Our Planet Needs Genetically Modified Foods :: GMOs, Genetically Modified Crops

Our Planet Needs Genetically Modified Foods Throughout the advancing technology of today, the human culture is becoming futuristic with science and all of its components. Genetically modifying foods presents positive opportunities in agriculture and human health. Furthermore, more scientifically advanced modifications that select genetically superior plants, have enhanced the yield of crops, improved storability, and increased disease resistance. To simply remove genes from one organism and transfer them to another is generally harmless if we take appropriate precautions. This often debated issue holds many objections. Moreover, one may claim that modifying genes at all is unnatural and evaluates a sufficient risk to many different organisms and species. However, the current technology we possess provides us with the capabilities to go beyond our limits. Why draw the line here? Genetically modifying foods presents positive and beneficial opportunities. In most cases, we are not eating those genes. By the time a genetically engineered corn plant has been processed into corn oil, virtually none of the genes or the proteins they produce are left in the food (Nutrition Action Healthletter, 2001). Transferring genes from one plant or animal to another provides an advantageous outcome to this production. A better resistance to weeds, pests, and diseases is produced as well as better yield and a more efficient use of land. Additionally, altering genetics in foods contributes to a better texture, flavour, and nutritional value of a product. Therefore, there is a longer shelf life and less herbicide or other chemicals are used in the production of genetically modified foods, which provides a healthier option and an increased selection for the consumer. Biotechnology is going to help solve problems that we face going into the next century such as reduction of allergi es, development of more nutritious foods, and an increased nutritional production to feed a growing population (McLaughlin, 1999). Subsequently, changing one or two genes does not make a foodstuff unacceptable. Religious and vegetarian groups would object to genes from some species, while adequate protection can be given with labelling the product. Ethically, one may argue that it is radically useless to modify foods genetically or that agriculture is already too technological and it will only progress more negatively. However, it is likely that increasing numbers of genetically modified foods will emerge in the near future with more variety of modifications and associated benefits. Generally, genetically modified foods will affect the lives of most people in the areas of food, medicine and environmental protection as it meets the modern technology of today.

Shipping

This has Included the level of effort and costs associated with several courses of actions. I have also considered our obligations both legally and morally to our customer and our future customer. Our business has always held Itself and Its products to the highest quality standards and our customers in turn have rewarded us with continued trust and business. Our reputation and image should be a considering factor with any course of action that we take. I have carefully considered possible options and have identified three viable capabilities which would keep our reputation intact and provide the service our customers have come to expect.We can remake the whistle in question and repackage the entire collection; remove the whistle and ship the collection with a replacement of similar or higher value from our catalogue; keep the whistle Included but add a separate replacement of similar or even higher value with Instructions to discard the whistle and replace. Any solution should ensure the utmost customer satisfaction and provide our customers with the care and consideration, not to mention value, our customers rely on when they chose our company. It is also important to try to minimize the cost and effort required to remedy.This will not only minimize financial impact to the company but will help ensure we can remedial quickly in order to fulfill our shipments on time. All three have advantages and disadvantages which I will elaborate. The first option, remake the whistle in question and repackage the entire collection, has the advantage of providing our customer with exactly what they ordered and thus not Jeopardize the relationship we have In place. It would however be a significant undertaking as we would experience a great amount of labor for the remunerate and unpacking and repacking of the product.Legally and ethically there would be no issues but the financial impact of this approach would be about The second option, remove the whistle and replace with an item from our catalogue of equal value would allow us to utilize stock on hand and ship quickly. If the customer requests, we can ship the remade whistle at a later date. This option would remove the ethical and potentially legal concerns of shipping an unsafe reduce and if the customer accepts the replacement without requesting the shipping of the whistles to follow, would be significantly less costly than remaking the whistles in urgency to meet the shipping deadline.However, by substituting the whistle, even offering to ship the replacements at a later date, our reputation of accurate and timely shipping may be compromised with this customer. The third option, keep the whistle included but add a separate replacement of similar or even higher value with instructions to discard the whistle would save costs f remunerate and additional shipping. The schools could keep or discard the whistles as the whistle would pass any safety issues in South America.This would eliminate any legal concerns and would provide the best value to the customer and lowest cost to the company. However, knowing that these would not pass safety levels in the U. S. I feel that this would be highly unadvisable. If the schools chose to keep the whistles there could be resulting health issues to the children. My recommendation would be to proceed with the first option, to remake the whistle and repackage immediately. Although it is the most costly to the company upfront, the loss of reputation or customer faith would prove more costly in the long run.Our company prides itself on delivering to the highest levels. Compromised quality or orders the customer may feel are incomplete could damage the relationship and potentially future business. Additionally, any solution that may allow the tainted whistles in the hands of children could result in a more serious lack of confidence in our company. Our company is built on providing for educational and safe experiences for children worldwide. Anyth ing less would be unethical.In order to get in front of future issues of this type I recommend that we put in place a formal notification and escalation process for concerns of toy safety. We should clearly spell out what each employee is responsible to do and how the company will respond. If we consider potential issues before they occur and address the remediation it will remove any chance that we will be pressured into a fast and poor choice which may have long term impact to our company or our customers. I also recommend that we formalize the company ideals into a code of conduct that is available for our employees and customers.An excellent example that addresses responsibility to all stakeholders internally and externally is the code of conduct for the Matter Company. The Matter Company code of conduct addresses legal and ethical concerns and how to respond if there are concerns. (Matter Inc. , 2011) The Matter code of conduct removes any cloud of Judgment in a tough situation by addressing the concerns of the company, its stakeholders and its customers. It provides a clear explanation of the need and is easily understood. It includes core assign and play to grow.It also includes a value statement â€Å"act with unwavering integrity' that makes the company's emphasis on ethics to be paramount. The code of conduct addresses the responsibilities of all employees and additional responsibilities of leaders to be role models. In addition it spells out the consequences that should be expected if the code of conduct is not adhered. I strongly suggest that we develop a complete code of conduct such as this that will provide a guideline for the company and its employees for any future events as well as the day to day expectations.

Differences Between the Movie and Play: Cat on a Hot Tin Roof

There are key differences and similarities between the play Cat on a Hot Tin Roof and its movie equivalent. Major differences would include the character Maggie, the possible homosexual relationship between Brick and Skipper, and the reason for Maggie’s distaste for Skipper. Similarities include most of the cast, the overall plot, and the bitterness that the family seems to not so secretly hold for each other. The character Maggie in the play version and in the movie version differs.In the play she admits to sleeping with Skipper so that both of them could be closer to Brick, so that both of them could feel like they were making love with Brick. But in the movie Maggie denies and apparently never had relations with Skipper. With this being said, in the play version Brick’s hostility for Maggie seems much more unjustified. Also, Maggie was the one to tell Brick of his father’s terminal illness in the movie version. This job had been left to the doctor in the play version.A second difference between the movie and play would be the possibility of a homosexual relationship or homosexual feelings between Brick and Skipper. In the 1950’s, when the movie was produced, it was unheard of to have any form of homosexuality in a production. This is a big difference because it leads to Brick not necessarily being weak because of the loss of a could be homosexual partner/friend but being weak because of the lack of love and compassion he received from Big Daddy. This leads to more drama between Brick and his father in the movie version.With the previous being stated there has to be a difference for the distaste between Maggie and Skipper. In the movie, Maggie apparently never had relations with Skipper and the only reason she had for disliking Skipper was the time that he took from her and Brick. She felt that as a young married couple that Brick and Skipper spent far too much time together, time that Brick could be spending with her. Though there are many differences between the play and movie (this is usually the case when it comes to Hollywood) there still are some important similarities between the two.The cast, with the exception of Maggie, are mostly unchanged. Brick’s alcoholism and the pain he feels after losing a dear friend, Gooper is hell bent on getting Big Daddy’s plantation, Mae is still a very easily dislike character who seems to be constantly birthing babies. , Big Momma is full of love and wants nothing more than to have one big happy family, and Big Daddy is still holding together the family for what seems to be the wrong reasons. The overall plot also seems to be unchanged.It starts the same, introducing with hidden distaste between members of the family and not so hidden distaste that Brick feels towards Maggie. Big Daddy’s terminal illness, Gooper and Mae being hell bent on getting what the believe should be coming to them, and the end all seem to be unchanged either way you look at it. Though it has been mentioned more than once before, it is important to notice a big part of both the play version and movie. That is the distaste that the family feel for each other.The feelings Brick has for Maggie, that Maggie has towards Mae and her children and vice versa, the way Gooper feels about Brick, and the way Big Daddy feels towards Big Momma are unchanging. In either, the family is completely separated and out for themselves. Each one, in their own way, are only out for themselves. With any comparison between a play and its movie counterpart there are bound to be major differences and key similarities between the two. In this case, both the play and the movie were spectacular for the same and different reasons.

American Beauty Desperate Housewives Essay Example

American Beauty Desperate Housewives Essay Example American Beauty Desperate Housewives Paper American Beauty Desperate Housewives Paper Essay Topic: American Beauty Suburban Dreams and Nightmares examine the way the suburbs have been portrayed since the 1950s, I have chosen to explore the Welcome to Suburbia scene in American Beauty (from: 00:40-2:35, into the film) and the opening scene of the pilot of Desperate Housewives (from: into the episode). I have chosen these two scenes because they are very similar to each other and show how composers use a range of techniques to engage the audience and create meaning. American Beauty, directed by Sam Mendes, is a film that is set in America, in an ordinary suburban like neighbourhood, following the rdinary life of Lester Burnham, who is living the typical American Dream. He appears to have a great Job, big house with an immaculate garden full of luscious red roses, a loving wife and daughter and even a white picket fence, but its not until we look closer that we see that this is not what it seems. The film begins in the same manner that it ends, with a monologue by Lester. In this initial speech by Lester we are informed of the normality and comical misery of his current existence. Lesters sarcastic and indifferent tone is complimented by the beginning of the movies soundtrack composed by Thomas Newman. This cheerful and almost tribal sounding portion of the score echoes Lesters tone with a sort of irony that seems to enhance the sadly humorous nature of his life. At the close of this monologue Lester describes himself as feeling sedated, and again the deep sounds of this initial piece in the soundtrack complimented by a combination of piano, drums, and various strings, confirms the strangeness and numbness of his sensation. Visual techniques are a constant feature in the Welcome to suburbia scene of American Beauty. Once we take a closer look into his home, through his red door that symbolises hidden ruths behind the facade of everyday life, we realise his perfect life is actually one filled with misery as he claims to be dead already. Colour is important in this scene, while red is the main colour used to subconsciously manipulate audiences, blue is often present in the scene as it is the contrast colour that sets off the red, making the red more noticeable, such as the blue shutters on the Burnham house, making the red door more of a dominant image and help symbolise the little touches of humanity still present in their home. The colours of the Burnham house: red, white nd blue also refer to the American colours, which influences the idea of the American Dream. The first time we see Carolyn, shes cutting her luscious red roses. Alan Ball, the screenwriter of American Beauty refers this introduction to Carolyn as a concept: the life force, which, by nature tries to defy the suppressiveness of suburban life. As IVe stated thats why, the first time we meet Carolyn, shes cutting red roses, shes cutting the life force. Camera angles used, manipulate the audiences opinions on characters by the camera subconsciously alerting people. Low-angle hots were used to show authority figure and dominance, and high angle shots were used to show weakness and flaws. In the opening scene the audience is introduced to Lester taking a shower. This is the tirst Jail cell setting the audience sees Lester in. The glass in the shower resembles jail bars, the effect of Lester imprisoned suggests he is isolated and removed from the world around him. The camera angles used exaggerate this and highlight Lesters deflation of power against the significant people in his life. My other chosen scene is from Desperate Housewives. Directed by Marc cherry, this show is an American elevision drama series, the setting of the show takes place on the street of Wisteria Lane, in the fictional American town of Fairview. It follows the lives of a group of women seen through the eyes of their dead neighbour. They work through domestic struggles and family life, while facing the secrets, crimes and mysteries hidden behind the doors of their seemingly perfect suburban neighbourhood, which reinstates the idea of the American Dream. Desperate Housewives opens with a zooming in shot of Wisteria Lane, with a school bus driving through and neighbours out in the street saying hello to each other. Already in these first few seconds we get an impression of a community, and the idea of the typical American Dream. Just like American Beauty there is also a white picket fence around the protagonists house, and we then begin to hear the voice over of a typical suburban housewife, Mary Alice Young. The voice over of Mary Alice and Lester are very similar, they both talk about life and their death. Mary Alice, a typical suburban housewife broke the thin layer of perfection covering Wisteria Lane the day she put a gun to her head and shot herself. Naturally, Mary Alice does not share all her knowledge with the audience, especially er own secrets, this is manipulation of the most conventional kind, the director and producer hold back essential information to better to excite the audiences curiosity. The music in the opening scene compliments the theme of the American Dream, it helps reinstate the idea that this life is perfect, but it is ironic when, a suburban housewife commits suicide. In examining the chosen scenes from American Beauty and Desperate Housewives, I have achieved a greater understanding of the composers abilities to convey meaning using techniques, and the way the suburbs have been portrayed since the 1950s, known as the American Dream.

The Difference Between Amateur and Proper Writers; And Why You Shouldn - Freewrite Store

The Difference Between Amateur and Proper Writers; And Why You Shouldn - Freewrite Store Commit to your new job. Let me paint you a picture, one of those bizarre scenarios, frisky tableaus, that slowly segues into the topic and theme of the title. Imagine a big, bawdy bar, with a barkeep of barreled brawn, brined brains, and bedeviled behavior. A sprawling dome sanctified by the Gods, christened by Baco and sponsored by the good folks at Guinness†¦ in other words, a pub. A proper (we only serve booze) pub. Now, take that majestic construct and catapult it 100 years into the future, and since we are already breaking the space-time-continuum let’s shatter this flimsy facade called logic - and cement its pillars on one of the heaven’s marshmallow clouds. â€Å"The Cloud Nine† pub in the sky. There’s a marquee on the brick side by the petunias: â€Å"Jesus once came here for a pint.† Inside our celestial haberdashery, patrons dance, dames frolic, and inebriates fight and fess-up. In one corner, Oscar Wilde and Lord Byron are playing footsies under the table. By the jar of pickled eggs, Hemingway is displaying his legendary attitude towards liquor. By the door, giving a rousing and confusing speech on wordplay, Shakespeare. Tolstoy and Marx dip their wet fingers on a pile of salt, trying desperately to hoover the last crumbs of peanuts. Throughout all this madcap, watermark fandango of insanity, a conga line has formed: Maya Angelou, Charlotte Bronte, and Virginia Woolf do the cha-cha-cha while Austen and Christie follow with a brilliant rendition of the chicken dance. The lit cream of yesteryear rubbing shoulders and other naughty parts. The night carries on, sooner or later Karaoke comes into play and bonds are forged mid-way through â€Å"Bohemian Rhapsody†;even Poe manages a smile. Then Twain, that rascal that he is, poses a question:    â€Å"When is a writer no longer an amateur, but a professional?†    Noggins and cookies start boiling. Fitzgerald drools on the virtues of speaking from experience. Lovecraft gives a fairly decent argument towards making pacts with Old Ones. Hemingway zig-zags into a yarn about fishing, while Woody Allen tries to hit on the waitress. On and on they ping-pong the question around the room. Some manage to hit the ball, others evade it, preferring to occupy their minds with the physics of lager. Up and down, hours and hours, the philosophical item is examined; no real answer reached, no consensus patted down. Then, just before the rooster is about to call it a night, a voice is heard among the revelry:    â€Å"Oh, that’s without a doubt the easiest question out there.†    Everybody turns, eyes adjusting in the gloom and rum haze. Sitting on a stool, right next to a Pac-Man machine and flicking through a jukebox’s selection of Golden Oldies, the man himself†¦ Mister Stephen King.    â€Å"Like I said, you turnip heads, there’s a simple answer.† He takes a sip of his coke. â€Å"A writer is truly a professional writer, the minute, nay, the second he gets PAID. A check for something you’ve written instantly grants you pro-writer status. Easy peasy lemon squeezy.†    Mouths catching flies, everybody stares at the horror master, knowing full well that that Gordian Knot of a riddle had been sliced in two and packaged away with alacrity.    â€Å"OK,†goes Twain â€Å"Let me re-frame the question: when do you pass from being a mediocre writer aproper writer?†    Stephen King gets up, understanding that the wordsmith has him by the furry bits The man, having just read â€Å"50 Shades of Grey†, his belief in the power of humankind and the essence of his craft shaken to the very foundation, simply walks off. So, the conundrum still stands: when is a writer a proper writer?As a published author, I’m going to toss my two-cents into that fountain and hope they don’t get lost among the treasured detritus of others. In my opinion, a writer becomes what he is meant to be the second he stops measuring himself up to others of his profession. The second you manage to tie down your voice, tone and make it your own, without trying to copy someone else’s beats, that’s the minute you are a professional. That’s the minute you become something truly unique and irreplaceable.    â€Å"But,† you ask â€Å"How do I get to that point?†    It’s not easy, so here are a few tips: Commit to your new job. Writing, penning out articles, manuscripts, stories, poems, scripts, and all other wordy fragments of wisdom or sheer entertainment is a full-time, 24/7 task. There’s a lot of talk going around town about the power of visualization; I’m here to tell you that’s just nothing short of Hocus Pocus. In reality, you can visualize all you like. Buy the hipster hat, the flowing scarf and talk like a lofty SOB at your next family get together. Do the whole fandango and tango†¦ You’re still not a writer. Imagine as many unicorns and pie-in-the-sky ideas as your greedy little brain will allow, at the end of the day you’ll still find yourself at the stable wondering why your horse can’t fly or who stole his magical horn. The only way to become a writer is to sit down and put in the work. Plant your rear on a seat, or couch, snatch your tools and scribble ‘til you hit gold or have something worth publishing.    â€Å"What about the muse?†    Poppycock! My advice is to grab those Grecian mistresses and take them out back; two shots to the back of the skull for each. Neil Gaiman and Larry Correia will help you hide the bodies while Hemingway mops up the blood. The truth of the matter is that some days you’ll get up in the morning, slug your way to your laptop and discover that fiend writer’s block sitting on the ledge of your table. The specter is pointing out your worthlessness and handing out wanted ads; circled in crimson: â€Å"full-time accountant, great pay.† Before you log on and give Facebook a chance, open up your word-processor and freaking write. Maybe, after four hours of clacking away, you’ll have a sentence or two worth a lick.    A professional writer writes until his ass is raw and his fingers bleed. An amateur writer dabbles with his computer as long as there is nothing good on the television. A structured existence. Let’s build a bridge between the island up above and this grassy archipelago. It’s time to set down rules, to set down goals and lay the foundations that will eventually make you a professional writer. Hacking away at your diary isn’t, unless you’re Anne Frank, professional writing. Every great or at least successful writer has a process. Stephen King reads four hours a day and writes for another four. Dan Brown wakes up at the crack of dawn, stretches and then works until noon. Janet Evanovich finger-dances across the keyboard in the morning and edits at night. Carl Hiassen faces his desk against a blank wall and snaps on shooting-range earmuffs against his head. Hemingway strolled to the nearest bar, sat down and jotted down 500 words, celebrating each victory at the end with a stiff drink. Every single one of them, like Rowling at a coffee shop in Edinburg staring at a cemetery, had their magic recipe. And, unlike any thaumaturgical hootenanny, their â €Å"IT† wasn’t based on a virgin’s blood and a Saint’s holy tears; it was grounded on a businesslike attitude, by the numbers, by appreciation of their skill set. It’s all about discipline, especially when you don’t have a boss riding your ass. Establish a passable set of rules to live by; that’s the Golden Ratio. This is a nine-to-five job; you clock in, you clock out. You need a space for yourself, especially if you are working at home. Otherwise your novel will be slowly devoured and digested by those rugrats you call offsprings. You need to mark down daily goals and, even if you have to go over time, fulfill them.    A pro will edge at least 500 words a day. She’ll dip her arm into a fiery pit, 500 times, just to get those words out. She’ll wake up every day, forget her family exists, juggle divorce like a pro and become a statue in her office ‘til she hits the mark. An amateur will wake up whenever she feels like it, take her time with her coffee, play with her kids, talk to her partner and, finally, scratch out twenty words and say the day was productive. Sharpen your tools. I’m going to step into a Stargate and zoom our narrative into another whimsical dimension. Did you know that Eric Clapton became Eric â€Å"Oh dear lord Layla is the bomb† Clapton after hearing and jamming with Jimi Hendrix? Did you know the Bob â€Å"I just won a Nobel Prize† Dylan purposely bought a house close to Tom Petty, Roy Orbison, and George Harrison? There’s a reason why there was The Police, before Sting. Why Don Henley needed that adrenaline shot known as the Eagles. Why Lennon needed Paul, George, and Ringo. There’s a time in every artist’s life when the chords, the beat, the rhythm, the skills are all learned and mastered; you can either stagnate or take it to the next level. If you’re not a music lover, then let’s flip that analogy onto another field†¦ snatch your boxing gloves and go beat up someone better than you. One of the keys to being a legendary artist is to know you are part of a community. You have to purge that misconception that art is a lone wolf’s hunt. Nope, DiCaprio became an Oscar winner thanks to Scorsese. Hemingway earned his legendary status on account of Gertrude Stein. Frankenstein was penned thanks to an oddball weekend with Lord Byron, Percy Shelley and John Polidori in Switzerland. Talent is partly like an STD. It’s more contagious than syphilis, and some of your peers are so infected with it that you’re liable to catch it by mere osmosis. Surround yourself with people in your neck of the woods. People that appreciate your craft and actually dabble in it. Think about the mid 20s and roaring 30s, or the Beatnik movement, or SoHo London; flash back to those rocking times. Everybody was doodling everybody. Post-coital carnal caper chats ensued on the craft recipe of the day. Pores sweaty, salty and open, your soul as bare and naked as the rest of you. Your mind lathered and frothed by livid libations and popping endorphins. A sultry poetista whispering Keats into your ears; the primordial soup in which creativity is stewed and prepared. Or, if you’re a bit square, the following Open Sesame phrase will win over any writer: â€Å"let me buy you a beer!†If you toss in some Wild Turkey, we will allow you to pump us for as much info as you want.    A pro will, after getting up at the crack of dawn, crawl his way into an avant-garde play at midnight. He will wallow past the existential dingus, toast with his artsy friends at 3 AM, decline a snort of Peruvian moon dust at 5 AM, get an UBER at 6 and start the day on Red Bull just to start writing again. He’ll do that and more just to bathe and float in creative juices. An Amateur will call it a day at 4 and switch on the ballgame. Know your genre. Every platform has guidelines. You can break them, you can go all Gonzo on Journalism, but first, you have to conquer them. Once you have them down to a science, once you can build your rifle with your tongue while blindfolded and barking like a loon, only then can you defenestrate those pesky commandments and dash them against the rocks. Genres have tropes, they have verified axioms that somehow still manage - in many cases - to seem original. For example, in mythology - and most Marvel and DC movies - the age-old Hero’s Journey is the archetype; Campbell’s 17 stages, the playbook Batman was built on. In hard-edge journalism, the â€Å"Five W’s† are the linchpin of any piece. Analyze your sandbox. Take it apart and put each grain of dust under the microscope. Want to Tolkien your way to the top of the fantasy aisle? Then you better have your world-building criteria down on paper. There’s a reason why publishers search for word counts for each genre . Why Westerns shouldn’t be more than 65k words; why Horror has to be at least 100k; why Game of Thrones is considered a hostile mallet in certain New York City boroughs. Here’s another example with the same sentence done and tweaked for different schools of thoughts.    â€Å"It was twilight, five minutes past 6 in New Jersey when†¦Ã¢â‚¬  Journalism.    â€Å"In the Kingdom the sun had dipped below the marbled turrets, bronzing the golden crest when†¦Ã¢â‚¬  Fantasy.    â€Å"A crisp and sharp wind bit into John’s cheek. Night was fast approaching, his instincts coming full force with it†¦Ã¢â‚¬  Action.    â€Å"The sun decided to call it a day. Happy Hour was starting up just to thewest, and that flaming ball of gas needed some Sake, Geisha Hanky-Panky and, oddly enough, a dose of Sumo†¦Ã¢â‚¬  Comedy.    â€Å"A funeral shroud clawed its way pass the horizon, digging its long bloody talons into the last rays of light that clung to the day. A Halloween orange snapped just past the emerald mountains, scatting for a second the landscape in a multicolored afterglow. Then, in a flash and with the same feral ferocity, bewilderingintensity, and vivid violence it disappeared into the ether. With it, all sense of safety was snuffed out. A Stygian wave rolled over the street; pulling in all sights and sounds into its ravenous event horizon†¦Ã¢â‚¬  Horror.    A Pro will hit her head against the head, for an hour, just to catch that word - that perfect word - that’s dangling at the tip of her tongue. She’ll study and read every great book published in her genre before daring to approach that theme. She’ll take months penning that perfect book or article. An Amateur will hook from the pond whatever word comes swimming by and stitch it onto his pieces just to be done with it. She’ll ask herself: â€Å"Why not just say the clown is scary and be done with it† when discussing IT with her friends. Tips from this side of the table. Here are some Golden Rules that truly construct pieces worth printing. Rethink every adverb you place in your text. Anything that ends with â€Å"ly.† The trick to good storytelling is to show and let your audience infer. How was he â€Å"calmly† walking to the gallows? Be mindful of alliterations. They work great in comedy, but might sound funky in other genres. Grammar, in fiction - especially in horror - is flexible. This is paramount when placing your commas, periods and semicolons. Every paragraph has a beat and rhythm; you’re the artist, you build. Then Edit some more. Dean Koontz, for example, will edit each page to death before starting to write another one. It helps to get everything into perspective and, if you’re playing with a novel, it slices the task into digestible sections. Get a thesaurus and learn some odd words. Each genre has a formula, a dictionary to it, get cracking and know your theater’s vocabulary. H.P. Lovecraft used to trudge around, constantly searching for bizarre and arcane words to fill his manuscripts with. Read like a madman. And, when you are not reading, get some audio books. Before shipping and closing the chapter on anything, read it out loud. There’s a reason why storytellers were so adored back in olden days before the printing press. Your phrases or sentences have to hit the ear just right. Critics are right monstrous Unfortunately, they are also your best friends. Before you publish anything, pass it around. Start by copying some of your favorite author’s tone and pattern, learn from them. Slowly start molding them to your frame of mind. You have to mature and nurture your unique voice, but before that happens that fertile egg has to be inseminated†¦ so pick a proper genetic input. And finally, and most importantly, get someone to bankroll you. If you’re getting paid for it, then you’re a writer. Money in the bank, despite what the critics say, is the bar you have to measure yourself against.

INDIVIDUAL ASSIGNMENT 1 Essay Example | Topics and Well Written Essays - 2500 words

INDIVIDUAL ASSIGNMENT 1 - Essay Example Thus, the lessons learned at the early age become the foundation for an individual’s growth in the professional life. In addition, the experience gained in life within a shorter period of time is also imperative towards shaping the professional life of an individual. In my case, it was engineering and for Mr. Ramsay’s case it was the field of sports. Such decisions are taken at so early age, that there is hardly any self- knowledge or experience to support, whatever the decision has been made is the best and justifies the background to which an individual belongs. Thus, the best thing in this aspect is to expect that the future will be bright and will offer loads of opportunities. This study aims to shed light on the qualities of an entrepreneur and evaluate whether I posses those qualities or not. In order to verify it, the study will pursue different techniques. Once the characteristics and definition of entrepreneurship is being identified, a known entrepreneur will be chosen and his qualities will be compared with mine. A General Enterprising Tendency (GET) Test will be also carried out. Furthermore, interview session will be also held to get deeper insights. On the basis of the findings, a conclusion to the study will be drawn. Introduction – What Entrepreneurship Means to Me From the childhood days, I had a fascination on technology and as a result of that I have always been enthralled with new technological innovations. It is the interest in technology, which made me feel that innovation and discovery has been the fuel of comprehensive development of the society. My early role model was Charles Babbage, who is also known as the father of computers and the inventor of computers. However, with the course of time it shifted from an inventor to an entrepreneur. As I came to know about the life story of Bill Gates and understood the contribution made by him in the society, I contentedly considered him to be my role model. In addition, I a lso consider the recent sensation, Mark Zuckerberg to be one of my role models. When I slowly started to gain knowledge on social science, my perception of an entrepreneur was a person who has the ability to take risk and open a new firm. Although, the meaning of entrepreneurship, which I identified later, was much broader, this definition was not fully impractical. Rather, it was supported by a renowned scholar, where he states that entrepreneurs are the person who undertakes the risk of new enterprise (Mohanty 1). However, later I realized entrepreneur to be someone who has the ability to make correct judgmental decision pertaining to the coordination of sparse resources. In addition, I have also identified that an entrepreneur is an individual and not a committee, team or an organization. With deeper thought, I have been also able to identify that there are two types of entrepreneur namely successful entrepreneur and unsuccessful entrepreneur. Now, when I compare myself with succ essful entrepreneurs, I found that I also have the tendency to become self-suffice. However, I do not consider myself to be entrepreneur as I am yet to develop a firm which is self sustaining. Moreover, I also believe that a huge different exists between â€Å"thinking of becoming an entrepreneur† and ultimately â€Å"becoming a successful entrepreneur†. The challenge for every potential successful entrep

How to Speed Criminal Trial Dissertation Example | Topics and Well Written Essays - 2750 words

How to Speed Criminal Trial - Dissertation Example How to Speed Criminal Trial in Saudi Arabia By: (Name) (University) (Date) Table of Contents Chapter 1: Introduction †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. ... †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ CHAPTER 1: INTRODUCTION Statement of the Problem Criminal procedure has been developed in Saudi Arabia since the new Criminal Procedure Act was enacted on 3 November 2001. It is a major development in the country’s criminal law, as is the establishment of the Saudi Commission for Investigation and Prosecution. These developments, which took place in a short period of time, are a welcome change but pose new problems as well. My research would concentrate on delays in criminal trials and seek new ways to manage this problem in the Saudi legal system by incorporating and adapting methods from other jurisdictions. Some other jurisdictions may also have problems with delays, but it is more evident in Saudi Arabia. This issue not only goes against the public interest and the interest of the accused, it also violates human rights conventions. Thus, this research will concentrate on a practical way to speed this process and to achieve at leas t a fair level of speediness in trial procedures. Eliminating the case backlog and maintaining it in the future will be helpful in the country's criminal justice administration. Delays cost the country money and time and can add greatly to the expense for lawyers, causing hardship for the accused, which is not a desirable result by any standard. The Topic The research will basically tackle the problem of delays in criminal trials in Saudi Arabia. This will be done via two main methods, comparative analysis of speedy trial laws and policies in other nations as well as through surveys from individuals involved in the delivery of justice in Saudi Arabia. The Research Problem This study is concerned with practical research to find the right tools to speed criminal trial procedure in Saudi Arabia, by comparing with other