On this page you'll find 3 example sentences with Flicka. Discover how to use the word correctly in a sentence.
Flicka in a sentence
Context around Flicka
- Average sentence length in these examples: 20.3 words
- Position in the sentence: 2 start, 1 middle, 0 end
- Sentence types: 2 statements, 0 questions, 1 exclamations
Corpus analysis for Flicka
- In this selection, "flicka" usually appears near the start of the sentence. The average example has 20.3 words, and this corpus slice is mostly made up of statements.
- Around the word, foundation stand out and add context to how "flicka" is used.
- Recognizable usage signals include at the flicka foundation donkey and film after flicka and a. That gives this page its own corpus information beyond isolated example sentences.
- By corpus frequency, "flicka" sits close to words such as aaai, aani and aarne, which helps place it inside the broader word index.
Example types with flicka
The same corpus examples are grouped by length and sentence type, making it easier to see the contexts in which the word appears:
Flicka 2 is a close second! (6 words)
The two met at the Flicka Foundation donkey sanctuary in Cornwall. (11 words)
His “Seagull,” the director’s third feature film (after “Flicka” and ”A Home at the End of the World”), shrinks some of the play’s dialogue, robbing it of its rhythm, while never resting his ever-moving camera nor quieting its ever-stirring score. (44 words)
His “Seagull,” the director’s third feature film (after “Flicka” and ”A Home at the End of the World”), shrinks some of the play’s dialogue, robbing it of its rhythm, while never resting his ever-moving camera nor quieting its ever-stirring score. (44 words)
The two met at the Flicka Foundation donkey sanctuary in Cornwall. (11 words)
Flicka 2 is a close second! (6 words)
Flicka 2 is a close second! (6 words)
Example sentences (3)
The two met at the Flicka Foundation donkey sanctuary in Cornwall.
Flicka 2 is a close second!
His “Seagull,” the director’s third feature film (after “Flicka” and ”A Home at the End of the World”), shrinks some of the play’s dialogue, robbing it of its rhythm, while never resting his ever-moving camera nor quieting its ever-stirring score.