RESEARCH PROPOSAL ON PRISON POPULATION AND RATES OF INCARCERATION IN Paper

PROPOSAL ON PRISON POPULATION AND RATES OF INCARCERATION IN OUR COUNTRY - Research Paper Example While crime level appears to be driving some of this growth, much of it is connected to sentencing rules and guidelines, the length of sentences, and a general public intolerance of crimes. Racism is still prevalent in America and this is reflected in levels of sentencing and incarceration as well as the proportion of minority races in prisons. This study looks at minority races within prisons, what factors drove them to commit crimes, what their background is and what their sentencing severity was like compared to other races. To do this, face-to-face interviews with prisoners and written questionnaires will be undertaken at many prisons across the country. This attempts to provide a snapshot of the current prison population in the US, how the racial minorities are distributed and whether there are differences in their sentencing and imprisonment compared to other races. Keywords: Prison population, incarcerations, disparity, sentencing policies, African American, racial minority. C ontents Prison Population and Rates of Incarceration in the United States of America among Racial Minority Populations 1 A Research Proposal 1 Abstract 2 Prison populations are rapidly growing with no leveling off of growth rate in sight in the United States. ... 2 To do this, face-to-face interviews with prisoners and written questionnaires will be undertaken at many prisons across the country. This attempts to provide a snapshot of the current prison population in the US, how the racial minorities are distributed and whether there are differences in their sentencing and imprisonment compared to other races. 2 Contents 3 Introduction 4 Literature Review 5 Why are Prison Populations so High? 5 What is the Connection between Crime and Prison Population? 7 How is Minority Races Represented? 8 The population of the US is not uniform, and there are many minority groups widely present. While there have been many increases in equality of treatment across races, it is clear that there is still some way to go. The historical election of President Barack Obama into office, making him our first black president has played a large role in the rights and the equal treatment of minority races, however there are still many socioeconomic examples of racial d ifferences in factors such as employment and rate of incarceration . 8 The rates of incarceration have not risen at the same rates for different minorities. For African Americans the rate of increase has been 184% while it has been 235% for Hispanics. In contrast for non-Hispanic whites the rate has been 164% . A strong example of this is the imprisonment rate of young African Americans. Throughout the country an average of three African Americans for every four serves some time in prison. This is a high rate, and is not proportionate to rates for non-Hispanic whites . 9 The question remains, what is driving the high rates of imprisonment for racial

Transhiatal Approach Essay Example for Free

Transhiatal Approach Essay Abstract: Tethered cord syndrome (TCS) is a stretch-induced functional disorder of the spinal cord, which is directly related to filum fixation. Classic surgical approaches to the filum involve open surgery and include varying amounts of spinal bone removal. In an effort to reduce the morbidity and mortality of these procedures, we explored a less invasive method. We evaluated the ability, safety and feasibility for extradural endoscopic dissection of the filum terminale by performing upward orientated navigation in the sacral spinal canal through the sacral hiatus using a rigid endoscope. Four adult, phenol-formalin embalmed cadavers were used for extradural endoscopic dissection of the filum at the tip of thecal sac. After preparing the anatomical area of sacral hiatus, a rigid endoscope (Storz, of 3.8 mm external diameter with one working channel) was inserted into the sacral spinal canal and the filum was identified and cut easily. In all cases, it was possible to manipulate the rigid endoscope and inspect the full length of the extradural sacral spinal canal, especially at the S1-S2 level. Our results indicate that the tested transhiatal approach for upward orientated extradural endoscopy represents a minimally invasive procedure that provides an appropriate and feasible route to the extradural sacral spinal canal. Furthermore it is an attractive alternative for filum dissection in cases where tethered cord syndrome is not accompanied by any other pathology. Introduction Physicians and scientists have explored the clinical usefulness of spinal endoscopy over six decades. Endoscopic spinal surgery represents a major advance in the treatment of spinal disorders. It involves the use of small incisions that preserve normal tissues while allowing the spinal pathology to be fully treated. This technique carries interesting clinical benefits, and its utility continues to expand as technology advances. Tethered cord syndrome (TCS) is a manifestation of spina bifida occulta and can occur as a complication of surgically closed spina bifida aperta. The mechanical cause of TCS is an inelastic structure anchoring the caudal end of the spinal cord and preventing cephalad movements of the lumbosacral cord. Stretching of the spinal cord occurs in patients either when the spinal column grows faster than the spinal cord or when the spinal cord undergoes forcible flexion and extension. Symptomatic TCS can occur in adults as well as in children, manifesting with various clinical symptoms (Dachling, 1982; Kaplan, 1980; Klekamp et al. 1994), such as pain, neurological deficits, and bowel and bladder dysfunction. Further studies have shown that early surgical correction in adults is recommended because of the high risk for irreversible neurological deficits (Bermans et al. 2001). In recent years, further research efforts of scientists have ranged from full-fledged neurosurgery to minimally invasive approaches and have involved the use of flexible and rigid endoscopes for diagnosis and treatment of certain pathological entities (Heavner et al. 1991; Sabreski Kitahata, 1995 1996; Warnke et al. 2001, I, II; Warnke et al. 2003). Encouraging results from the performance of co-axial downward orientated thecaloscopic procedures, with flexible steerable endoscopes in the lumbar subarachnoid space in living humans (Warnke et al. 2003), prompted us to study further thecaloscopic procedures for filum terminale dissection by using a rigid endoscope. This procedure usually offers a better optical view of the studied anatomic structures. The aim of the present anatomic study was not only to determine if the tip of thecal sac could be clearly visualized. Based on the fact that epidural endoscopy through sacral hiatus was proved to be safe and possible (Sabreski Kitahata, 1995 1996; Sabreski Gerens, 1998), it also sought to explore the possibility of using a rigid endoscope to untether prefixed filum terminale. Materials and Methods For this study, four adult phenol-formalin embalmed male cadavers from the Anatomy Department of the Medical School of the University of Athens were dissected using microsurgical and endoscopic techniques. Neurosurgical   technique Fig.2Insertion-of-the-rig Fig.1Sacral-Hiatus Cadavers were placed in the prone position. A midline skin incision was centered over the sacral hiatus [fig. 1]. After anatomical preparation, the rigid endoscope [fig.2] was inserted through the sacral hiatus and directed into the sacral spinal canal cephalad. It was angled in that manner in order that it would face the tip of thecal sac. The filum, which was holding thecal sac, was identified and dissected [fig.3]. The rigid endoscope used was a Storz with a 3.8mm external diameter and one working channel. For the documentation, a video-tape (Fuji VHS) was used and digital photographs were taken using a Fuji AS-205.    Results With the help of a rigid endoscope, it is possible to visualize directly the tip of thecal sac and to perform a dissection of the filum terminale. A rigid endoscope was inserted into the sacral spinal canal and, with the benefit of the visibility it granted, was advanced cephalad with relative ease. The rigid endoscope provided a large field of view, which enabled the anatomical structures to be seen. The filum can be easily identified in fine detail, as it is the only structure adherent to the tip of thecal sac at the S1-S2 level. This procedure represents a minimally invasive method for direct visualization of the tip of thecal sac and dissection of filum terminale. Discussion Diseases of the spine predispose persons to chronic complaints ranging from mild discomfort to intense pain. Endoscopy of the anatomic structures contained within the spine makes possible thorough examinations for existing pathology and facilitates the application of appropriate methods of therapy (Warnke et al. 2003; Sabreski Kitahata, 1996). Use of neuroendoscopy has become widespread in spinal surgery for conditions ranging from degenerative disease to deformity correction (Heavner et al. 1991; Sabreski Gerens, 1998; Sabreski Kitahata, 1995 1996). The growth in the number of minimally invasive spine surgical procedures being performed has been spurred by both technical advances and by its associated reduction in operative morbidity (1998; 1995; 1996). However, minimally invasive techniques are primarily employed in extradural procedures. Transhiatal extradural filum untethering provides the ability to untether a prefixed filum in a minimally invasive way. When referred to a neurosurgical clinic, adult patients with tethered cord syndrome tend to show significant progressive neurological deficits (Klekamp et al. 1994; Dachling, 1982).   Some authors (van Leeuwen, et al. 2001) have advocated prophylactic surgical treatment for the prevention of progressive neurological symptoms, which is, in this case, related to low morbidity. As an alternative to the risky open surgical treatment procedure, we evaluated the extradural endoscopic procedure for untethering of filum in cadavers. Extradural filum untethering could be indicated in cases of prefixed filum without other accompanying pathology such as meningomyelocele, CSF fistula, or arachnoidal cysts. It could also be performed before a surgical intervention, which generally include dura opening and removal of various amounts of spinal bone. During inspection of the sacral spinal canal with the rigid endoscope, the declination of the sacral spinal canal did not bring difficulties for the upward manipulation of the endoscope. Following the physical inclination of the sacral spinal canal, the filum could be approached and dissected before reaching the lumbosacral angle. In some instances, it was difficult to dissect the filum because of its elasticity. However, the minimally invasive nature of neuroendoscopy provided by this procedure, and by the employment of the rigid endoscope, allows for a larger field of view at the sacral spinal canal through a smaller incision. This access and the ability to perform extradural inspection and filum dissection using this transhiatal approach are comparable with other therapeutic interventions used in neurosurgery, such as the endoscopic epidural placement of catheters in anaesthesiology. Conclusions This method of extradural endoscopic dissection of the filum terminale minimizes surgical trauma and provides excellent visualization of and access to the extradural sacral spinal canal. Furthermore, it enables the filum to be identified and thus provides a minimally invasive alternative to current open surgical procedures indicated for filum untethering. Utilization of this procedure could: (1) facilitate untethering of prefixed filum terminale without opening the dura and (2) minimize patient morbidity thereby presenting an overall attractive alternative to current methods of filum dissection. At present, neuroendoscopy is most widely used in minimally invasive spine surgery, but novel uses continue to emerge in the literature. As technology evolves and more experience is obtained, neuroendoscopy will likely achieve additional roles as a mainstay in spinal surgery. References Heavner JF, Cholkhavatia S, Kizelsheeyn G. (1991). Percutaneous evaluation of the   Ã‚  Ã‚  Ã‚  Ã‚   epidural and subarachnoid space with flexible endoscope. Reg. Anesth. 15 S1: 85. Iskandar BJ, Fulmer BB, Hadley MN, Oakes WJ. (2001). Congenital tethered spinal cord   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   syndrome in adults. Neurosurg. Focus 10(1): Article 7. Kaplan JQ, Quencer RM. (1980) The occult tethered conus syndrome in the adult.  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚   Radiology 137:387-391. Klekamp J, Raimpondi AJ, Samii M. (1994) Occult dysraphism in adulthood: clinical   Ã‚   course and management. Child Nerv Syst 10:312-320. van Leeuwen R, Notermans NC, Vandertop P. (2001). Surgery in adults with tethered   Ã‚   cord syndrome: outcome study with independent clinical review.   J. Neurosurg.   Ã‚  Ã‚   (spine) 94: 205-209. Pang D, Wilberger JE. (1982) Tethered cord syndrome in adults. J. Neurosurg. 57: 32-47. Sabreski LR, Gerens, F. (1998) Safety of epidural endoscopy. Reg. Anest. Pain Med.   Ã‚  Ã‚  Ã‚   23: 324-325. Sabreski LR, Kitahata LM. (1995) Direct visualization of the lumbosacral epidural   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   space through the sacral hiatus. Anest. Anal. 60: 839-840. Sabreski LR, Kitahata LM. (1996) Persistent radiculopathy diagnosed and treated with  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   epidural endoscopy. J. Anesth. 10: 292-295. Warnke JP, Tschabitscher M, Nobles A. (2001). Thecaloscopy Part I.: The endoscopy of   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   the lumbar subarachnoid space: Historical review and own cadaver studies.  Ã‚  Ã‚   Minim. Invas. Neurosurg. 42: 61-64 Warnke JP, Mourgela S, Tschabitscher M, Dzelzitis J. (2001) Thecaloscopy Part II:   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Anatomical Landmarks. Minim. Invas. Neurosurg 44:181-185. Warnke JP, Kà ¶ppert H, Bensch-Schreiter B, Dzelzitis J, Tschabitscher M. (2003)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Thecaloscopy Part III: First Clinical Application. Minim. Invas. Neurosurg   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   46:94-99.

The Context of Unrelated Incidents :: Unrelated Incidents Tom Leonard Essays

The Context of Unrelated Incidents What is from Unrelated Incidents about? this is thi six a clock news thi man said n thi reason a talk wia BBC accent iz coz yi widny wahnt mi ti talk aboot thi trooth wia voice lik wanna yoo scruff. if a toktaboot thi trooth lik wanna yoo scruff yi widny thingk it wuz troo. jist wanna yoo scruff tokn. thirza right way ti spell ana right way to tok it. this is me tokn yir right way a spellin. this is ma trooth. yooz doant no thi trooth yirsellz cawz yi canny talk right. this is the six a clock nyooz. belt up. * The poem seems to be spoken by a BBC newsreader. * He or she explains why the BBC thinks it is important to read the news in a BBC accent: no one will take the news seriously if it's read with a voice lik / wanna yoo / scruff. It is not that simple, though! * He or she speaks here in the accent of an ordinary speaker/viewer - just the kind of voice which the newsreader is rejecting. * A newsreader would never really reveal his or her prejudices directly to the viewer in this way. So what the newsreader 'says' in this poem perhaps needs to be seen as the unspoken message (or sub-text) of the way the news is presented. Try re-writing the same poem in Standard English. Would it carry the same trooth? Structure and Language Structure The poem is carefully written in a phonetic version of the Glasgow accent. If you pronounce it exactly as it's written, it should sound more or less like a Glaswegian voice. Try to listen to Tom Leonard's own reading of this poem, which is on the BBC TV programme Roots and Water: Poems from Other Cultures and Traditions. Language The poet has played with language in a number of ways, apart from the phonetic spelling: * There is almost no punctuation. * There are lots of slang and colloquial words (scruff, belt up). * The newsreader talks directly to the reader (or viewer). How do these features add to the effectiveness of the poem? For example, there is a mismatch between the conventional image of BBC newsreaders, and what this one is saying - calling the viewers yoo scruff and telling them to belt up. The lines of the poem are very short. What effect does this have (especially when you read it aloud)? Does it make the poem sound serious or amusing? Tone and Ideas How would you read this poem? * Is it an amusing poem? * Is it a serious poem? Perhaps it is both. Is the poet arguing that this is actually the way the media think about us?

Succubus Dreams CHAPTER 18

My dream-self sprinted out of the kitchen and toward the sound of the crying. Aubrey and the mystery cat jerked their heads up, surprised at my sudden movement. On the other side of the living room, the little girl sat on the floor beside an end table with sharp corners, a small hand pressed to her forehead. Tears streamed down her checks as she wailed. In a flash, my dream-self was on her knees and had wrapped the little girl up in a tight embrace. I could feel what the other Georgina felt, and I nearly wept as well over the feel of that soft, warm body in my arms. My dream-self rocked the girl, murmuring soothing, nonsensical words as she brushed her lips against the silken hair. Eventually, the girl's sobs stopped, and she rested her head against my dream-self's chest, content to simply be loved and rocked. I opened my eyes and stared at Seth's plain white ceiling. He lay beside me, curled up near my body and still smelling like the massage oil. Even awake, the dream's images were still strong and so real. I knew exactly how my daughter's hair had felt, the way she smelled, the rhythm of her heart. My own heart pined so much for her that I could almost ignore the fact that last night's energy was now gone. This was turning into a real problem. I sat up, gently pushing Seth off of me. But as I tried to figure out what to do about this latest dream, a strange thought kept pressing into the back of my head. Erik. I couldn't stop thinking about Erik. It was nothing in particular, either. No specific problem. But, whenever I tried to think about something else – my job, the energy loss, Seth – it was Erik's face that appeared in my head. I didn't understand it, but it worried me. Seth's arms reached for me as I slipped out of bed, but I skillfully avoided them. Grabbing my cell phone out of my purse, I headed off toward the living room. No one answered when I dialed Arcana, Ltd. It was almost ten†¦usually he was open by then. I called information in search of Erik's home number, but it appeared to be unlisted. A sense of dread was building in me. Desperate, I dialed Dante's store. â€Å"Dante, I think something's happened to Erik, but I don't have his home number and – â€Å" â€Å"Whoa, whoa, succubus. Slow down. Start from the beginning.† Backing up, I explained how I'd dreamed again and woken up obsessed with Erik. â€Å"Maybe it's nothing, but after the drowning thing†¦I don't know. Do you have his home number?† â€Å"Yeah,† Dante said after several moments. â€Å"I do. I'll†¦I'll check on him for you and give you a call back.† â€Å"Thanks, Dante. I mean it.† I disconnected as a sleepy Seth stepped out of the bedroom. â€Å"Who's Dante? Was that a collect call to the Inferno?† â€Å"They won't accept the charges,† I murmured, still troubled. Seth's face turned serious. â€Å"What's wrong?† I hesitated, not because I was afraid to tell him about Dante but because I didn't know if I wanted him caught up in all of this. â€Å"It involves immortal intrigue,† I warned. â€Å"And the higher workings of the universe.† â€Å"I live for those things,† he said wryly, settling into an armchair. â€Å"Tell me.† So, I did. He knew about my first energy loss but not the rest. I didn't tell him about the content of the dreams, merely that they drained me of energy. I also explained about the self-fulfilling prophecies and how I'd woken up damp one morning and thinking about Erik today. When I finished, I stared at the cell phone accusingly. â€Å"Damn it. Why isn't he calling?† â€Å"Why do you always tell me this at the last minute?† asked Seth. â€Å"It's been giving you trouble for a while. I thought it had been a one-time thing.† â€Å"I didn't want to bother you. And I know how funny you are about immortal stuff.† â€Å"Things that affect you – that may be harming you – don't bother me. I mean, well, they do, but that's not the point. This all goes back to commun – â€Å" The phone rang. â€Å"Dante?† I asked eagerly. I hadn't even bothered to check the number. But it was him. His voice sounded grim. â€Å"You need to come over here. To Erik's.† â€Å"The store?† â€Å"No, his house. It's close to my place here.† â€Å"What's going on?† â€Å"Just come over.† Dante rattled off an address and directions. With quick shape-shifting, I was dressed and ready to bolt out the door in an instant. Seth told me to wait, and in less than a minute – not as good as me, though still good – he was ready too. I'd never thought much about Erik having a home of his own. To me, he just always sort of existed in his store. The address was about a mile from Dante's, in an old, yet well-maintained neighborhood. Erik's house was one of the small bungalow types so common in Seattle neighborhoods, and the front yard was filled with roses gone dormant for the winter. As we walked up the steps, I entertained a brief vision of Erik out there tending the flowers in the summer. Dante opened the door before I could knock. I wondered if he'd sensed me or had simply seen us through the window. He displayed no particular reaction to Seth's presence and ushered us in toward the house's one bedroom. The house's interior looked like it hadn't been updated in a while. In fact, a lot of the furniture reminded me of mid-twentieth-century styles. A plaid sofa with rough fabric. A worn velvet armchair in seventies gold. A TV that dubiously looked capable of color. None of that triggered any sort of reaction in me, though. What startled me was one framed picture sitting on a bookshelf. It showed a much younger Erik – maybe in his forties – with fewer wrinkles in his dark skin and no gray in his black hair. He had his arm around a thirty-something brunette with big gray eyes and a smile as large as his. Dante nudged me when I stopped, an odd look on his face. â€Å"Come on.† Erik lay in bed. To my relief, he was alive. I didn't realize until that moment just how worried I'd been. My subconscious had feared the worst, even though I'd refused to let it surface. But alive or not, he really didn't look so great. He was sweating and shaking, eyes wide and face pallid. His breathing was shallow. When he saw me, he flinched, and for half a second, I saw terror in his eyes. Then, the fear faded, and he attempted a weak smile. â€Å"Miss Kincaid. Forgive me for not being able to receive you properly.† â€Å"Jesus,† I gasped, sitting on the bed's edge. â€Å"What happened? Are you okay?† â€Å"I will be.† I studied him, trying to piece together what had taken place. â€Å"Were you attacked?† His gaze flicked over to Dante. Dante shrugged. â€Å"In a manner of speaking,† Erik said at last. â€Å"But not in the way you're thinking.† Dante leaned against the wall, appearing a little less grave than he had earlier. â€Å"Don't waste her time with riddles, old man. Spill it.† Erik's eyes narrowed, a bit of fire flaring in their depths. Then, he turned back to me. â€Å"I was attacked†¦mentally, not physically. A woman came to me tonight†¦wraithlike, inhuman†¦wreathed in energy. The kind of beauteous, enthralling energy I see you glow with sometimes.† It was a sweet way to describe my post-sex glamour. â€Å"Was she bat-winged and flame-eyed?† I asked, recalling Dante's long-ago joke about the mythological description of succubi. â€Å"Not a succubus, I'm afraid. That might be easier. No, this†¦I believe†¦was Nyx.† â€Å"Did†¦did you say Nyx?† Of course that was what he'd said, but I'd been waiting for him to launch into a discussion of Oneroi, not their mother. Nyx made no sense. It was one thing for dream spirits to appear in your bedroom and in your dreams. It was an entirely different matter for a monstrous primordial entity of chaos who had been instrumental in creating the world as we know it to appear in your bedroom. It was like saying God had stopped by for waffles on the way to work. Maybe Erik was still delirious. â€Å"Nyx,† he confirmed, no doubt guessing my thoughts. â€Å"Chaos herself. Or, more accurately, Night herself.† From the corner, Dante laughed softly. â€Å"We're all fucked now.† â€Å"She's the mother of the Oneroi,† Erik reminded me. â€Å"And, although dreams aren't her sole domain, she too is connected to them.† â€Å"Then†¦Ã¢â‚¬  I tried to grasp the implications. â€Å"Are you saying she's been responsible for what's been happening to me?† â€Å"It almost makes sense,† said Dante. Erik apparently agreed. â€Å"She's linked to time and all the myriad potential fates that exist for the universe. Fate and time are forever moving closer to chaos – to entropy – and that's what she feeds off of. She's trying to create more of it in the world, to bring us that much nearer to ultimate disintegration. But she's a long way from bringing anything like that about, so she settles for small acts of chaos.† I wasn't following. â€Å"My dreams and energy loss are acts of chaos?† â€Å"No.† Erik glanced at Dante again. â€Å"We believe you're her instrument. Since she's connected to time as well as space, she has the ability to see pieces of the future. And there is no greater way to cause chaos in this world than by revealing the future to mortals. Such visions prove consuming, and if crafted in a certain way, they can drive a person to madness. That person will obsess on it, struggling to either stop it or bring it about in a way it's not actually meant to unfold. Both acts are futile. The future plays out as it is meant to. In trying to alter it, we only make it happen that much more quickly.† â€Å"Like the Oedipus story,† noted Seth. â€Å"His father's attempts to change the prophecy's outcome are what actually made it happen.† Erik nodded. â€Å"Exactly.† I understood now too. â€Å"Just like the cop who saw his partner getting shot. And the man who saw his family benefiting by him swimming the Sound.† â€Å"It's how Nyx operates. Everything she shows them is true†¦just not true in the way they expect. The ensuing madness and destruction brought about by showing mortals their futures – futures that they end up bringing about – feeds her.† â€Å"But where do I fit in?† I demanded. â€Å"She isn't showing me my future or making me do crazy things.† â€Å"That's where the theory ends, succubus,† Dante said. â€Å"You're part of it, absolutely. And she needs you to do all this†¦but we don't know the mechanics of it.† â€Å"This is insane,† I said blankly. â€Å"I'm the instrument of an all-powerful primordial deity's wave of chaos and destruction.† â€Å"That's kind of extreme,† said Dante jovially. â€Å"It's not like you work for Google or anything.† Seth gently touched my shoulder. â€Å"Can I ask a question here? I'm confused by†¦like, how is it possible that you're just now realizing that this†¦Nyx†¦is out there? I mean, if she's as powerful as you claim†¦I don't know. Why didn't you think of her right away? Why hasn't this happened before?† â€Å"Because she's locked up,† I said. â€Å"Or well, she's supposed to be. Heaven and Hell have their own agendas for the world; they don't want her running loose and messing it all up. If this is her, I have no idea how she got loose. She's supposed to be guarded by angels, and if there was ever a group that could – † I let out a gasp that turned into a groan. The others stared at me. â€Å"What's wrong?† asked Seth. â€Å"That's why they're here,† I said. â€Å"I'm such an idiot. There's a monstrous regiment of angels in town. I knew they were looking for something, but I didn't know what.† That would also explain Vincent's interest in local news – he was looking for Nyx-patterns that would provide them with a trail. He'd even started to pursue my knowledge of the cop story, but Seth's shooting and his outing as a nephilim had distracted us all. â€Å"Yeah, well, they're doing a bang-up job,† said Dante. I rose from Erik's bedside. â€Å"I have to tell them what we know. Maybe they'll understand what she's doing to me.† â€Å"Be careful,† Erik warned. â€Å"She's suspicious now†¦I think that's why she came after me. I was looking into this, and she didn't want me to succeed.† Something else suddenly occurred to me. â€Å"Erik†¦did she show you a vision?† He nodded. â€Å"What was it?† It must have been horrible, whatever it was. He'd clearly been in shock when Dante had found him. Erik looked at me, and for an instant, I saw a flash of the terror he'd shown when I first walked into the room. Then, it was gone. â€Å"It doesn't matter, Miss Kincaid. She wanted to scare me, to stop me from helping you†¦but it didn't work. The future will unfold as it's meant to.† Seeing my doubtful look, he smiled again and pointed toward the door. â€Å"Stop worrying about me. I will be fine. Go find your angel friends before anything worse happens.† I gave him a quick hug before stepping into the other room with Seth and Dante. Once again, I paused to study the picture of Erik and the woman. Just as I'd always imagined Erik living in his store, I'd also never pictured him having any sort of personal life. Obviously, that was a foolish thought on my part. Who was this woman? Wife? Lover? Just a friend? Beside me, Dante held out his hand to Seth and introduced himself. The two men sized each other up. â€Å"I've heard so much about you,† said Dante cheerfully. â€Å"I never heard of you until this morning,† remarked Seth. My eyes were still on the picture. Near the edge of the frame, I noticed a crease in the photograph. I don't know what made me do it, but I picked the frame up and pulled the picture out. The right-hand third of the photo had been folded, obscuring another person who had been with Erik and the woman. Dante. I looked up in surprise. Dante took the picture and frame from me and reassembled them. â€Å"There's no time for this, succubus.† â€Å"But – â€Å" â€Å"We have more important things to deal with than your own curiosity right now.† I cast an uneasy look at Erik's closed bedroom door. Dante was right. â€Å"Do you think you could maybe†¦Ã¢â‚¬  Dante sighed, anticipating my question. â€Å"Yes, succubus. I'll check in on him today.† For a moment, I thought I saw something in his face†¦something that wasn't just him grudgingly humoring me. Like that maybe – maybe – he cared about Erik too. It was weird, but then, they'd all looked pretty happy in the photograph. The worst enemies were often those who had been friends. This Erik-Dante puzzle just got weirder and weirder. I started to turn away, then Dante called, â€Å"Oh, hey. I can probably make your charm, now that we know what this is.† Hope surged up in me at the thought of finally having safe dreams again. â€Å"Really?† â€Å"If you still want me to,† he added warily. I presumed he was subtly referencing my skepticism – which hadn't entirely abated. Still, now that I had a name for my predator, I was more anxious than ever to take whatever protection I could get. â€Å"Definitely. If you think it'll work.† â€Å"In theory, at least. Nyx isn't exactly a run-of-the-mill spirit. I'll see what I can do.† I drove Seth back to his condo, anxious to let him off, so I could do some searching. â€Å"I have to go find the angels,† I told him. â€Å"I'll catch up to you later.† â€Å"So†¦no movie tonight?† â€Å"I – what? Oh, damn it.† I'd forgotten about the plans we'd made. He'd gotten tickets for an indie movie that was showing one night only here. â€Å"I'm sorry†¦I really am†¦Ã¢â‚¬  â€Å"Well,† said Seth wryly, â€Å"considering life and death are literally on the line, I think I can forgive it this time.† â€Å"You know what you should do? You should take Maddie. You still owe her a date.† He smiled. â€Å"I have the best girlfriend in the world, always trying to push me into the arms of another woman.† â€Å"I'm serious! She's feeling unwanted. She thinks you don't like her.† â€Å"I like her a lot. The whole thing is just weird, that's all. I think I'm going to see if Terry can go to the movie. Don't give me that look,† he warned. â€Å"I'll still take her somewhere. Just not to this.† We kissed good-bye, and Seth promised to check on me later. Once he was gone, I set out to find my guardian angels.

Dutton, Donald G. Rethinking Domestic Violence. Essay

This book gives us the history about assault on spouses. Dutton talks of two major social phenomena that emerged in North American and the Western countries in Europe. Long and tedious struggle of women led their rights get recognized. It goes further to state the measures and incidences of violence including theories concerning women assault. The cycle of violence and people who possess abusive personalities are stated even assault on men.Ideas in this book are crucial for they teach about recognizing one another especially those who possess violent personalities. It is good for the society for it educates one to accept one’s rights and difference between marriage duties and rights. It also shows us that we can eliminate all odds in our society and try to make each and every person feel that he or she belongs to it fully without any intimidation or discrimination. Dutton’s ideas can be used to help those who possess abusive personality by attending psychiatrists and avoiding any abusive behavior. It can be used to educate spouses in a marriage so that they will evade future marriage problems. Also, in the current globalized world, the ideas in this book can help us socialize and live together in peace and harmony especially in the domestic setup. This book can help people who are married to other cultures to harmonize or leave those cultures and then live with the acceptance and respect of each other’s rights. Weiss, Elaine. Surviving Domestic Violence: Voices of Women Who Broke Free. Volcano: Volcano Press, 2004. Print. In this book, Surviving Domestic Violence: Voices of Women Who Broke Free, Weiss wrote about several stories of women who had been subjected to domestic violence. She got these stories by interviewing and later writing them down. The book talks of what they went through and how they later managed to escape it. It gives reasons as to why such incidences were happening. After escape, the women took a very long time finally to recover the psychological and wounds they got due to this violence. But also, some were yet to recover fully for the ordeal they went through changed their lives negatively. Those who managed to deal with stress after coming out say that they are stronger than ever. The different stories taught in this book are the true causes and effects of domestic related violence. They bring about what one goes through and how one feels while undergoing the violence. Also, it helps to understand what to do when such incidences happen. It also shows its effects and how they change one’s life, therefore, targeting those who abuse their partners. This book is a very good example as it shows us that those who have already freed themselves from the marital abuses can educate others like the youth and couples about domestic violence so that they refrain from them. The stories are very encouraging for they give people motivation to solve their problems and also how one can escape this. They can be used by those specialists in parental guidance and counseling to help them shape their marriage when such incidences are reported to them and even before couples get married. The ideas in this book can enable those undergoing abuses to get out and look for a better marriage partner. One only needs to accept that he or she is undergoing domestic violence and therefore if it cannot solve; one can boldly walk away and start life afresh. Marriage is not slavery, but it’s a path towards achieving your goals in life as one needs a partner who is willing to assist where possible so that they make all their dreams in life to happen. Abused Men: The Hidden Side of Domestic Violence Cook, Philip W. Abused Men: The Hidden Side of Domestic Violence. Westport: Praeger, 2009. Print. Phillip exposes how men goes through domestic violence silently. He talks of how real it is that men are going through domestic violence without the society suspecting. He brings several stories of men who have been undergoing through such violence from their wives for a long time. Then he goes further to give tips that can help one to find freedom from any form of abuse. He talks of resistance and acceptance for those who are abusing their spouses and how they come to realize that each and every person deserves respect. He also talks of new great approaches that can be used to reduce domestic violence. He then gives survey statistics of domestic violence in Canada and also how the relationship changes between the offenders to their victims. The story is helpful in realizing what some men undergo. It gives statistics of domestic violence that people are not ready to discuss. The society is helped to recognize men who are undergoing domestic abuses from their spouses. The statistics helps people to know how long they have been living with their friends undergoing abuses without even realizing it. It talks of acceptance that can help those who are yet to accept their spouse the way they are. It is helpful for it shows how much men can be subjected to torture with use of dangerous tools. Such tools include; knives, machetes and any other type of a life-threatening tool or machine so that one can force their partner to follow their commands. Philip’s ideas can be used to know the men who are undergoing abuses from their wives and enable us to help them come out of the problem. Also, it encourages courage especially those who are not courageous enough to come out and tell their ordeal to the society. This book can help men to free themselves away from any form of abuse and intimidation from their partners. This book is crucial as it can be used to tell the extent in which men undergo violence in real life situations. Men can also use this book to help them evade any other form of domestic violence against them and therefore reducing the number of men who die as a result of domestic violence. Howard, Louise, Louise Howard, Gene Feder, and Roxane Agnew-Davies. Domestic Violence and Mental Health. London: RCPsych Publications, 2013. Print. This book has been written collectively by different authors who specialize in domestic violence ideas. It is about prevalence and physical health impacts of domestic violence. It talks about types of abuses in marriage such as physical abuse, sexual abuse, psychological abuse and coercive control and also it questions them and gives clues on their solution. It also tackles the effects of a person’s psychology which is deeply affected even in the future that may not get them out of his mind. It stresses on the survival strategies to evade such abuses and also how one can control his or her mind to avoid damaging his or her psychology. In addition, it states the methods of interventions and responses people can take after or when you suspect any form of violence. Advice from professionals on domestic violence is also written down.This text has directives on what causes mental problems after abuse. It also gives us ways on how to control ourselves and maintain a state of calmnes s so as not disturb our stressed mind. It educates us on different forms of domestic violence. Different qualified professionals wrote it, and each field is well represented. It is an important text for it has the advices on domestic violence from professionals. The story in this book can help us to evade mental problems due to domestic abuses. It can also be used by psychiatrists to know what causes a certain mental disorder, and they can use the ideas here to enable their clients who are undergoing this problem to get out of it. It can also be used to educate couples so that when they are not in good terms to try to their best solve the problem before it gets out of hand. The advices written in this book can also apply in the same way to advice people especially those undergoing domestic violence depending on the cause and the kind of violence. Kubany, Edward S, Mari A. McCaig, and Janet R. Laconsay. Healing the Trauma of Domestic Violence: A Workbook for Women. Oakland: New Harbinger The book, Healing the Trauma of Domestic Violence: A Workbook for Women, is directed to those who have been freed from domestic violence and especially women. Due to violent domestic situations, one may develop post-traumatic stress disorders which are not easy to get out of one’s mind and can negatively affect that person. It aims at giving programs known as cognitive trauma therapy which one undergoes to help him or her come back to normal. It gives the techniques one can use them to help himself or herself by identifying any form of trauma and distress. And by so doing it can enable one to deal with it to help control and change his or her life. This book is targeting those who have been affected by domestic violence so that they come back to normal for those who were traumatized. It is an educational tool for the society to understand the devastating effects of wife battering. Therefore, it makes us even to identify those who are going through post-traumatic stress. It contains technics, and procedures one can follow so that they make him deal any results brought by domestic violence. It is also helpful as it helps chase out any fears one has due to what they went through during that horrifying period of domestic violence. Psychiatrists can use this book to help traumatized people by helping them to come back to normal. The ideas here can help us even to identify those going through stress in their marriage so that they help before it’s too late. Parents who are not in good terms can use this book to read and understand what one may go through if such incidences happen. The techniques in this book about dealing with trauma after violence can be used by psychiatrists to help clients who underwent this ordeal. Therefore, they identify what the form of trauma is, and this can help them to accordingly better their lives. It can also be used individually as one can remember well what went wrong in that marriage and helped them better their lives. References Cook, Philip W. Abused Men: The Hidden Side of Domestic Violence. Westport: Praeger,  2009. Print. Dutton, Donald G. Rethinking Domestic Violence. Vancouver: UBC Press,  2006. Print. Howard, Louise, Louise Howard, Gene Feder, and Roxane Agnew-Davies. Domestic Violence and Mental Health. London: RCPsych Publications,  2013. Print. Kubany, Edward S, Mari A. McCaig, and Janet R. Laconsay. Healing the Trauma of Domestic Violence: A Workbook for Women. Oakland: New Harbinger Weiss, Elaine. Surviving Domestic Violence: Voices of Women Who Broke Free. Volcano: Volcano Press,  2004. Print. Source document

The Psychologicat Effects of the Dust Bowl Essays

The Psychologicat Effects of the Dust Bowl Essays The Psychologicat Effects of the Dust Bowl Paper The Psychologicat Effects of the Dust Bowl Paper The Psychological Affects of the Dust Bowl The Dust Bowl was an added devastation accompanying the Great Depression. It lasted from 1930 to 1939 and is sometimes referred to as the â€Å"Dirty Thirties†. (Bonnifield) Lack of crop rotation and a heavy drought caused this trying time in American history. Over one third of the United States was swallowed up by dust storms with the concentration of storms being located in northern Texas, the panhandle of Oklahoma, the entire western half of Kansas, south east Colorado, and north east New Mexico. Gazit) One psychological affect experienced as a result of this great historic disaster must have been depression. With over a decade of soil misuse and a severe drought that started in 1930 the top soil virtually turned to dust and blew away with the wind. This catastrophe could have been adverted with the practice of crop rotation. Crop rotation is a technique that has been traced back to Roman times. This method prevents the buildup of pests and/or pathogens. A known occurrence when the same crop is used season after season. Specifically the rotation of deep rooted and shallow rooted crops would have helped to prevent this era in American history. This grave agricultural mistake served to devastate a large population of people. Because of the lack of top soil crops could not grow therefore farmers and their families became stricken with poverty. Soon after the dust started blowing away it created dust storms which their most fierce covered the sky and there was little to no visibility on the ground, even worse than a blizzard of today the storms were given the name â€Å"Black Blizzard† (Gazit). Entire farm machinery virtually disappeared under a blanket of dust deposits left behind by these storms. Even with the aid of relief programs from the federal government entire families still had to pick up and leave behind their land, homes, and way of life. Most of these families were referred to as â€Å"Okies† because the majority came from Oklahoma and nearly all headed west to California to escape the storms. (Ganzel) Meeting basic human needs was a day to day struggle. Because the vast majority of the families were poor they had little to no money for food often fought over food that they may have shared with others just years earlier. Another health concern during this time was the onset of dust pneumonia which is the disproportionate exposure to dust where as dust literally fills the lungs. (Cook) The condition was so common that several musicians wrote song with the most famous being Woody Guthrie’s â€Å"Dust Pneumonia Blues†. Lack of employment was another common trauma that could easily lead to depression. Having previously been able to provide food and a place of warmth and wellbeing was no longer possible for males and single mothers of the day. The conditions were so extreme families were sometimes encouraged to give their children to government agencies so they could be better cared for. Not only did the Dust Bowl affect farmers but also white collar and professional workers who now had to fend for themselves in conditions and livelihoods they were not accustomed to. J. D. Bilbro, a child of the Dust Bowl recalls being trapped within a dust storm during a day known as â€Å"Black Sunday†. He talks about how he, a friend, and their two sisters ran through the storm and it was â€Å"black as midnight, rolling and boiling along the earth like a runaway tidal wave†. (Westbrook) The Grapes of Wrath written in 1939 by John Steinbeck and published by The Viking Press is a fictional story about a family traveling across the country to California during the Dust Bowl just in hope to find jobs as fruit pickers. In preparation for writing the book Mr. Steinbeck traveled as a migrant worker for two years so that he could get a feel and understanding for how the people of this era felt and survived. Bio) In the PBS history series American Experience: Surviving the Dust Bowl in an interview conducted in 2009 with Margie Daniel-Hooker of Oklahoma, she says that even as a child she could tell her father was depressed. She says it was noticeable by the way he would just stare off into space. In the same series Mrs. Daniel-Hooker goes on to talk about her younger brother who had pneumonia three times. She speaks about how she believes her brother caught pneumonia every time due to the dust storms. Mrs. Daniel-Hooker recalls her mother giving her little brother a spoonful of medicine each night and how the both of them sat up all night with him. Then one time as her mother was giving him a spoonful of medicine he leaned back in her arms and died. She tells how her mother screamed and held him very tightly then goes on to talk about how she had many more children but after the loss of that one child was never the same again. Mrs. Daniel-Hooker spoke about how she cried herself to sleep for an extensive period and how she will never forgive herself for bringing home the Measles and how he caught them. She explains how one could overcome pneumonia but never pneumonia and measles coupled together. Both Mrs. Daniel-Hooker, and her mother suffered long term from these experiences. As with the beginning of national media photography showed and still shows today the affects the Dust Bowl had on America. Dorothea Lange was a photographer who worked for the Farm Security Administration to document the plight of the Dust Bowl and was made famous for six pictures (one in particular) she took of Florence Owens-Thompson. (Dunn) Although the pictures accurately depicted life during this era Mrs. Thompson said she was told the pictures that were taken of her would not be published. But Ms. Lange sent the pictures to the San Francisco News and the Resettlement Administration in the nation’s capital. The most well known was entitled â€Å"The Migrant Mother†. Over forty years later the nation was enlightened as to whom the Migrant Mother was. In December 2008 Mrs. Owens-Thompson’s daughter, Katherine who was also seen in the picture at an early age publicly said the picture shamed the family because it pointed out just how poor they were. Gutierrez) Although the famous photos did much for public awareness and government change, they disturbed the family members depicted for a lifetime. As a result of the Dust Bowl and complications of the Great Depression large numbers of families lives were drastically changed. Loss of homes, jobs, and poor healthcare would have encouraged psychological complications such as depression. The day to day struggle to meet basi c family needs and difficulties arising from trying to accomplish these tasks led many Dust Bowl sufferers to develop and suffer with this depraved mental state. About The Dust Bowl. Welcome to English  « Department of English, College of LAS, University of Illinois. N. p. , n. d. Web. 28 Nov. 2010. . Biography Page. Welcome to the Official Woody Guthrie Website. N. p. , n. d. Web. 28 Nov. 2010. . Bonnifield, Paul. â€Å"May, it seemed like the wind, and dirt had been blowing for an. 1930 Dust Bowl. cimarron county chamber of commerce. N. p. , n. d. Web. 28 Nov. 2010. . Cook, Ben, Ron Miller, and Richard Seager. Dust storms in the 1930s Dust Bowl. Lamont-Doherty Earth Observatory | . N. p. , n. d. Web. 28 Nov. 2010. . Drought in the Dust Bowl Years. Welcome to the National Drought Mitigation Center website!. N. p. , n. d. Web. 28 Nov. 2010. . Dunn, Geoffrey. New Times San Luis Obispo Cover Story Photographic license. Internet Archive: Wayback Machine. N. p. , n. d. Web. 28 Nov. 2010. . Freedman, Russell. Children of the Great Depression . New York: Clarion Books, 2005. Print. Ganzel, Bill. The Dust Bowl of the 1930s. The Wessels Living History Farm, the Story of Agricultural Innovation. N. p. , n. d. Web. 28 Nov. 2010. . Gazit, Chana. WGBH American Experience . Surviving the Dust Bowl . Complete Program Transcript | PBS. PBS: Public Broadcasting Service. N. p. , n. d. Web. 28 Nov. 2010. . Gerrig, Richard J. , and Philip G. Zimbardo. Psychology and life . 19th ed. Boston: Allyn Bacon, 2010. Print. Gutierrez, Thelma, and Wayne Drash CNN. Girl from iconic Great Depression photo: We were ashamed CNN. com. CNN. com Breaking News, U. S. , World, Weather, Entertainment Video News. N. p. , n. d. Web. 28 Nov. 2010. . Hariman, Robert, and John Louis Lucaites. No caption needed: iconic photographs, public culture, and liberal democracy. Chicago: University Of Chicago Press, 2007. Print. John Steinbeck Biography Biography. om. Biography. com. N. p. , n. d. Web. 28 Nov. 2010. . Popper, Deborah Epstein, and Frank J. Popper. Outstanding Articles. Internet Archive: Wayback Machine. N. p. , n. d. Web. 28 Nov. 2010. . RuneHQVideos. YouTube-Woody Guthrie Dust Bowl Blues . YouTube. N. p. , n. d. Web. 28 Nov. 2010. . Steinbeck, John. The grapes of wrath . New York: Viking Press, 1939. Print. s The Dust Bowl. United States History. N. p. , n. d. Web. 28 Nov. 2010. . WGBH American Experience . Surviving the Dust Bowl . Timeline | PBS. PBS: Public Broadcasting Service. N. p. , n. d. Web. 28 Nov. 2010. .

Definition and Examples of Distinctio in Rhetoric

Definition and Examples of Distinctio in Rhetoric Distinctio is a  rhetorical term for explicit references to the various meanings of a wordusually for the purpose of removing ambiguities. As Brendan McGuigan points out in Rhetorical Devices (2007), Distinctio allows you to tell your reader exactly what you mean to say. This sort of clarification can be the difference between your sentence being understood or being taken to mean something entirely different from what you intended. Examples and Observations: It depends upon what the meaning of the word is is. If is means is and never has been, thats one thing. If it means there is none, that was a completely true statement.(President Bill Clinton, Grand Jury testimony, 1998)Love:  [I]t would be a long while before I would come to understand the particular moral of the story.It would be a long while because, quite simply, I was in love with New York. I do not mean love in any colloquial way, I mean that I was in love with the city, the way you love the first person who ever touches you and never love anyone quite that same way again.(Joan Didion, Goodbye to All That. Slouching Towards Bethlehem, 1968)Envy:  Don Cognasso will tell you that this commandment prohibits envy, which is certainly an ugly thing. But theres bad envy, which is when your friend has a bicycle and you dont, and you hope he breaks his neck going down a hill, and theres good envy, which is when you want a bike like his and work your butt off to be able to buy one, a nd its good envy that makes the world go round. And then theres another envy, which is justice envy, which is when you cant see any reason that a few people have everything and others are dying of hunger. And if you feel this fine sort of envy, which is socialist envy, you get busy trying to make a world in which riches are better distributed.   (Umberto Eco, The Gorge. The New Yorker, 7 March 2005) Battlefields:  A significant proportion of the detainees held at Guantanamo were picked up far from anything remotely resembling a battlefield. Arrested in cities all over the world, they could only be deemed combatants if one accepts the Bush Administrations claim of a literal war on terrorism. . . . A review of these cases shows that the arresting officers are police, not soldiers, and that the places of arrest include private homes, airports and police stationsnot battlefields.  (Joanne Mariner, It All Depends on What You Mean by Battlefield. FindLaw, July 18, 2006)Sound:  Does a tree falling in the forest make a sound when no one is around to hear it?...Whether an unobserved falling tree makes a sound, then, depends on what you mean by sound. If you mean heard noise, then (squirrels and birds aside) the tree falls silently. If, in contrast, you mean something like distinctive spherical pattern of impact waves in the air, then, yes, the trees falling does make a sound. . . .   (John Heil, Philosophy of Mind: A Contemporary Introduction, 2nd ed. Routledge, 2004) Distinctio in Medieval Theology Distinction (distinctio) was a literary and analytical tool in scholastic theology that aided a theologian in his three basic tasks of lecturing, disputing, and preaching. In classical rhetoric a distinction referred to a section or unit of a text, and this was the most common usage in medieval theology as well. . . .Other forms of distinction were attempts to examine the complexity of certain concepts or terms. The famous distinctions between credere in Deum, credere Deum, and credere Deo reflect the scholastic desire to examine fully the meaning of Christian belief. The propensity to introduce distinctions at almost every stage of argument left medieval theologians open to the charge that they were often divorced from reality since they resolved theological issues (including pastoral problems) in abstract terms. A more severe critique was that employing a distinction assumed that the theologian already had all the data necessary at his fingertips. New information was not needed to resolve a new problem; rather, the distinction apparently gave a theologian a method for only reorganizing the accepted tradition in a new logical manner.​  (James R. Ginther, The Westminster Handbook to Medieval Theology. Westminster John Knox Press, 2009) Pronunciation: dis-TINK-tee-o Etymology From the Latin, distinguishing, distinction, difference

Mastering the Art of Dialogue - Freewrite Store

Mastering the Art of Dialogue - Freewrite Store Some writers find that producing authentic-sounding dialogue comes naturally to them. For a much larger majority, however, mastering the art of dialogue is something that takes a lot of time, effort and experimentation. Even if you find it easy to write passages of dialogue, that doesn’t mean that you’re getting it right. There’s more to mastering dialogue than being able to fill page after page with your characters’ conversations. That’s a lesson that I learned the hard way. I wasn’t fazed by writing dialogue - in fact, I actually enjoyed it - but I didn’t get the balance right, and my writing suffered as a result. My first novels and short stories were full of long passages of, well, meaningless dialogue that didn’t really move the story along. When I went back, several years later, to rewrite those initial books, I cut one manuscript from 120,000 words to 89,000 words, just by tightening up my dialogue. In this article, part of a series on developing and strengthening your writing techniques, we’re going to be looking at 3 of the common dialogue mistakes that writers make and discovering how you can master the art of dialogue by practicing 3 (relatively) simple methods. I can’t promise to make you love writing dialogue, but I can help you to exercise your dialogue-writing muscles in a productive way. Why is it So Important to Get Your Dialogue Right? Dialogue plays a huge role in your writing, so if you’re not getting it right, then you’re less likely to be succeeding as an author. Readers are picky creatures, and they notice things like badly-written dialogue or dialogue that isn’t effective. As writers, we’re slaves to the wants, needs, and desires of our readers, so it’s not like we can just expect them to accept that we have our own way of writing dialogue. If they don’t like our dialogue, they won’t be back - and they’ll probably leave scathing reviews about how disappointed they are. That’s the worst-case scenario, of course, and there are different degrees of bad dialogue (which cause anything from mild annoyance to outright outrage in our readers). The thing you need to understand is that dialogue serves so many functions in a novel that getting it wrong can have a huge impact. In a novel dialogue: Reveals emotion Breaks up the narrative Moves the story along Reveals character traits Do You Make These 3 Dialogue-Writing Mistakes? There are more than three dialogue-writing mistakes that you can make, but these are both the most common and the most problematic. Try to be hyperaware of these mistakes, so you can catch yourself in the act of making them and avoid a lot of editing later. #1 Letting Grammar Rules Rob Your Dialogue of Authenticity When I was in school, I didn’t learn grammar rules. I was born in the United Kingdom, and at the time there was a theory that children didn’t need to be taught the rules of grammar. I’ve no idea why that was the case, but my earliest stories weren’t hindered by worries about grammar. Then I studied English Language and grammar made its bold entrance into my writing. It wasn’t all bad. Some things improved. Unfortunately, my dialogue wasn’t one of them. I’ve discovered that being a stickler for grammar rules only leads to one thing in dialogue: inauthenticity. When I was shackled by grammar rules, my dialogue became formal and unnatural. Like this: Ashley set her handbag down on the dresser. â€Å"Good evening, Martin,† she said. â€Å"Good evening, Ashley,† Martin replied. â€Å"I must inform you that Mrs. Edmundson telephoned during your absence. It was requested that you return the call at your earliest convenience.† Now, there may be instances when it’s okay to use this kind of dialogue - if it portrays character traits, for example, but as a rule of thumb, in dialogue, you don’t need to stick to grammar rules 100%. Your sentences still need to make sense, but people don’t strictly adhere to grammar rules when they talk, so neither should your dialogue. Ashley dumped her bag on the dresser. â€Å"Hey, Martin,’ she called as she walked into the kitchen. ‘Hi, honey,† Martin said, looking up from his laptop. â€Å"Your Mom called while you were out; said can you give her a call back?† Doesn’t this sound way more realistic? #2 Using Dialogue to Explain Back Story in an Obvious Way Every time I see this in a novel, I cringe. I get why authors make this mistake, and I’m probably guilty of doing it myself. Using dialogue to explain back story or offer important facts that the reader needs to know is really common, but for readers, it’s just, well, wrong.Let’s look at an example: â€Å"As you know, Matt, we’ve been researching this aspect of our family history for ten years now,† Theo began. â€Å"Yes, that’s right, Theo. We got started when we had to do a project when we were at high school, didn’t we? It’s been quite an adventure! We’ve discovered some really scandalous things back in the 1700s.† â€Å"I know!† Theo replied, chuckling. â€Å"But, now we can do the Ancestry DNA and find out even more. I sent for the kit last week and it arrived this morning.† There’s nothing natural about this exchange. The characters clearly know all these things so there’s no reason why they’d need to tell each other the details - it’s purely for the readers’ benefit, and that is quite jarring. If you really must convey some backstory in dialogue (though there are lots of other ways to explain your backstory in a creative fashion), then you need to ensure that the conversation sounds more natural. Like this: Theo grabbed the Ancestry DNA kit off the counter and spun round to face his brother. â€Å"Hey, Matt, what’s your favorite thing that we’ve found out about the family history?† he asked. Matt thought for a moment. â€Å"I dunno. There’s so much scandal to choose from,† he replied. â€Å"But I guess it’d be the baby being left on the steps of the church. I mean, that’s what got us hooked on the whole family history stuff.† â€Å"Yeah,† Theo agreed. â€Å"I can’t believe we’ve been investigating this stuff for ten years! It’s like some weird addiction.† â€Å"Better to be addicted to research than the kind of stuff that the other kids who did the same project in high school got addicted to,† Matt said, sighing. â€Å"You heard that Johnny OD’d last week?† Conveying backstory in this way makes the conversation sound more natural and authentic, and it’s not an obvious dump of back story into a dialogue exchange between characters. #3 Overusing Character Names This is one of my pet peeves when I’m reading a novel. It interrupts the flow and makes dialogue sound really unnatural. Take this for an example: â€Å"Hey Dominic, how're things going?† â€Å"Not bad, Alex. How about you?† â€Å"Oh, everything’s going fine, Dominic. Are you still working at the same place?† â€Å"Yes, Alex. I’ve been working there for ten years now. I heard you’d moved up the career ladder.† â€Å"You heard right, Dominic! Got myself a promotion last year, and I’m in the running for another one this year, too.† Think about the conversations you have on a daily basis. Do you use the other person’s name in every question you ask or response you make? I’m going to take a wild guess and assume that you don’t. It’s not natural. Once, maybe, but not in every turn as this example shows. It just sounds weird - and although I get that you might try this technique to avoid overusing dialogue tags, just don’t do it. Please. There are much better ways of structuring your dialogue without dialogue tags that don’t make you resort to writing such artificial dialogue. Make Dialogue-Writing Your Superpower: 3 Methods You Need to Deploy Becoming a dialogue-writing superstar isn’t tremendously difficult. It just requires that you change the way you approach writing scenes of dialogue. These 3 methods have helped me improve my dialogue skills - and they can help you, too. #1 Record Real-Life Conversations As a Reference We have conversations with people all the time, but unless you’ve got some kind of memory superpower, it’s unlikely that you remember exactly how the conversations pan out. We remember the gist of conversations, and maybe certain phrases, but conversation is so common that it’s not something we’re likely to remember verbatim. It can be really helpful to have recordings of real-life conversations that you can refer to when you’re writing. This can help make your dialogue sound natural, and can also help with working with dialogue styles and how the way people speak can convey aspects of their character. A word of warning, though. Never, ever record a conversation with someone without asking their permission first. Tell them why you’re recording, and if they’ve got reservations, just don’t record the conversation. Recording your interactions with people without their knowledge can get you into trouble, and it’s really not worth the risk. It’s likely that you’ll have plenty of people who won’t have issues with you recording - it’s just important to be transparent about it. #2 Don’t Strive to Be 100% Realistic I started out trying to make my dialogue realistic, and while I pretty much succeeded in doing that, it wasn’t the best way to approach dialogue. You see, realistic dialogue is full of†¦ well, fluff. We have conversations with people that go off on tangents, are packed with small talk and sentences that kind of trail off. Humans interrupt each other, don’t always use the most concise means of explaining themselves, and often stammer or spend time searching for the right word. If you put all of that in your novel, you’ll absolutely be creating 100% realistic dialogue, but you’ll leave your readers confused, frustrated, or simply running for the hills and vowing never to read anything you write ever again. Okay, that last one is a bit over-dramatic, but it’s how I feel when I read books with â€Å"realistic† dialogue (even though I’m guilty of doing it myself!). Of course, while your dialogue shouldn’t be 100% realistic, you need to get the right amount of realism into your dialogue. It’s a delicate balancing act between too much realism and too little. You still need to incorporate a certain amount of aspects of real human speech, or your dialogue won’t sound natural. If that sounds like trying to navigate a minefield while blindfolded, here are some tips to help you get the balance right in your dialogue: Read your dialogue aloud as you write it. This enables you to notice how the exchanges sound, and you’ll notice if it sounds stilted, contrived or unnatural in any way. You can identify passages of dialogue that don’t flow well, and you may also find yourself tripping over words - which is a big indicator that your dialogue is not as natural as you’d like it to be (or, maybe, if it’s a thick dialect, too realistic). Give your characters different speech patterns - and don’t be afraid to steal these from people you know. Having your characters speak in a certain way - using certain words, dialect aspects and so on - that you’re familiar with makes it easier to create the right amount of realism. Have your characters interrupt each other or trail off in what they’re saying.Be cautious with this one, and use it sparingly. It creates realism, but if you use it too much, you’re going to start annoying your readers. Be careful with accents and dialects. While accents and dialects play a big part in creating distinctive speech patterns for your characters, don’t go overboard with this. It’s okay to have your characters to use some dialect words, but if you have a character with a thick accent, and you convey this in dialogue, it can get†¦ messy. Establish that your character has an accent or dialect, but don’t let this make your dialogue passages confusing or unreadable. #3 Working With Dialogue Tags and Action Beats Dialogue tags (he said, she said and so on) can become intrusive in passages of dialogue if they’re not used in the right way, but they’re also necessary to help readers know who’s saying what. Beginners to the craft of writing often fall into the trap of trying to avoid using ‘said’ all the time, by coming up with all kinds of creative ways of using dialogue tags. There’s nothing wrong with ‘said’, and, in fact, it’s one of the least intrusive of all dialogue tags. You can use other dialogue tags, of course, and it’s a good idea to use other verbs to attribute dialogue occasionally. Readers are so familiar with the word ‘said’ that actually they don’t really pay it much attention - like words such as ‘the’ and ‘and’. One thing that you should avoid when you’re writing dialogue is using adverb dialogue tags. Adverb dialogue tags are those such as ‘she said angrily’, or ‘he muttered grumpily’. Adverb tags are all too common in fiction - and while readers don’t particularly hate them, they’re actually a sign of a lazy writer. What I mean is that using a tag like ‘she said angrily’ is a cheat - you’re telling your readers that your character is angry without taking the effort to use your character’s words to show that they’re angry. You can show it in their actions, too. Just don’t cheat by resorting to the adverb tag. That brings us onto action beats. Action beats are the parts in your sections of dialogue where you describe things like facial expressions, gestures and (sparingly) your characters’ thoughts. It’s good practice to use action beats in your dialogue to avoid having monotonous ‘he said/she said’ tags. Let’s look at an example: Without action beats: â€Å"The hospital called me today,† Becca said. â€Å"What did they say?† Michael said. â€Å"The results came back,† Becca said. â€Å"My counts are back to normal!† â€Å"That’s wonderful news!† Michael said. With action beats: Becca took a deep breath and turned to face her husband. â€Å"The hospital called.† â€Å"And?† Michael froze with a glass of water halfway to his lips. â€Å"The results are in - and my counts are back to normal!† â€Å"Oh, thank God!† Michael set the glass down on the counter and threw his arms around his wife. Action beats give much more impact to your passages of dialogue and can be used to convey all kinds of emotions, responses and so on. Try it out on some existing passages of dialogue and see for yourself what a difference it makes. Becoming a Master of the Art of Dialogue You won’t always get your dialogue right. Even when you’re a master of dialogue-writing, you’re still going to slip up sometimes. Even the biggest names in the fiction-writing world do that sometimes. You can, however, continue to exercise your dialogue-writing muscles so that you don’t have to think so hard about structuring and constructing your dialogue as you’re writing. Over time, it will become more natural to write authentic and effective dialogue. You’ll make fewer mistakes, use dialogue tags in the right way, and your readers will appreciate the effort that you’ve put into honing your craft as a writer. What are you waiting for? Start practicing the art of writing kick-ass dialogue! Mastering the Art of Dialogue - Freewrite Store Some writers find that producing authentic-sounding dialogue comes naturally to them. For a much larger majority, however, mastering the art of dialogue is something that takes a lot of time, effort and experimentation. Even if you find it easy to write passages of dialogue, that doesn’t mean that you’re getting it right. There’s more to mastering dialogue than being able to fill page after page with your characters’ conversations. That’s a lesson that I learned the hard way. I wasn’t fazed by writing dialogue - in fact, I actually enjoyed it - but I didn’t get the balance right, and my writing suffered as a result. My first novels and short stories were full of long passages of, well, meaningless dialogue that didn’t really move the story along. When I went back, several years later, to rewrite those initial books, I cut one manuscript from 120,000 words to 89,000 words, just by tightening up my dialogue. In this article, part of a series on developing and strengthening your writing techniques, we’re going to be looking at 3 of the common dialogue mistakes that writers make and discovering how you can master the art of dialogue by practicing 3 (relatively) simple methods. I can’t promise to make you love writing dialogue, but I can help you to exercise your dialogue-writing muscles in a productive way. Why is it So Important to Get Your Dialogue Right? Dialogue plays a huge role in your writing, so if you’re not getting it right, then you’re less likely to be succeeding as an author. Readers are picky creatures, and they notice things like badly-written dialogue or dialogue that isn’t effective. As writers, we’re slaves to the wants, needs, and desires of our readers, so it’s not like we can just expect them to accept that we have our own way of writing dialogue. If they don’t like our dialogue, they won’t be back - and they’ll probably leave scathing reviews about how disappointed they are. That’s the worst-case scenario, of course, and there are different degrees of bad dialogue (which cause anything from mild annoyance to outright outrage in our readers). The thing you need to understand is that dialogue serves so many functions in a novel that getting it wrong can have a huge impact. In a novel dialogue: Reveals emotion Breaks up the narrative Moves the story along Reveals character traits Do You Make These 3 Dialogue-Writing Mistakes? There are more than three dialogue-writing mistakes that you can make, but these are both the most common and the most problematic. Try to be hyperaware of these mistakes, so you can catch yourself in the act of making them and avoid a lot of editing later. #1 Letting Grammar Rules Rob Your Dialogue of Authenticity When I was in school, I didn’t learn grammar rules. I was born in the United Kingdom, and at the time there was a theory that children didn’t need to be taught the rules of grammar. I’ve no idea why that was the case, but my earliest stories weren’t hindered by worries about grammar. Then I studied English Language and grammar made its bold entrance into my writing. It wasn’t all bad. Some things improved. Unfortunately, my dialogue wasn’t one of them. I’ve discovered that being a stickler for grammar rules only leads to one thing in dialogue: inauthenticity. When I was shackled by grammar rules, my dialogue became formal and unnatural. Like this: Ashley set her handbag down on the dresser. â€Å"Good evening, Martin,† she said. â€Å"Good evening, Ashley,† Martin replied. â€Å"I must inform you that Mrs. Edmundson telephoned during your absence. It was requested that you return the call at your earliest convenience.† Now, there may be instances when it’s okay to use this kind of dialogue - if it portrays character traits, for example, but as a rule of thumb, in dialogue, you don’t need to stick to grammar rules 100%. Your sentences still need to make sense, but people don’t strictly adhere to grammar rules when they talk, so neither should your dialogue. Ashley dumped her bag on the dresser. â€Å"Hey, Martin,’ she called as she walked into the kitchen. ‘Hi, honey,† Martin said, looking up from his laptop. â€Å"Your Mom called while you were out; said can you give her a call back?† Doesn’t this sound way more realistic? #2 Using Dialogue to Explain Back Story in an Obvious Way Every time I see this in a novel, I cringe. I get why authors make this mistake, and I’m probably guilty of doing it myself. Using dialogue to explain back story or offer important facts that the reader needs to know is really common, but for readers, it’s just, well, wrong.Let’s look at an example: â€Å"As you know, Matt, we’ve been researching this aspect of our family history for ten years now,† Theo began. â€Å"Yes, that’s right, Theo. We got started when we had to do a project when we were at high school, didn’t we? It’s been quite an adventure! We’ve discovered some really scandalous things back in the 1700s.† â€Å"I know!† Theo replied, chuckling. â€Å"But, now we can do the Ancestry DNA and find out even more. I sent for the kit last week and it arrived this morning.† There’s nothing natural about this exchange. The characters clearly know all these things so there’s no reason why they’d need to tell each other the details - it’s purely for the readers’ benefit, and that is quite jarring. If you really must convey some backstory in dialogue (though there are lots of other ways to explain your backstory in a creative fashion), then you need to ensure that the conversation sounds more natural. Like this: Theo grabbed the Ancestry DNA kit off the counter and spun round to face his brother. â€Å"Hey, Matt, what’s your favorite thing that we’ve found out about the family history?† he asked. Matt thought for a moment. â€Å"I dunno. There’s so much scandal to choose from,† he replied. â€Å"But I guess it’d be the baby being left on the steps of the church. I mean, that’s what got us hooked on the whole family history stuff.† â€Å"Yeah,† Theo agreed. â€Å"I can’t believe we’ve been investigating this stuff for ten years! It’s like some weird addiction.† â€Å"Better to be addicted to research than the kind of stuff that the other kids who did the same project in high school got addicted to,† Matt said, sighing. â€Å"You heard that Johnny OD’d last week?† Conveying backstory in this way makes the conversation sound more natural and authentic, and it’s not an obvious dump of back story into a dialogue exchange between characters. #3 Overusing Character Names This is one of my pet peeves when I’m reading a novel. It interrupts the flow and makes dialogue sound really unnatural. Take this for an example: â€Å"Hey Dominic, how're things going?† â€Å"Not bad, Alex. How about you?† â€Å"Oh, everything’s going fine, Dominic. Are you still working at the same place?† â€Å"Yes, Alex. I’ve been working there for ten years now. I heard you’d moved up the career ladder.† â€Å"You heard right, Dominic! Got myself a promotion last year, and I’m in the running for another one this year, too.† Think about the conversations you have on a daily basis. Do you use the other person’s name in every question you ask or response you make? I’m going to take a wild guess and assume that you don’t. It’s not natural. Once, maybe, but not in every turn as this example shows. It just sounds weird - and although I get that you might try this technique to avoid overusing dialogue tags, just don’t do it. Please. There are much better ways of structuring your dialogue without dialogue tags that don’t make you resort to writing such artificial dialogue. Make Dialogue-Writing Your Superpower: 3 Methods You Need to Deploy Becoming a dialogue-writing superstar isn’t tremendously difficult. It just requires that you change the way you approach writing scenes of dialogue. These 3 methods have helped me improve my dialogue skills - and they can help you, too. #1 Record Real-Life Conversations As a Reference We have conversations with people all the time, but unless you’ve got some kind of memory superpower, it’s unlikely that you remember exactly how the conversations pan out. We remember the gist of conversations, and maybe certain phrases, but conversation is so common that it’s not something we’re likely to remember verbatim. It can be really helpful to have recordings of real-life conversations that you can refer to when you’re writing. This can help make your dialogue sound natural, and can also help with working with dialogue styles and how the way people speak can convey aspects of their character. A word of warning, though. Never, ever record a conversation with someone without asking their permission first. Tell them why you’re recording, and if they’ve got reservations, just don’t record the conversation. Recording your interactions with people without their knowledge can get you into trouble, and it’s really not worth the risk. It’s likely that you’ll have plenty of people who won’t have issues with you recording - it’s just important to be transparent about it. #2 Don’t Strive to Be 100% Realistic I started out trying to make my dialogue realistic, and while I pretty much succeeded in doing that, it wasn’t the best way to approach dialogue. You see, realistic dialogue is full of†¦ well, fluff. We have conversations with people that go off on tangents, are packed with small talk and sentences that kind of trail off. Humans interrupt each other, don’t always use the most concise means of explaining themselves, and often stammer or spend time searching for the right word. If you put all of that in your novel, you’ll absolutely be creating 100% realistic dialogue, but you’ll leave your readers confused, frustrated, or simply running for the hills and vowing never to read anything you write ever again. Okay, that last one is a bit over-dramatic, but it’s how I feel when I read books with â€Å"realistic† dialogue (even though I’m guilty of doing it myself!). Of course, while your dialogue shouldn’t be 100% realistic, you need to get the right amount of realism into your dialogue. It’s a delicate balancing act between too much realism and too little. You still need to incorporate a certain amount of aspects of real human speech, or your dialogue won’t sound natural. If that sounds like trying to navigate a minefield while blindfolded, here are some tips to help you get the balance right in your dialogue: Read your dialogue aloud as you write it. This enables you to notice how the exchanges sound, and you’ll notice if it sounds stilted, contrived or unnatural in any way. You can identify passages of dialogue that don’t flow well, and you may also find yourself tripping over words - which is a big indicator that your dialogue is not as natural as you’d like it to be (or, maybe, if it’s a thick dialect, too realistic). Give your characters different speech patterns - and don’t be afraid to steal these from people you know. Having your characters speak in a certain way - using certain words, dialect aspects and so on - that you’re familiar with makes it easier to create the right amount of realism. Have your characters interrupt each other or trail off in what they’re saying.Be cautious with this one, and use it sparingly. It creates realism, but if you use it too much, you’re going to start annoying your readers. Be careful with accents and dialects. While accents and dialects play a big part in creating distinctive speech patterns for your characters, don’t go overboard with this. It’s okay to have your characters to use some dialect words, but if you have a character with a thick accent, and you convey this in dialogue, it can get†¦ messy. Establish that your character has an accent or dialect, but don’t let this make your dialogue passages confusing or unreadable. #3 Working With Dialogue Tags and Action Beats Dialogue tags (he said, she said and so on) can become intrusive in passages of dialogue if they’re not used in the right way, but they’re also necessary to help readers know who’s saying what. Beginners to the craft of writing often fall into the trap of trying to avoid using ‘said’ all the time, by coming up with all kinds of creative ways of using dialogue tags. There’s nothing wrong with ‘said’, and, in fact, it’s one of the least intrusive of all dialogue tags. You can use other dialogue tags, of course, and it’s a good idea to use other verbs to attribute dialogue occasionally. Readers are so familiar with the word ‘said’ that actually they don’t really pay it much attention - like words such as ‘the’ and ‘and’. One thing that you should avoid when you’re writing dialogue is using adverb dialogue tags. Adverb dialogue tags are those such as ‘she said angrily’, or ‘he muttered grumpily’. Adverb tags are all too common in fiction - and while readers don’t particularly hate them, they’re actually a sign of a lazy writer. What I mean is that using a tag like ‘she said angrily’ is a cheat - you’re telling your readers that your character is angry without taking the effort to use your character’s words to show that they’re angry. You can show it in their actions, too. Just don’t cheat by resorting to the adverb tag. That brings us onto action beats. Action beats are the parts in your sections of dialogue where you describe things like facial expressions, gestures and (sparingly) your characters’ thoughts. It’s good practice to use action beats in your dialogue to avoid having monotonous ‘he said/she said’ tags. Let’s look at an example: Without action beats: â€Å"The hospital called me today,† Becca said. â€Å"What did they say?† Michael said. â€Å"The results came back,† Becca said. â€Å"My counts are back to normal!† â€Å"That’s wonderful news!† Michael said. With action beats: Becca took a deep breath and turned to face her husband. â€Å"The hospital called.† â€Å"And?† Michael froze with a glass of water halfway to his lips. â€Å"The results are in - and my counts are back to normal!† â€Å"Oh, thank God!† Michael set the glass down on the counter and threw his arms around his wife. Action beats give much more impact to your passages of dialogue and can be used to convey all kinds of emotions, responses and so on. Try it out on some existing passages of dialogue and see for yourself what a difference it makes. Becoming a Master of the Art of Dialogue You won’t always get your dialogue right. Even when you’re a master of dialogue-writing, you’re still going to slip up sometimes. Even the biggest names in the fiction-writing world do that sometimes. You can, however, continue to exercise your dialogue-writing muscles so that you don’t have to think so hard about structuring and constructing your dialogue as you’re writing. Over time, it will become more natural to write authentic and effective dialogue. You’ll make fewer mistakes, use dialogue tags in the right way, and your readers will appreciate the effort that you’ve put into honing your craft as a writer. What are you waiting for? Start practicing the art of writing kick-ass dialogue!

Colorado Plateau Essay Example | Topics and Well Written Essays - 250 words - 2

Colorado Plateau - Essay Example Colorado plateau covers an area of 140,000 square miles and it extends in four states of USA i.e. Utah, Colorado, Arizona and New Mexico. River Colorado drains this area. It is unique as it has very less vegetation cover so whole rock strata are exposed as a rare example. Another interesting fact is that Colorado Squawfish is nearly six feet in length. Before I started reading this book, I had all this prior knowledge about Colorado topography and Geology, but never in my life had I paid attention towards the social life fabric in Colorado. The book thus linked my knowledge of Geography and Geology to sociology and the study of culture and history of this region. The experience of reading this book differs a bit from the reality. In the present day Colorado, in comparison, a lot of the things have changed. The way of living of people from Colorado has changed a lot over the passage of last few decades. The book mentions the era of late 19th century when America as a whole and Colorado region in particular was dependent upon primary economic activities. When I looked it up on the internet to find some interesting pictures of the region, I realized that life has changed a lot in this region by now. The beauty of Colorado plateau has always attracted me. Having a natural love for nature and especially of the rugged look and interesting Geology of this region, the book attracted me a lot. It is a land of exceptional wild beauty. High relief and less vegetation cover due to arid climate is the prominent feature of this area. Most of the rock structure of Colorado plateau is made up of sedimentary rocks. Sedimentary rocks are mostly formed under sea water. It means that Colorado plateau was formed due to upliftment about 15 million years ago. Weathering by wind and erosion by fast moving water has resulted in the distinctive topography of this plateau. With my interest in Geology and topography of the

The Concept of Knowledge Management Research Paper

The Concept of Knowledge Management - Research Paper Example This research will begin with the statement that knowledge management refers to the process that organizations often use to capture, develop, share, and utilize the employees’ knowledge capital at all levels of the organization effectively. Organizational learning through knowledge management is a significant source of an organizational competitive advantage since multinational corporates must compete within complex and constantly shift business environments. Organizations can leverage knowledge management in their strategic operations, to make more informed decisions concerning how to organize their value chain operations to maximize customer satisfaction. Knowledge management enables organizations to improve their processes in terms of effectiveness, efficiency, as well as innovativeness, in the creation of value in form of quality products and services for customers. Avoiding wastage, sharing relevant best practices, and conducting corporate learning programs are ways throu gh which the firm can apply knowledge management systems in the sales, marketing, manufacturing, and production processes. Key challenges in the establishment of knowledge management systems within the organizations’ operational structure include the problem of acquiring, modeling, and retrieving, reusing, and publishing, as well as maintaining knowledge. Organizations today are continuously faced with a rapidly shifting global business environment, partly due to globalization and the fast-changing technological advancements, which prompts the need for leadership to respond fast to the increasing complexity and uncertainty. Enhancing the effectiveness and efficiency of organizational operations is positively correlated to the overall performance of the firm, and ultimately to the establishment of sustainable profitability and sustainability in the end. Organizations are increasingly adopting a knowledge-learning stance as their strategic approach to alleviating the numerous c hallenges in their operation chains, to achieve their objectives effectively and efficiently.

Call to action Essay Example | Topics and Well Written Essays - 1500 words

Call to action - Essay Example ‘Fracking’ also known as hydraulic fracturing is a process of fracturing rock by injecting fluids into dikes or Cracks. Sands is mixed with water and various chemicals and injected at high pressure to create small fractures in a wellbore. This causes fluids containing petroleum, gas and other minerals to move to the well. The technique has been used in most countries with coal seam gas, tight oil, shale gas, and tight gas. Through hydraulic fracturing, countries with oil deposits have acquired maximum extractions from the wells leading to economic stability. The process can lead to extraction of rich hydrocarbons, which could be hard to extract in other ways. Due the internationals widespread success of fracking, most of the countries are adopting this method. This has led to the development of new rules and regulations. In the United States, the EPA ensures these laws are enforced. Additionally, the procedure has had its disadvantages. Most of these are environmental im pacts such as contamination of ground water. During the fracking process, chemical are mixed with water and injected into dikes. These dikes may be connected or have underground channels that lead the chemicals to the water table hence causing contamination. It leads to depletion of fresh ground water. There is also presence of poisonous gases which are being released into the atmosphere during the process. Noise pollutions also caused by pumps providing the hydraulic pressure needed to inject water into the cracks. Most of these impacts have harmful effects to human health. Due to the negative impacts, the process is under international scrutiny. Laws and regulations have been put in place to regulate the level of pollution to the environment. Some countries have employed total bans to prevent fracking while others have set up regulations to help standardize the process. Drilling licenses in the United States of America are being issued on a contract with set rules and regulations that have to be followed during hydraulic fracturing. Grants to improve technology Financial institutions and the Congress should provide grants to help improve technology used in most of the E.P.A laboratories. This will indirectly help in conserving the environment since the laboratories are used to carry out tests. Financial institutions include banks, microfinance organizations and other global organizations such as the World Bank and European Union. Additionally, grants should also be issued to other research institutions provide funds to set up laboratories and pay researches. Extreme research will help scientists and environmentalists to come up with better ways of oil drilling. They may also come up with new ideas on the type of chemicals used leading to the use of environment friendly chemicals. The type of technology used in fracking may be improved because of increased research. Research will help in brainstorming and attainment of new ideas and innovations. Petroleum eng ineers discovered the fracking process in the 1940s. They there is the need to come up with other processes that are environmental friendly. To achieve grants, oil-drilling investors will have to establish project proposals on the type of projects and processes used. Signing of contracts will lead to issuing of string-attached grants. There should also be nationwide campaigns to cause awareness of the impacts of hydraulic fractur

Analyse article Essay Example | Topics and Well Written Essays - 250 words

Analyse article - Essay Example Furthermore, the article points out that oceans absorbs more carbon dioxide thus making it more acidic which erodes the skeletal structure of the corals. Consequently, these factors have led to loss of 27% of the coral reefs and an estimated 60% could be lost in 30 years. Accordingly, the article points out that when these corals are exposed to acidity conditions, or pollution, zooxanthellae and other microscopic algae in the process referred to as â€Å"coral bleaching† (Vallery 2015).These microscopic algae alongside the zooxanthellae are responsible for the production of oxygen, food and the beautiful rainbow colors that have made human beings to fall in love with the corals. Similarly, coral reefs usually plays a significant part in terms of ensuring that the aquatic system stays healthy and therefore it is important that coral reefs be preserved. Sadly, the article points out that loss of coral reefs would lead to up to 25% of the loss of the total biodiversity of the aquatic and marine life. Furthermore, this loss would lead to the extinction of various marine animals consequently affecting the global ecosystem. Quite surprisingly however, the article points out that the loss of coral reefs can be avoided. The article illustrates that a scientific study found that 12 out of 21coral reefs were able to recover as a result of the coral bleaching process. In a nutshell, the article talks about the importance of coral reefs in the overall ecosystem, whilst airing the concern that it has continued to face depletion. Therefore, the article campaigns towards the reduction in the amount of loss of the coral reefs, in order to realize a healthy ecosystem. People are therefore faced with the responsibility to ensure that coral reefs are given the chance to survive. This can be achieved through minimization of human actions such as overfishing, releasing carbon dioxide and other