Business plan part Essays

Business plan part Essays Business plan part Essay Business plan part Essay 20 pieces of banana peel 5 pieces of banana fruit 1 small carrot 1 small garlic 1 small onion 3 tablespoon of salt 1 teaspoon of pepper 1 250g meat seasonings 2 cups of flour 3 pieces of egg 1 tablespoon of oil Malunggay leaves. Prepare all the ingredients. Boil the banana peel in water with 2 tablespoon of salt and 1 teaspoon of oil until it become soft. 2. While waiting for the peel, chop into small pieces the garlic, onion, carrots, malunggay and etc. 3. Chop into small pieces the boiled peel. . Mix all chopped ingredients in bowl. Add two cups of flour, eggs and banana fruit. Put some meat seasonings, salt and pepper. Then mix it well. 5. Lastly, put all the ingredients in the blender to blend it well. Now your patty mixture is ready to cook. GARNISHING 1. Put the mixture in the pan depend in your desire size of patty. Cook it into medium temperature until it becomes golden brown. 2. Make a mixture of ketchup and mayonnaise serve as spread of the burger. 3. Then, put the patty on ban bread, spread with the ketchup and mayo. 4. You can add cheese, tomato, cucumber, lettuce and cabbage if you want.

20 Synonyms for Shortage

20 Synonyms for Shortage 20 Synonyms for â€Å"Shortage† 20 Synonyms for â€Å"Shortage† By Mark Nichol There’s no shortage of synonyms for shortage, and though many of the terms are close in meaning, the variety of connotations is sufficient to merit this list. 1. Crunch: a sudden shortage (informal) 2. Dearth: a shortage, especially one with dire and severe effects, such as one of food 3. Deficiency: a shortage, including one of nutritional substances such as vitamins 4-5. Drought (or drouth): a shortage of precipitation, especially one that damages or stunts crops, or a shortage of something customarily available 6. Failure: a lack of success, as in business or a competition, or an instance of coming up short 7. Famine: a significant shortage, especially of food 8-9. Inadequacy (or inadequateness): a case or quality of not having enough 10. Insufficiency: the quality of not having enough capacity or supply, or of being incompetent 11. Lack: a shortage or an instance of something missing or not available in the necessary amount 12. Lacuna: a shortage or gap 13. Paucity: a shortage of number or quantity 14. Pinch: a sudden shortage (informal); also, an emergency, or an instance of pressure or privation 15. Poverty: a shortage, especially of money or material goods, or such a state deliberately entered into (as by a monk who renounces ownership of worldly goods) 16. Scantiness: a shortage of what is expected or needed 17-18. Scarceness (or scarcity): a supply that amounts to less than the demand 19. Undersupply: a quantity that is less than required 20. Want: a shortage or a fault, or of being extreme poor; also, something wanted Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:The Royal Order of Adjectives 15 Types of DocumentsThe Difference Between "Un-" and "Dis-"

Frankenstein Why does the creature [vow] eternal hatred and vengeance Essay

Frankenstein Why does the creature [vow] eternal hatred and vengeance to all mankind (99) Do you think the monster's treatm - Essay Example This naturally caused a great many problems. The first of these was the fact that Frankenstein himself noted, â€Å"There was none among the myriads of men that existed who would pity or assist me; and should I feel kindness towards my enemies? No: from that moment I declared everlasting war against the species, and, more than all, against him who had formed me and sent me forth to this insupportable misery† (Shelley 17). By way of comparison, one can understand the many different psychological issues and difficulties that can and will develop in a human father and son relationship when love affection or care is not given. For this reason, the reader can see a strong parallel to the way in which Dr. Frankenstein treated the creation which he ultimately dubbed a monster and the way in which countless of scarred and traumatized young people have experienced mistreatment at the hands of their own fathers. Says Dr. Frankenstein, "I was seized by remorse and the sense of guilt, whi ch hurried me away to a hell of intense tortures, such as no language can describe† (Shelley 44). ... Says Dr. Frankenstein, â€Å"Curiosity, earnest research to learn the hidden laws of nature, gladness akin to rapture, as they were unfolded to me, are among the earliest sensations I can remember† (Shelley 80). However, as a direct result of the emotional damage that the father transmitted to him, the psychological harm was manifested in his actions. Firstly, the monster felt the sense of rejection. As a way of trying to work around this and determine some sense of the world, the monster went on something of a quest to gain understanding. However, rather than finding understanding, the monster only found more and more people who were fearful of him and wanted nothing whatsoever to do with the creature. In this way, the feelings of rejection that they put upon him were taken more and more severely as the monster determined that the rejection he faced from his creator was also exhibited in the population at large. In this way the reader can understand that the emotional trauma and damage that the father passed along to Frankenstein was what ultimately pushed him over the edge to behave in the horrible way he did towards humanity. This not only helps to help the reader to understand the importance of how Dr. Frankenstein ultimately scarred and destroyed what could have been a normal, although strange, relationship between the two. This also helps the reader to begin to understand the extremely important role of the father-son relationship and the means where any type of abuse or negligence can serve to deeply and irrevocably affect the course of the future both within the relationship and within the way in which such an individual acts within the world in general. Ultimately,

Compare and Contrast Michelangelo Buonarroti with Modern Artist Assignment

Compare and Contrast Michelangelo Buonarroti with Modern Artist - Assignment Example The paper "Compare and Contrast Michelangelo Buonarroti with Modern Artist" explores the similarities and differences of Michelangelo Buonarroti and modern artists. Considering the portrayal of people on the images of both artists, it should be emphasized that both Michelangelo and Bouguereau regarded people as the key theme of their art. While Michelangelo made emphasis on biblical and mythological subjects, Bouguereau created images of the ordinary people as well. Nevertheless, these ordinary people look like angels and goddesses due to the color spectrum used, and to the softness of curves and lineaments. In fact, the depiction of putti, children, as well as women’s statures cannot be performed with rough features. Michelangelo, in his turn, in the strive for realism created images with visible, and, almost tangible relief. However, his female characters are not always soft and tender. Hence, Sibyls by Michelangelo look tough, massive, and even beefy, while even peasant wom en by Bouguereau look like nymphs, with their childish lineaments, soft curves, and mild tones. The works by these two masters have lots in common; however, the differences are essential. Bouguereau’s colors look milder; however, it is hard to define the initial quality of Michelangelo’s colors. Anyway, both artists managed to create realistic images of the human faces and statures. Therefore, sculpture-like Michelangelo’s characters look almost three dimensional, while Bouguereau relies on realistic embodiment of the divine characters.

The effects of the video game industry on Japan Essay Example for Free

The effects of the video game industry on Japan Essay Much in the world today is of Japanese origin. Indeed, Japanese influence can be seen all over the world? on television, in comic books, in video games, in electronics, in the film industry, and even in music. In fact, currently, 60% of all the cartoon shows being broadcast on television the world over are from Japan. (Croal) Indeed Japanese anime characters have established a substantial base of fans in Europe and North America (Shuhei). Similarly, the Japanese video game industry has been very successful in the world. It has proven to have many positive effects on the world, even though many people have repeatedly tried and failed to vilify it. Perhaps one of the most important industries in modern Japan, video games have both opened up great possibility for Japans economic future and caused the rapid spread of its culture in the world. The rise in the Japanese video game industry elevated the countrys standing in the world. The first video games ever were created in computer labs of prestigious and well-known colleges by studious types, whereas in modern times, video games, complete with complex storylines and characters and with sophisticated music and game play, are created by paid professionals. The very first video games were invented by students at colleges with big computer facilities, because they had nothing better to do. [Making games] soon became a competitive field of play for these students. (Kohler, 24) Soon after, video games became something to sell, and at first were available for Magnavox TVs, played on the Odyssey systems made especially for Magnavoxes. (These Odyssey systems were not as consoles are today? i. e. , they did not have multiple games, only one game installed in the system, with the first games not even closely depicting what they were supposed to show. One game, a tennis game, was simply two white dots that were actually squares representing the players or rackets, and one line down the center of the screen signifying the net.) Then, games moved over to computers for a while, after a string of very primitive gaming consoles (which, strangely enough, happened to have the controls for the games on them, with the players having to keep score with paper and pencil, for some of the first games). These computer games were mainly based on board games, Dungeons and Dragons, and other fantasy/fiction games with a small emphasis on the graphics of the games. (Fierman) Soon, industry-changing games were released by companies who, before this point, had games only in the arcades. Along with these games came Shigeru Miyamotos invention of the gaming console (these had been invented by now) with a very stylized and appealing design, and with removable controllers, connected to the system with cables. Innovations like the ones of Miyamoto kept making the industry grow, as it became bigger and more effective in the worlds markets. Now, video games have evolved into an effective means of entertainment (at least stereotypically for males of 15-25 years of age), even better and more money-making than the movie industry. Japanese video games originality was what gave them a good hold in the relatively new and rapidly rising industry. Japanese culture was the major factor making Japanese games different from any other games. The Japanese peoples will to easily accept technology, after having stayed away from it for years, epitomizes Japanese cultures amalgamating nature. Despite the technological advancements that Japan went through, there has always been a traditionally Japanese factor in all of Japans development. The Japanese brought anime-style characters into games because of their overwhelming popularity elsewhere. In fact, Japanese video games are very heavily influenced by Japanese culture? the styles of art and music, and the various aspects of modern Japanese theater. Another major aspect of Japanese culture? the importance of depictions over writing? is obviously relevant in video games. As writer Frederik L. Schodt, author of two books and many articles on Japanese comics, puts it: [The Japanese consider comic books to be] an effective? way of transmitting information, and they use them everywhere? [people now] live in an age that emphasizes the image? [and therefore] naturally have no bias against comics. They are?the shikaku sedai, the ? visual generation. (Kohler, 6) The video game industry as a whole has had a generally positive effect on the Japanese economy, and the lifestyles of its people. One of the biggest innovations in early video game technology was that of the so-called programmable home gaming console, which was one in which different game cartridges could be made to fit into specialized slots in the console, as long as these cartridges were specialized for the console. (Fierman) One of the main economic advantages that this innovation brought was the hiring of designers to work on video games?prior to this, the programmers of the hardware of the games had to design the characters, backgrounds, and storyboards as well as the game-playing systems. Not more that a decade after this innovation, games became what they are now. In fact, because video games have been a growing industry ever since they were introduced to the world, they have also become a replacement for or a cause of the falling industries like that of movies. (See chart, compiled by Dentsu) Soon, many aspiring young artists were given chances to make and oversee all the art in these programmable game cartridges. One such man, Shigeru Miyamoto, came to Nintendo (whose Japanese name, nin-ten-dou, translates into English as the place where luck is left in heavens hands) as a toy designer (Nintendo was a toy producer and entertainment company at the time). His talents were soon realized for what they were, and his rising positions within the company eventually led him to become a designer for games. His first game Donkey Kong was a smash hit. In modern video games there has been a rising emphasis on music, especially since there was none or very little in the video games of old, because it can alter the reviews of games, leading to success or failure. This weight put on music makes jobs for composers, synthesizers, and music directors, the soundtracks even selling as well as pop music. (Kohler) In fact, these musicians work is so profitable to the industry (and indeed commonplace) that programmer Fumito Ueda chuckled in response to a question regarding the idea of taking out even the music from his mainly dialogue-less game. He said, If I took out the music, it would be even harder to bond with Ico [the name of the main character and the game itself], even if the players had maximum sound effects. (Kohler, 253) Video game companies have also had to hire marketing experts and people to work in their sales departments, and they have had to also send their games to production houses where they are produced and made ready to sell. Stats of video game jobs Perhaps because popular video games, ever since the rise of the industry, have been heavily Japanese-influenced, many people the world over have tried to vilify this very profitable industry, and have repeatedly failed. In the years when video games were pioneers in the world market, there was much opposition and skepticism regarding them. Many renowned authors of economics, and even some who became known for their pieces regarding video games, reasoned that the budding new industry would quickly fade away. One author went as far as saying, the invasion of our world [United States video gaming industry] by these aliens [the producers] of Space Invaders will quickly find their business being driven back to their own planets. (Duus, 135) Another writer, University of Miami professor Eugene F. Provenzo, wrote in his book Video Kids: Making Sense of Nintendo, about how children were not being taught some of video games intentional lessons. In Japanese video games, manga-style characters (i. e. , characters from animated anime shows) are usually used because these characters have no distinctive race, and thereby no affiliations with any nationalities; this was to teach the players of these games something about different races? that they dont necessarily have to interact negatively. (Another use of the characters of ambiguous race was that anyone could play these games, and consumers would not think these games to be for a certain type of people.) He brought up an example of a single fourth grade boy who he talked to, who did not know much about ninja or their weaponry (these specific ninja refer to the bad-guy foot soldiers of the Shredder, in Teenage Mutant Ninja Turtles) except for the fact that the Chinese and Japanese (he was not sure which the ninja were) were enemies. The boy said, just because they are from Japan they might want to do something different from you. And they are dangerous because they might want to fight with you. (Kohler, 9) This argument is not very solid, as it is repeated several times in his book and in some conferences Provenzo attended, and yet it relies on a single source? a fourth grade boy who happened not to know about ninja. The Japanese video game, although it has been in a constant state of rising ever since it was started up in the early 70s, has had to face problems with Japans dangerously fluctuating economy. Japan had been in a bubble and bust economic cycle, for about a year before the first video games were made. This bubbling and busting kept most of Japans economy stagnant, even though the gaming industry was slowly ascending the economic ladder of relevance and importance. (Duus, 143) There were also technical difficulties, which made the rise of the gaming industry even slower? at first, there was a lack of technology like that of today, making the economic climb very difficult, coupled with the opposition of the people in many countries like the United States, of video games in general (but more specifically foreign games). (Throsby) But more recently, things have gotten a lot better for the world-wide gaming industry, an $18-billion-a-year business (Dvorak), and Japans economy has actually gotten a small boost from this great surge of successful video game companies, which created healthy competition for larger companies like Nintendo and Sony, against each other and smaller companies like Sega, Namco, and Atari. With entertainment [all forms excluding adult entertainment, and anything to be read? basically movies and TV shows and video games] being almost one fifth (about 18%, to be closer to the precise percentage, according to Throsby) of the Japanese Economy, and with video games claiming a bigger and bigger piece of both entertainment and the market in general, it can be easily drawn that this industry is on the rise. (See chart, compiled by Dentsu) Japanese culture has been spread in the world by the widespread appearance of video games in the economies and lifestyles of the people of the world. The highest form of the art of video games is only seen in Japan, and they influence all other games heavily. (Throsby, p. 5) ? The newer generation is accustomed to having everything visual (Japanese) as opposed to having everything good be verbal (American) ? The highest form of the art of video games is only seen in Japan, and they influence all other games heavily The video game industry has had a profound influence on the modern world. Even though this industry has provided lots of jobs to the Japanese and offered a growing export market to their country, it has been repeatedly yet unsuccessfully attacked by opponents. The industry has brought its country farther in the world than the preceding flow of anime into the rest of the world. Now, the young generation of today is more thoroughly a visual generation, as opposed to the verbal generations before them? this Japanese style of thought allows for the new generation to easily accept and become attached to Japanese video games, and the Japanese cultural ideas of amalgamation, without leaving tradition behind. III. Conclusion ?The video game industry has had a profound influence on the modern world.? Even though this industry has provided lots of jobs to the Japanese and offered a growing export market to their country, it has been repeatedly yet unsuccessfully attacked ? The Japanese video game industry has brought its country farther in the world than the preceding flow of anime into the rest of the world. oThe young generation of today is a very visual generation, as opposed to the verbal generations before them? this is a Japanese style of thought, and allows for the new generation to easily accept and become attached to Japanese video games?leading the future world to become one dominated by Japanese (and other) video games ? The rise of Japanese video games is inevitable. Bibliography Croal, NGai. Fall of the Video King. Newsweek online 18 Oct. 2004. 11 Jan. 2005 . Dentsu Communication Institute Inc.. Japans Video Game Industry. 2004. 2 Apr. 2005 . Duus, Peter. Modern Japan. Boston: Houghton Mifflin Company, 1998. Dvorak, Phred. Nintendo Girds for New Hand-Held Game Player From Sony. Wall Street Journal (Eastern edition). New York, NY: Nov 8, 2004; p. B1. 11 Jan. 2005 .. Fierman, Joseph. electronic game. Encyclop?dia Britannica. 2005. Encyclop? dia Britannica Online 7 Jan. 2005 . Kawakami, Sumie. Video Game Industry Statistics. Mar. 2002. 3 Apr. 2005 . Kohler, Chris. Power-Up. Indianapolis: Brady Games Publishing, 2004. Shuhei, Kishimoto. Shoring Up Japans Content Industry. Japan Echo. Tokyo: Jun 2004, Vol. 31, Issue 3; p. 19-24. 11 Jan. 2005. . Throsby, David. The Production and Consumption of the Arts: A View of Cultural Economics. Journal of Economic Literature. Mar. 1994; p. 1-29. 15 Jan. 2005. http://links. jstor. org/sici? sici=0022-515%28199403%2932%3A1%3C1%3ATP ACOT%3E2. 0. CO%3B2-9.

Frankenstein Vs. Bladerunner Essay -- Mary Shelley James Riddley-Scott

As society changes around us, we spot things we never noticed before: high divorce rates, murder rates, and drug use just to name a few. James Riddley-Scott and Mary Shelley noticed and had a fear of child abandonment. In Frankenstein, Shelley explores this subject through the viewpoint of a man, Victor, who creates a child so hideous that he cannot bear to look at it, and consequently deserts it. In Blade Runner, Scott explores this matter through a businessman, Tyrell, who makes replicants of humans, the Nexus 6, gives them only four years to live, and sells them as slaves. The children of these creators turn out to be smarter and more human than expected, and revolt against the way society treats them, giving us all a lesson in parenting and child development.   Ã‚  Ã‚  Ã‚  Ã‚  In Shelley?fs Frankenstein, Victor brings a monster to life only to abandon it out of fear and horror. ?gThe beauty of the dream had vanished, and breathless horror and disgust filled my heart?h (Shelley, 35). The reader must question the ethics of Victor. After all, he did bring this creature upon himself. This renunciation later comes to haunt Victor, and hurts his creation more than Victor can ever imagine. When Victor leaves the monster, Shelley is exploring abandonment by the parent. Later in the novel, when the monster tries to confront Victor and Victor shows that he does not want any part of the Monster by saying ?gBegone, vile insect! Or rather, stay, that I may trample you to dust!?h(74). Shelley is showing us that the monster is not being nurtured, as a child should. Blade Runner also looks at the roles of parenting and abandonment. When first meeting Tyrell, Roy states, ?gIt's not an easy thing to meet your maker?h, Scott reveals that the Nexus 6 have been discarded by their family, and have had a lack of a loving relationship throughout their lives. The idea that parents play a double role as parent and creator continues throughout the stories. Tyrell is looked at as a parent and a way for a longer life. Sebastian and Roy meet Tyrell by riding in an elevator as though acceding to heaven where Tyrell lives. When they enter the businessman?fs bedroom, Tyrell demandingly asks Sebastian, ?gmilk and cookies been keeping you awakeh just as a father would talk to his son. In Frankenstein, Victor is viewed as a father or God figure that can create another life, an Eve for his Ad... ...e your child no matter how he or she may look like or act. Victor and Tyrell saw their creations as less than human, and therefore treated them as such. If we see our children as less than human, and we neglect them, they may grow to believe that they are monsters. Shelley and Scott believed this, and set out to prove a point. One day our children will grow up, and they will no longer have a clean slate. A grown-up child will reflect all that we have taught them, good or evil. Scott and Shelley wanted to convey to all parents that, to their children at least, they are more than just disciplinarians. They can be the ones to teach about love, and they can bring more meaning into the lives they have created. List of Works Cited Blade Runner. Dir. James Riddley-Scott. Perf. Harrison Ford, Joe Turkel, Sean Young, Rutger Hauer, Daryl Hannah, Joanna Cassidy, Brion James, William Sanderson, M. Emmett Walsh, Edward James Olmos, Morgan Paull, Columbia Tri-Star, 1982 Chapman, Murray. Blade Runner Frequently Asked Questions. October 1994 . Shelley Mary. Frankenstein. New York: Dover Publications, Inc.

Dorian Gray Passage Analysis

Dorian Gray Passage: Literary Analysis In this scene, Wilde creates a threatening atmosphere as he describes Dorian heading to the Opium House at night, a place that represents his sins. Dorian’s carriage â€Å"jerks† into a â€Å"dark† area, the sudden movement suggesting that the horse is instinctively nervous or scared. And the â€Å"low roofs and jagged chimney-stacks† that looked like â€Å"black masts† shrouded by a mist of â€Å"ghostly sails† paint a nightmarish image of hostility due to harsh words like jagged, and fear with mentions of ghosts; both add to the tension.In the next paragraph Wilde uses diction such as â€Å"hastily† and â€Å"quickly† to build the suspense with Dorian’s obvious discomfort in the situation and desire to get out of the open. Then, Wilde uses light imagery to illustrate a dark setting which would explain Dorian’s fear. The description that the night was lit by a â€Å"red glar e† and â€Å"lights [that] shook and splintered in the puddles† contributes to the uneasiness because red is often the color of evil and shaking lights can be associated with panic.Dorian’s anxiety heightens as he â€Å"hurried† and â€Å"[glanced] back now and then to see if he was being followed†. His actions suggest that he is paranoid and running from something, causing the environment around him to appear more threatening. And finally, Wilde’s description of â€Å"gaunt factories† completes the image of a foreboding neighborhood because even at night, factories are supposed to appear formidable, not desolate as if they couldn’t stand up to their surroundings.

I Knew This Was My Moment

I could remember when I was young, one day, my mother suddenly dragged me out to a concert that I wasn’t all that enthusiastic about. I was planning on persuading my mother otherwise, but the moment I stepped in and the concert started, I immediately fell in love. I was enchanted by the stage effects, the dancers, and the pure vocal talent of the artist. It was then that everything had started, and my world had changed. At that moment, I knew what I wanted in life.Immediately after the concert, I told my mother that I wanted to sign up for vocal and dancing lessons. Needless to say, she was astonished at my sudden change of attitude, but she seemed to understand. Over the years, I trained, and over the years, my passion grew. My life revolved around the dance and vocal lessons I took. But of course, my studies weren’t neglected; I needed a back-up plan if my plans to become a star fell through, though I would definitely prefer if it didn’t.Many people said that a spiring to become a singer was not realistic, that it was just that, a dream. But I never wavered, I never felt discouraged, and most importantly, I never lost hope. When I was sixteen, I took part in a local singing competition, and was unexpectedly scouted by a representative of a small talent agency. He gave me his name card, introduced himself, and told me to call if I was interested. That day, I ran all the way home, and told my parents.Although they didn’t seem to agree with me, being only sixteen and all, they eventually caved in with my constant begging. With their consent, I immediately dialed the number on the card, I wasn’t about this chance pass me by. After that phone call, my life took another turn. I was thrown into a busy life with almost no free time for myself. I’d spend the whole morning in school, and then my afternoons, and sometimes evenings, as a trainee at the agency. Although every day was tiring, I enjoyed those days.That life lasted fo r about four months. After four months as a trainee, they decided that I had enough training, that I was good enough and could finally have my debut, with all the lessons I had before entering the agency. The moment I received the news, I was ecstatic for days, almost nothing could bring me down. The two months after that were spent writing and composing songs. It was decided that they would strip away all other stage effects and focus on my voice, which was my forte.And now, sitting in the preparation room while make-up artists do their final touch up on my face, I recall the past and how my dream had started. Instead of letting my dream remain a dream, I was about to make it come true. More than nervous, I feel excited. Instead of standing below the stage, watching performers enchant the audience, it was finally my turn to stand upon that ground and demand the attention of the whole stadium. Standing backstage and watching the audience of hundreds, maybe a thousand, I could feel t he nerves getting to me, and then the excitement overriding the nerves.The curtains closed upon the end of the previous act, a signal for me to go on stage. This was it, I thought, as the MC introduced me, the curtains opened, and the lights blinded me. Blinking a few times as my eyes adapted to the light, I could see clearly right in front of me, the thousands of people in the audience. At that moment, I knew. I knew that this was my moment, and it was going to be all or nothing. This was the moment I have been waiting for all my life, the moment I have gone through all the blood, sweat and tears for.This was the moment that would change my life, for good; the moment that would decide if my career as a celebrity would turn for the better or for the worse. After all, in the entertainment industry, it’s the first impression that counts. Standing on the extravagant stage, half blinded by the lights, in awe of the number of people in the audience, and excitement rushing through every pore of my being, I sung my heart out, expressing my ineffable feelings for it, for music. Giving it my all, all I could do now was hope that my all was enough.

How to Be a Writer 10 Traits of Professional Authors

How to Be a Writer 10 Traits of Professional Authors How to Be a Writer: 10 Traits of Professional Authors If you’re here, you might be wondering how to be a writer for a living. When I see bestselling authors who have turned writing books into a full-time career, I have to stop and ask myself: â€Å"How did they do it?†Stephen King has written over seventy bestsellers since the publication of Carrie in 1974. To this day he continues to write consistently.James Patterson has sold more than 300 million books worldwide. He has been quoted as saying: â€Å"Its pretty much seven days a week for me. Youre lucky if you find something you like to do and then its a miracle somebody will pay you to do it. Thats my situation. Its not work for me. These are all stories that Im really dying to tell.†Harry Potter author J.K. Rowling, once jobless and with a dependent child, has sold over 430 million copies of her books.What magic formula do these authors have? What super-talent have they been blessed with? What am I NOT doing now that I could be doing to turn my passion for writin g into a real career?How to Be a WriterNow you might be thinking, â€Å"Well, good for them. But I just want to make enough money on my writing to earn a living, not 100 million bucks!†But it’s not about how much money you can make at your writing. That might come later, but what really matters is this: practicing the habits and actions professional authors implement as part of their work life that leads to this kind of success. You don’t have to earn a fortune to be a professional writer; you just need to model what the pros do and the outcome will take care of itself.There are a set of definitive traits pro authors have that make them masters of the trade. Good writing that sells is the result of these essential traits. For both indie and traditionally published authors, these 10 traits of professional authors are universal and a must-have for launching your author career.Here are the top 10 traits of pro authors, and how you can adopt these traits to become a professional writer that gets books published, earns you an income, and creates a sustainable business you can grow and love.Pro Author Trait #1: Develop a Daily Writing HabitPro writers have developed the writing habit. They write almost every day and have a word count goal for the day. Pro writers stick to a consistent writing schedule and put in the time to put pen to paper [or words into a Word doc]. This is one of the most critical traits. Without putting in your writing time, your book becomes a â€Å"someday† thing instead of an â€Å"it’s-happening-right-now† thing.By nurturing the writing habit, you are creating content people will love to read and pay money for. You will exercise that writing muscle and churn out a great story, a memoir, or a book that offers solutions.Ask yourself:What is my daily word count goal?How many words would I have to write every day to finish my next book by a chosen deadline?How many books could I finish in a year if I sti ck to a writing habit of 1500 words per day? [You might be surprised!]Pro Author Trait #2: Approach Writing as a BusinessA hobby is something you do when you have time; the business of writing and becoming a pro author is what you make time for every work day. Authors who approach writing as a business are far more likely to succeed than hobby authors who show up occasionally with little direction and lofty ideas. A professional author is, essentially, a creative business person.As with any business, your author business needs a schedule, deadlines, goals, and a plan. Authors spend time planning the material they are creating, how they will deliver it and, most important, they deliver when that deadline approaches.As with any job, you have to show up every day at the time designated or else you don’t get paid. Writers who make a living at their craft go to work every day with the mindset that this IS their business and not just a dreamy project that they are going to pick awa y at. One of the fatal flaws many â€Å"hobby authors† make is in thinking that the writing success will just happen if they keep plugging away haphazardly. Maybe it will, but most likely, it’s your approach to the writing craft as a business that will determine your level of success.Of course there is nothing wrong with writing as a hobby! However, if you want to turn this into a real thing, start to think and plan as a business leader. Pro authors make a living at writing because they are intentional with their business goals.Ask yourself:Am I a writing hobbyist or is this my future business?Do I have a business plan for my author business?Pro Author Trait #3: Write Valuable Content People Want to ReadA pro author does one of two things: either tells a good story [fiction] or provides solutions to a problem [nonfiction]. A great author can even combine both for a more compelling read!It isn’t enough just to be a good writer, but you have to write with intentio nal purpose and provide valuable content people want to read. If you write fiction, you craft page-turners with crisp plots leading to a compelling climax.For nonfiction authors, your readers have a problem and they need you to solve it. Knowing your audience and writing for them is the best way to make your content valuable and in demand. You can master your craft by giving people what they desire most: entertainment, information, inspiration, or a book that promises to change their lives forever.Ask Yourself:Who am I writing for?Does my content provide a specific solution?Am I engaging my readers?Pro Author Trait #4: Delegate Business Work to Other ProfessionalsThere are so many tasks that a writer can do that have nothing to do with writing: editing, cover design, formatting, book promotions, and social media engagement. The list is endless. For pro authors, the crux of your daily activities should focused around product creation. This could be writing a book, blogging, or creati ng a course.But the fact is, time is limited. If you try to do it all, you’ll get burned out and start watching television to escape.As with any business, you need a tribe of people assigned to different parts of the business so that you have more time to do the work that only you can do: writing books. This means creating content readers love should be at the forefront of your business. Delegating everything else to freelancers will save you precious time and eliminate the stress of feeling like â€Å"I have to do it all.†Ask yourself:Is there anything I’m doing that falls outside of content creation?If so, could the extra work be done by someone else?Could I find someone on Upwork or Fiverr to take care of it, or do I need to look elsewhere?Identify where you can save yourself both time and stress by delegating the little stuff so you can spend more time doing what pro authors do bestwrite books!Pro Author Trait #5: Become a Habitual Note TakerBoth fiction and nonfiction writers craft their books around the ideas they have day and night. And we never know when or where these ideas are going to strike.Ideas are like rainbows; one minute they’re here and the next minutepoof, they’re gone! You need to be ready at all times to catch ideas as they come. If not, you’ll struggle to remember hours later what that â€Å"golden idea† was that passed through your mind.Get into the habit of carrying a small notebook with you. When you go to sleep, keep your notebook within reach for ideas that come in the night, or as you doze in the morning. You can install idea-capturing apps on your devices such as Evernote, Simplenote, and Apple Notes. Make your idea capturing system easily accessible at all times.Ask yourself:Am I prepared at all times for capturing ideas?How can I set up my system for note taking when I’m on the run? When I’m sleeping? When I’m at a party conversing with important people and sud denly get that idea I’ve been waiting for all year?Free Course: Discover my blueprint to gofrom blank page to bestseller in 90 daysIf you want to finish your book, you need a roadmap. That’s why I’m sharing some of the best strategies and tricks other bestselling authors paid thousands of dollars to get yours FREE.Here’s what you’ll get:The EXACT blueprint to FINALLY cross â€Å"write a book† off your bucket list in just 90 daysThe Bestselling Book Launch Blueprint behind dozens of bestsellersCase studies of bestselling authors who made $1,287, $5,500, even $12,424.03 from their first bookGet FREE behind-the-scenes access nowPro Author Trait #6: Read with Purposeful IntentWriters read! Yes, we love reading. It stimulates your imagination and paves the way for more ideas. You can read books in your genre or read something totally unrelated. When you’re not writing, set aside time to read your favorite book. If you are writing a serie s of books on sales, you could read books on that topic. It could give you more insight into your area of expertise.Reading just fifteen minutes before bed enhances sleep patterns, reduces cortisol levels, and improves cognitive functions. So don’t find the time to read; make a conscious choice to create that reading habit, even if it is only for a few minutes.Ask Yourself:How much time can I read a day?What book can I start reading now that would improve my business or contribute to personal development?Pro Author Trait #7: Retain Readers and Build a Loyal Fan BaseIf you notice, almost all professional authors got that way because they focused on a particular brand or niche. Then they built a strong following of raving fans in that niche. Readers become fans and fans become regular customers who buy your other books.The best way to create a loyal following is to write for your fans. Keep giving them more of what they crave by constantly creating content that offers value. Wh en you write, know who you are writing for and create content they need.By using an email marketing service such as MailChimp or AWeber, you can gather email addresses of your loyal fans and communicate with them regularly. Pro authors understand the absolute must of having an email list, and they build their author business entirely around it.Ask Yourself:Am I writing for a specific niche, or do I change topics often?What do my readers like about my work? If you aren’t sure yet, find out why people are reading your stuff.What email marketing service am I using to collect email addresses?Pro Author Trait #8: Recognize the Importance of RewritingEvery great author knows that the real writing isnt in the first draft- the real work towards greatness begins during the self-editing phase. The first draft offers a framework for the book and the rewrite is the guts of the machine; it’s here that all the sweating and crying pays off.Writing is 10% talent and 90% hard work. The pros spend about 20% of their efforts on the first draft and the rest goes towards rewriting, revising, pulling their hair out, and refining the manuscript until they get it to the point that it’s good enough to ship to the editor.Many authors, even the pros, can get bogged down in editing. This is especially true when the perfectionist monster is on your back. But real pros know that an unfinished book is an unpublished book, and nobody reads a book that isn’t published.In a very tiny nutshell, here’s how to be a writer:Be a pro.Revise your work.Let a professional editor polish it.Ship your product.Ask Yourself:Do I spend enough time on rewriting?Do I get bogged down in the editing phase and need to ship it to the editor?Pro Author Trait #9: Ship Product Consistently Despite Their FearsAs Seth Godin says:â€Å"Ship often. Ship lousy stuff, but ship. Ship constantly. Skip meetings. Often. Skip them with impunity. Ship†¦The paradox of our time is that the instincts that kept us safe in the day of the saber tooth tiger and General Motors are precisely the instincts that will turn us into road kill in a faster than fast internet-fueled era. The resistance is waiting. Fight it. Ship.†James Patterson published 15 titles last year. Indie author Patrick King publishes a book every 4-5 weeks.Pro authors are always putting out content and creating. But shipping raises fear in many people. Let’s face it, it’s scary to put stuff out there for everyone to judge and criticize. But if you want to become the professional you know you can be, you have to ship your product as often as you can.Ask Yourself:Am I stuck because I’m afraid of shipping my book?How can I get over the fear of putting my content out there?Pro Author Trait #10: Become a Master of RejectionIf there is any one trait that a professional writer has it is this: the ability to keep pushing forward despite the critics, naysayers, and abundant forms of reje ction. You’ve no doubt heard the stories of power authors like Rowling and Grisham, King and Margaret Mitchell. Getting rejected or having your draft torn apart by critics and reviewers can crush your confidence, but only if you let it.The one trait that turns an average person into extraordinary is the ability of taking rejection and crushing through the barrier of being told â€Å"No.† The authors who make it develop grit. In psychology, grit  is based on your passion for a particular long-term goal, alongside motivation to achieve your objective. In other words, you get what you want when you want it badly enough.Ask Yourself:How badly do I want to write this book?Am I passionate about the story or content I am crafting?How Bad Do You Want It?Success as an author rarely happens by accident. It’s a combination of strategic planning, your mental attitude, and perseverance. Whether you are struggling to write your first book, or you already have a thriving bus iness based on writing, by sticking to the 10 traits of successful authors, you can take your writing career to an all new level.Now you know how to be a writer. But are you going to do it? Imagine where you could be in six months from now once you implement these traits and make it happen.

Sutherlands Differential Association Theory Explained

Sutherland's Differential Association Theory Explained Differential association theory proposes that people learn values, attitudes, techniques, and motives for criminal behavior through their interactions with others. It is a learning theory of deviance that was initially proposed by sociologist Edwin Sutherland in 1939 and revised in 1947. The theory has continued to be enormously important to the field of criminology ever since. Key Takeaways: Sutherland's Differential Association Theory Sociologist Edwin Sutherland first proposed differential association theory in 1939 as a learning theory of deviance.Differential association theory proposes that the values, attitudes, techniques, and motives for criminal behavior are learned through one’s interactions with others.Differential association theory remains important to the field of criminology, although critics have objected to its failure to take personality traits into account. Origins Before Sutherland introduced his theory of differential association, the explanations for criminal behavior were varied and inconsistent. Seeing this as a weakness, law professor Jerome Michael and philosopher Mortimer J. Adler published a critique of the field that argued that criminology hadn’t produced any scientifically-backed theories for criminal activity. Sutherland saw this as a call to arms and used rigorous scientific methods to develop differential association theory. Sutherland’s thinking was influenced by the Chicago School of sociologists. In particular, he took cues from three sources: the work of Shaw and McKay, which investigated the way delinquency in Chicago was distributed geographically; the work of Sellin, Wirth, and Sutherland himself, which found that crime in modern societies was the result of conflicts between different cultures; and Sutherlands own work on professional thieves, which found that in order to become a professional thief, one must become a member of a group of professional thieves and learn through them. Sutherland initially outlined his theory in 1939 in the third edition of his book Principles of Criminology. He then revised the theory for the fourth edition of the book in 1947. Since then, differential association theory has remained popular in the field of criminology and has sparked a great deal of research. One of the reasons for the theory’s continued pertinence is its broad ability to explain all kinds of criminal activity, from juvenile delinquency to white collar crime. Nine Propositions of Differential Association Theory Sutherland’s theory doesn’t account for why an individual becomes a criminal but how it happens. He summarized the principles of differential association theory with nine propositions: All criminal behavior is learned.Criminal behavior is learned through interactions with others via a process of communication.Most learning about criminal behavior happens in intimate personal groups and relationships.The process of learning criminal behavior may include learning about techniques to carry out the behavior as well as the motives and rationalizations that would justify criminal activity and the attitudes necessary to orient an individual towards such activity.The direction of motives and drives towards criminal behavior is learned through the interpretation of legal codes in one’s geographical area as favorable or unfavorable.When the number of favorable interpretations that support violating the law outweigh the unfavorable interpretations that don’t, an individual will choose to become a criminal.All differential associations aren’t equal. They can vary in frequency, intensity, priority, and duration.The process of learning criminal behaviors thr ough interactions with others relies on the same mechanisms that are used in learning about any other behavior. Criminal behavior could be an expression of generalized needs and values, but they don’t explain the behavior because non-criminal behavior expresses the same needs and values. Differential association takes a social psychological approach to explain how an individual becomes a criminal. The theory posits that an individual will engage in criminal behavior when the definitions that favor violating the law exceed those that don’t. Definitions in favor of violating the law could be specific. For example, â€Å"This store is insured. If I steal these items, it’s a victimless crime.† Definitions can also be more general, as in â€Å"This is public land, so I have the right to do whatever I want on it.† These definitions motivate and justify criminal activity. Meanwhile, definitions unfavorable to violating the law push back against these notions. Such definitions can include, â€Å"Stealing is immoral† or â€Å"Violating the law is always wrong.† The individual is also likely to put different weight on the definitions they are presented in their environment. These differences depend on the frequency with which a given definition is encountered, how early in life a definition was first presented, and how much one values the relationship with the individual presenting the definition. While the individual is most likely to be influenced by definitions provided by friends and family members, learning can also occur at school or through the media. For example, the media often romanticize criminals. If an individual favors stories of mafia kingpins, such as the TV show The Sopranos and The Godfather films, the exposure to this media may impact the individual’s learning because it includes some messages that favor breaking the law. If an individual focuses on those messages, they could contribute to an individual’s choice to engage in criminal behavior. In addition, even if an individual has the inclination to commit a crime, they must have the skills necessary to do so. These skills could be complex and more challenging to learn, like those involved in computer hacking, or more easily accessible, like stealing goods from stores. Critiques Differential association theory was a game-changer in the field of criminology. However, the theory has been criticized for failing to take individual differences into account. Personality traits may interact with one’s environment to create outcomes that differential association theory cannot explain. For example, people can change their environment to ensure it better suits their perspectives. They may also be surrounded by influences that don’t espouse the value of criminal activity and choose to rebel by becoming a criminal anyway. People are independent, individually motivated beings. As a result, they may not learn to become criminals in the ways differential association predicts. Sources Cressey, Donald R. â€Å"The Theory of Differential Association: An Introduction.† Social Problems, vol. 8, no. 1, 1960, pp. 2-6. https://doi.org/10.2307/798624â€Å"Differential Association Theory.† LibreTexts: Social Science, 23 May, 2019. https://socialsci.libretexts.org/Bookshelves/Sociology/Book%3A_Sociology_(Boundless)/7%3A_Deviance%2C_Social_Control%2C_and_Crime/7.6%3A_The_Symbolic-Interactionalist_Perspective_on_Deviance/7.6A%3A_Differential_Association_Theoryâ€Å"Edwin Sutherland’s Differential Association Theory Explained.† Health Research Funding. https://healthresearchfunding.org/edwin-sutherlands-differential-association-theory-explained/Matsueda, Ross L. â€Å"Sutherland, Edwin H.: Differential Association Theory and Differential Social Organization.† Encyclopedia of Criminological Theory, edited by Francis T. Cullen and Pamela Wilcox. Sage Publications, 2010, pp. 899-907. http://dx.doi.org/10.4135/9781412959193.n250Matsueda, Ross L. â€Å"The Current State of Differential Association Theory.† Crime Delinquency, vol. 34, no, 3, 1988, pp. 277-306. https://doi.org/10.1177/0011128788034003005 Ward, Jeffrey T. and Chelsea N. Brown. â€Å"Social Learning Theory and Crime.† International Encyclopedia of the Social Behavioral Sciences. 2nd ed., edited by James D. Wright. Elsevier, 2015, pp. 409-414. https://doi.org/10.1016/B978-0-08-097086-8.45066-X

Questions Assignment Example | Topics and Well Written Essays - 250 words

Questions - Assignment Example This seemed like a very difficult proposition for my high school and college years. Within the online environment, I could use the strategy of setting small tasks for myself that need to be completed within the allocated time. I can also put deadlines so that my tasks get accomplished in a quick and easy way. I have known a friend who is never able to manage time no matter how hard he tries. The differences that I have noticed in him have included the fact that he is always rushing for things and he usually asserts his own self in a much less manner about things as I do. The result is that he usually ends up being late on most of the occasions. The biggest time management challenge that I face at the moment is of managing deadlines. These deadlines create problems for me since all of them are usually one after the other and thus my mind is always in a loop to solve the anomalies which exist. The strategy that I can make the best use of is taking one deadline at a time and working to full effect towards the completion of the task at hand. This will make me go with the flow and not to rush up things (Sternglass 1997). An active learner is a person who is proactively consistent with his learning endeavors. A passive learner, on the other hand, tries to learn where there is a dire need to study and get acquainted with the different study regimes. I am an active learner since I remain abreast with the changing times. 6-Describe how you usually feel when you take a test-your emotions (positive and negative) and level of confidence. If you usually experience negative emotions when you take a test, describe how youd like to feel instead. Be as specific as you can. I usually feel very good when I test my emotions. I usually experience positive emotions whenever I take a test since I am always ready and willing to take a test. Since I want to achieve the best possible grades, I am always geared to give in my very best and this