \end{center}
\end{titlepage}

\pagenumbering{roman} \tableofcontents
\newpage

\pagenumbering{arabic}
\section{Evidence Bank}

Instructions: \\

As we move through our study of ‘Skellig’ It is important that you are keeping track of evidence throughout the novel that links to narrative. With each week we will have a new focus, any substantial evidence that we come across should be stored in the table below. \\

This evidence is vital and will form your example and analysis for essays down the track this term. \\

\subsection{Week 2 - Setting \& Sensory Imagery}

\subsubsection{Evidence of Techniques}

\begin{tabular}{||c|c|c|c|c||}
\hline
\hline
\textbf{Page} & \textbf{Evidence} & \textbf{Description} & \textbf{Techniques} & \textbf{Effect on Reader}\\
\hline
\hline
\multirow{6}{*}{1} & \multirow{6}{5cm}{``It was more like a demolition site or a rubbish dump or like one of those ancient warehouses they keep pulling down at the quay."} & \multirow{16}{2.5cm}{It describes the garage.} & \multirow{6}{2cm}{Visual Imagery and Polysyndeton} & \multirow{6}{4cm}{Makes the reader feel like Michael is bored.}\\
& & & &\\
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\cline{1-2}\cline{4-5}
\multirow{7}{*}{3} & \multirow{7}{5cm}{``There were old chests of drawers and broken wash-basins and bags of cement, ancient doors leaning against the walls, deck chairs with the cloth seats rotted away."} &  & \multirow{7}{2cm}{Imagery, Polysyndeton and Asyndeton} & \multirow{10}{4cm}{To give the reader an idea of the garage.}\\
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\cline{1-2}\cline{4-4}
\multirow{3}{*}{3} & \multirow{3}{5cm}{``The place stank of rot and dust."} & & \multirow{3}{2.5cm}{Olfactory Imagery} &\\
& & & &\\
& & & &\\
\hline
\hline

\end{tabular}

\newpage

\subsection{Week 3 - Characterisation}

\subsubsection{Main Character Desciption}

\subsubsubsection{Introduction/Overview}

\textbf{Michael:} Michael is introspective, quite and a `dreamer', as well as being intellectually curious. While he is extremely anxious over his newborn sister, he nurtures Skellig by bring him food.\\

\textbf{Mina:} Mina is home-schooled, interested in birds and passionate about learning, as well as being a deep thinker. She identifies with the ideas of creative and intellectual freedom explored in William Blake's poetry.\\

\textbf{Skellig:} A mysterious creature, part bird, man and angel who suffers from arthritis. While he initially rejects Michael, it is suggested that he eventually uses his magic to revive Michael's newborn sister.

\subsubsubsection{Introduction to Magical Realism}

``I'd soon begin to see the truth about him, that there'd never been another creature like him in the world" (Page 1)\\

\textbf{Analysis:} Magic Realism is magical or supernatural presence in a real world environment. Magic Realism can be seen in the portrayal of Skellig as a creature that is otherworldly and inexplicable.

\subsubsubsection{Skellig}

``\underline{I dreamt that Skellig entered the hospital ward, that he lifted the baby from her glass case."} He pulled the tubes and wires from her. She reached up and touched his pale, dry skin with her little fingers and she giggled. \underline{He took her} \underline{away, flew with her arms through the darkest part of the sky.} He landed with her in the wilderness and stood there calling to me." (Page 104)\\

\textbf{Analysis:} Almond characterises Skellig as a wounded angel to both parallel the sickness of Michael's sister, as well as emphasise the themes of change and salvation. \\

\subsubsubsection{Michael}

``Maybe I'd been wrong all along. Maybe dreams and truth were just a useless muddle in my mind." (Page 71)\\

``I imagined that this was [all] a dream. I told myself that anything was possible in a dream." (Page 81)\\

``Anything seems possible at night when the rest of the world has gone to sleep." (Mina Page 106)\\

\textbf{Analysis:} Almond uses the motif of dreams/oneiric imagery to illustrate Michael's natural curiosity and inquisitive nature. Michael searches for spiritual answers to his present challenges with his gravely sick sister and the confounding world around him.

\subsubsubsection{Mina}

Analyse the way Mina is portrayed in Almond's novel by answering the following using quotation evidence:\\

1. How is Mina portrayed as curious about nature and her world?\\
2. Mina criticizes school and traditional forms of education for the way they inhibit creativity and curiosity in children. Find quotes from both chapters 15 \& 17 and analyse how Almond conveys this.\\
3. Almond illustrates the power of friendship through Mina and Michael. Analyse how this is achieved through key quotes across the novel.\\

\newpage

\subsubsection{Evidence of Techniques}

\begin{tabular}{||c|c|c|c|c||}
\hline
\hline
\textbf{Page} & \textbf{Evidence} & \textbf{Description} & \textbf{Techniques} & \textbf{Effect on Reader}\\
\hline
\hline
\multicolumn{5}{||c||}{\underline{General}}\\
\hline
\hline
\multirow{6}{*}{1} & \multirow{6}{5cm}{``I'd soon begin to see the truth about him, that there'd never been another creature like him in the world."} & \multirow{6}{2.5cm}{Magical Realism is used to create a portrayal of Skellig.} & \multirow{6}{2.5cm}{Foreshadowing and Magical Realism} & \multirow{6}{4cm}{The effect on the reader is to give them some information about the story, and make them interested.}\\
& & & &\\
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& & & &\\
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& & & &\\
\hline
\hline
\multicolumn{5}{||c||}{\underline{Skellig}}\\
\hline
\hline
\multirow{8}{*}{104} & \multirow{8}{5cm}{``I dreamt that Skellig entered the hospital ward, that he lifted the baby from her glass case."} & \multirow{8}{2.5cm}{Symbolism is used here to combine Skellig's arthritis and the baby's sickness.} & \multirow{8}{2.5cm}{Symbolism and Magical Realism} & \multirow{8}{4cm}{The effect on the reader is to get them to relate Skellig and the baby's lives together.}\\
& & & &\\
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\hline
\multirow{7}{*}{104} & \multirow{7}{5cm}{He took her away, flew with her arms through the darkest part of the sky.} & \multirow{7}{2.5cm}{Symbolism is used here as well to show the difficulties of the baby's life to the reader.} & \multirow{7}{2.5cm}{Symbolism, Visual Imagery and Magical Realism} & \multirow{7}{4cm}{The effect on the reader is to give them a feeling of the baby's difficulty of living.}\\
& & & &\\
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\hline
\hline
\multicolumn{5}{||c||}{\underline{Michael}}\\
\hline
\hline
\multirow{7}{*}{71} & \multirow{7}{5cm}{``Maybe I'd been wrong all along. Maybe dreams and truth were just a useless muddle in my mind."} & \multirow{14}{2.5cm}{Michael is doubting the reliability of the events that are happening in his life recently.} & \multirow{7}{2.5cm}{Repetition [of ``maybe"] and Use of First Person} & \multirow{7}{4cm}{The effect on the reader is to let them understand and experience Michael's feelings.}\\
& & & &\\
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\cline{1-2} \cline{4-5}
\multirow{7}{*}{81} & \multirow{7}{5cm}{``I imagined that this was [all] a dream. I told myself that anything was possible in a dream."} & & \multirow{7}{2.5cm}{Repetition [of ``I"] and Use of First Person} & \multirow{7}{4cm}{The effect on the reader is to let them feel empathy for Michael.}\\
& & & &\\
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\hline
\hline
\multicolumn{5}{||c||}{\underline{Mina}}\\
\hline
\hline
\multirow{7}{*}{106} & \multirow{8}{5cm}{``Anything seems possible at night when the rest of the world has gone to sleep."} & \multirow{8}{2.5cm}{Mina loves the night; she ``praises" it by saying anything is possible during this time.} & \multirow{8}{*}{Hyperbole} & \multirow{8}{4cm}{The effect on the reader is to give them the feeling that the night was really great.}\\
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\hline
\hline
\end{tabular}

\newpage

\subsection{Week 4 Figurative Language, Atmosphere, Symbolism and Motifs}

\subsubsection{Symbolism Analysis}



\subsubsection{More Evidence of Techniques}

\newpage

\subsection{Themes}
\subsubsection{Evidence of Techniques}

\begin{tabular}{c|c}
     &  \\
     & 
\end{tabular}

\newpage

\section{Paragraph Practice}

\subsection{Example of Body Paragraph by Mr Dovgan}

\colorbox{yellow}{Setting in the opening chapters of ``Skellig" is representative of a dark and suspenseful atmosphere.} \colorbox{ForestGreen}{David Almond} \colorbox{ForestGreen}{has established this through utilising the effects of different types of imagery to appeal to the sense of the reader.}\\

\colorbox{yellow}{Yellow}  - Topic Sentence\\
\colorbox{red}{Red} - Examples\\
\colorbox{ForestGreen}{Green} - Explanations\\
\colorbox{RoyalBlue}{Blue} - Link Sentence\\

\newpage

\subsection{How does Almond establish a run down and uninviting atmosphere?}

Setting in the opening chapters of ``Skellig" establishes a run down and uninviting atmosphere. David Almond has established this through using imagery and ``playing" with conjunctions. This is demonstrated in the sentence ``It was more like a demolition site or a rubbish dump or like one of those ancient warehouses they keep pulling down at the quay." Here, Almond uses polysyndeton to give the reader a feeling that Michael is bored and disappointed of the environment. The visual imagery helps us to see from Michael's point of view, thus making his argument more reasonable and easy to understand. Another example of this is seen in the sentence ``There were old chests of drawers and broken wash-basins and bags of cement, ancient doors leaning against the walls, deck chairs with the cloth seats rotted away." This time, Almond combines both polysyndeton and asyndeton, informing the reader that Michael just felt exasperated about the garage, along with more visual imagery. It also creates an uninviting atmosphere by telling the reader what the garage looks like. David Almond has successfully created a run down and uninviting atmosphere through a character's emotions, by using imagery, polysyndeton and asyndeton.

\subsection{Section 1.2.1.5 - Mina Questions' Responses}

\subsubsection{Question 1}

\subsubsection{Question 2}

\subsubsection{Question 3}

\section{Symbolism Analysis}



\end{document}
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  • 2
    Which document class do you employ? The standard document classes do not define a command called \subsubsubsection.
    – Mico
    Jun 6 at 5:38
  • 3
    You should at least say what error you have... Open the .log file and copy the ten lines or so around the first error.
    – Rmano
    Jun 6 at 5:42
  • 1
    There is no subsubsubsection for the article class. Apart from that, your code compiles fine. That said, there are probably ways around this restriction: tex.stackexchange.com/questions/30997/more-section-headings
    – Ingmar
    Jun 6 at 6:59
  • 2
    Clear the auxiliary files and try again . If the error persists, ask the overleaf support. Jun 6 at 7:07

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