Poverty Of The United States - 1475 Words

Poverty in the United States is defined as a social problem. As outlined in the text, a social problem is â€Å"a condition that undermines the well-being of some or all members of a society and is usually a matter of public controversy†. It is easy to see that there is a large economic divide in the United States, but with only a small percentage of people in the highest income stratification and the vast majority struggling to get by, the majority of United States citizens agree that there is too much power in too few rich people. The â€Å"American dream†, the idea that if you work hard you will be rewarded accordingly, is a increasingly inadequate theme of the past. Today, average people who work hard have been struggling to provide for†¦show more content†¦Rank also continues by saying that although the majority of Americans will experience poverty it is rarely for a long period of time, although it is typical for these people to fall back below the pover ty line at some point. Race and gender also play a key part in poverty rates. Data from the Annual Social and Economic Supplement, form the Bureau of Labor Statistics, shows that it is most common for women and men of Hispanic descent to fall under the poverty line. Based on the Bureau’s data, coming in second is African American men and woman. These statistics make it evident that racial minorities suffer from increased poverty rates in the United States. In other words, children bore by minority parents are subject to disadvantage and higher poverty rates. More so, research illustrated in the Washington Post mentions details as to why it is different growing up black and in poverty opposed to white and in poverty. John Cox states that it is morel likely that a black family living in poverty is surrounded by other black families living in poverty, where that is not often the case with poor white families. This adds a second degree of poverty to these black families, called c oncentrated poverty. Concentrated poverty becomes a problem because the families that are not affected by these neighborhoods often times fail to contribute to the success and aid of them, keeping them concentrated.

Age of reason Essay - 1294 Words

The Age of Reason was a period in time during the 18th century in Europe and America when man become enlightened by reason, science, and humanity. The people involved with the Age of Reason were convinced that human reason could discover the natural laws of the universe, the natural rights of mankind, and the progress in knowledge. Each philosopher had his own ideas and theories about the world, nature, and human beings in general, and every philosopher wrote many essays and books about their own personal ideas and opinions (Sartre4). David Hume was born in Edinburgh, Scotland on May 7, 1711. Educated at home and then at the University of Edinburgh; here he studies law but then decides to pursue an independent study of his own ideas†¦show more content†¦Rousseau was originally thought to be an engraver, but he soon ran away after three years to a wealthy woman named Madame Louise de Warens (Sartre 141). nbsp;nbsp;nbsp;nbsp;nbsp;Jean Jacques Rousseau stated that the view of science, art, and social institutions has corrupted humankind. He also stated that natural state is morally greater than civilized state. Later he stated that it is more important to express yourself than to hold back on becoming a unique individual (Hampshire, 149). Jean Jacques Rousseau had a great deal to do with the movement of Western Europe. He supported individual freedom, but disliked the abolishment of the church and the state. On top of that, Jean Jacques Rousseau influenced romanticism in literature and philosophy in the early 19th century. Jean Jacques Rousseau dies in 1778 (Hampshire 152). French philosopher, Claude Adrien Helvetius, was born in Paris in 1715. He believed that all human thoughts, judgments, memory and comparison were all characteristics of sensation. He even went as far as stating that the only motive that humans have is for self-interest. He died in 1771 (Hampshire 132). Immanuel Kant was a German philosopher born on April 22, 1724. He was considered to be one of the most influential thinkers of modern times. Immanuel went to the Collegium Fredericianum and the University of Kà ¶nigsberg whereShow MoreRelatedThe Age Of Reason Essay1455 Words   |  6 Pagesï » ¿Cathy Bui Professor Nengo Anthropology March 10 2015 Age of Reason Essay In the book The Age Of Reason by Thomas Paine is about the knowledge of inquiring religious establishments and their own doctrines. He wants the audience to think about the common gumptions that can be seen and describe as a substantiation of a god, for instance from Christianity, Judaism, and Islam. He calls for higher reasoning, a person who rejects the scriptures in the bibles that says we are pretending to use the wordsRead MoreThe Age of Reason and Revolution Essay810 Words   |  4 PagesThe Age of Reason and Revolution Many individuals that lived in the period of time known as the Age of Reason, discovered many new inventions and advancements to improve the quality of life. Some of these advantages brought fourth new ideas to extraordinary people who forever changed the way we look at life. Although many people found these discoveries to bring great revival to mankind, others rejected these new improvements and felt as if they were defying god. TheseRead MorePaine s The Age Of Reason1192 Words   |  5 PagesPaine s American Pamphlet (to be independent from England - 1776) 48 pages in duration Thomas Paine (1737 - 1809) Anglo-American political activist / philosopher. 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Edwards’sRead MoreEssay on Analysis of The Age of Reason by Thomas Paine683 Words   |  3 PagesThroughout â€Å"T he Age of Reason,† Thomas Paine gives several examples for why he is opposed to Christianity. Before I began reading this essay, I was absolutely positive that I was going to disagree with every point that Paine had to make and every opinion that he expressed. It did not take long for me to realize that I had made the wrong assumption. There was more than one occasion while reading â€Å"The Age of Reason† that I discovered I actually agreed with Paines opinion/belief. This encouraged meRead MoreThe Age of Reason1424 Words   |  6 Pagesparticipated and had an affect in The Age of Reason. OUTLINE I. David Hume A. Contributions to the Age of Reason B. Who and what influenced him II. Jean Jacques Rousseau A. What he believed in B. Who influenced him III. Claude Adrien Helvetius A. Influences B. Reasons for contribution IV. Immanuel Kant A. How he made a difference B. Why he made a difference C. What caused him to make a difference V. Johann Fichte A. Influences B. Reasons for contribution VI. Johann vonRead More Age Of Reason Essay988 Words   |  4 Pagesas the Age of Reason discovered many knew inventions and advancements to improve the quality of life. When experimented with, these advantages brought forth knew ideas to extraordinary people who forever changed the way we look at life. Although many people found these discoveries to bring a great revival to mankind, others rejected these new improvements and felt as if they were defying god. These years were full of discoveries, conflicts, and new visions that of the world. The age of reason broughtRead MoreThe American Enlightenment Philosophy784 Words   |  3 Pageslatter parts of the 19th century. This was the same era in which the America gained independence and the nation was developing as a cohesive unit. It was on the rise and the people wanted to leave a mark o the international scene. Just like we saw an Age of Enlightenment in the European areas almost a 100 years back the same pattern was being follow ed and exhibited by the people in this region. Since the major contingency of the people who had settled in the United States were the descendants and theRead MoreRomanticism : The Age Of Reason1210 Words   |  5 Pagesimagination and intuition rather than emphasizing on reason and logic. There are no restraints or order in Romanticism; complete spontaneous actions are welcome in this style of writing. Romanticism, or also known as the â€Å"The Romantic Period†, refers to the cultural movements that occurred in England, Europe, and America from 1770 to the 1860s. In this literary period, romantic writers saw themselves revolting against another period called the â€Å"Age of Reason† which began in the 1700s and ended in 1770.Read MoreThomas Paine: Not Who We Think He Is729 Words   |  3 PagesThomas Paine was an incredibly inspirational American author from the Revolution era. He was a big reason for our troops being motivated enough to continue the fight, even during the winter at Valley Forge, when things were looking their bleakest. However, he wasn’t simply a snooty, bookish man that could handle his pen. Tat image of him we are fed is grossly wrong. Rather, Thomas Paine was a poor man that couldn’t stay in school or make corsets. According to one of his superiors, the man couldn’t

Accounting for Business Combination

Questions: Critically evaluate the Australian requirements for accounting for business combinations. In your discussion you should specifically address the following issues: Exclusions from the scope of Accounting Standard AASB3 Business Combinations. The implications of the requirement to use the acquisition method of accounting for business combinations The identification of an acquirer in a business combination The determination of fair values of assets in a business combination The reasons for the choice of fair value to measure assets and liabilities acquired in a business combination The nature and treatment of goodwill or bargain purchase arising on a business combination. The two different ways in which a business combination can be accomplished. Answers: According to the Australian Accounting standard 3 Business Combination accounting requirement will relate to business combination transactions. To provide relevant, dependable and equivalent financial statements by the reporting entities which enters into business combination transaction in reporting year are some of the objectives of the Accounting standard. Control of acquirer entity in business of Acquirer Company and acquisition of assets and assumed liabilities of any entity forms the Business Combination. The standard will provide the guidelines for the preparation of proper financial statements and provide relevant information. I will provide information also on identifiable assets, goodwill along with some disclosure requirements related to acquisition of company which will eventually result into business combination. (Craig, 2012) Below are some of the Australian requirements for accounting for business combination: Exclusion from the scope of AASB 3: Any joint arrangements made by entities must be recorded in financial statements. In case any asset or liability or both are acquired and these are taken under asset acquisition rather than business combination. Two entities under same control which are doing business Acquisition method used for implication of requirements: In Para 6 7 we see that it is recognizable that the entity which will control other entity shall be recognized as acquirer. The entity that will acquire will be larger than the other. Para 8 9 finds out that it is very important to figure out the date on which control on entity was obtained by other entity. As all the measurement and recognition will commence from this date. According to the Para 10 to 31 there is recognition and measurement of identifiable acquired net assets only. In these Para it will be recognized by the reporting entity that which assets and liabilities shall be acquired by it and at what values shall these will be measured on. This date would majorly be date of control taken. Para 10 says that with separation of goodwill and minority interest reporting entities will be recognized by all acquired assets. All the assets or liability when shall comply with definition of liabilities and assets. In case if they are related to asset acquisition transaction then the asset acquisition standard will not be applied and weight age will be given to the liabilities and the assets on the basis of the market value which it holds when the asset were acquired.(West, B., 2015) Para 6 7 of AASB 3 Business Combination We provide guidance for the identification of the acquired entity. the combining of this entity or acquires entity is a phenomenon well The Entity which film acquire control another entity by acquiring assets or liabilities. The entity will be in control buy pain proper and significant consideration to a query entity. the word which hole to control of others entity is generally large in size compared to any other entity first kind of entity will form the financial statement standard terminology and will be called has acquired entity who is the acquirer entity can be found out from the agreement of contract in Business combination and transaction. Finding fair values of assets in a business combination All assets and liabilities are valued when an entity take over business of any other entity or invest in such entity where in the holding company takes the date on which such transaction were entered. Value is stated as the values for which these are valued. As the method mentioned is totally related to market condition of anything or article it is very useful and free from any error because. It takes various parameters into consideration like the demand supply rule, market know how and the knowledge that individual possesses. So the fair value method can be termed as the method in which the evaluation is done on the basis of the goods exchanged between persons involved for whom there is an established market. Such people should not be given any position of responsibility as they may misuse the power by influencing price of such exchangeable goods or article. (Silvia, M., n.d.) So all acquired net assets are valued at the value which will remove any conflict and shall provide better understanding and relationship among acquirer and acquiree. Reasons for the choice of fair value to measure the assets and liabilities acquired in a business combination. The assets and liabilities are valued using the fair value method in case of business combinations the use of fair value method is acceptable in practical life to measure the value of asset and is also accepted by the accounting boards. The fair value method is not decided by any person but it depends upon the demand and supply of any product in a perfectly competitive market In case of business combinations when two entities combine they may have different views for valuing their Assets and liabilities in such case the fair value concept is the most appropriate to measure the value of Assets and liabilities The fair value so used will not lead to any conflict between both the parties of a business combination and with his result in satisfaction of both the parties which is very necessary .Why calculating Goodwill Again which arises from a business combination it is necessary to check whether the acid valued at fair value or not if not If not then it is necessary to value all the Ass ets and liabilities on the date of acquisition at the fair value share value is to be considered only on the date of acquisition because on this date the acquirer company has a control over the target. The treatment of goodwill for gain arising in the case of business combinations or business acquisition Sometimes in the case of business acquisition and entity has to pay something more than the value of the assets acquired. the acquired company I also have to pay something less than the value of assets acquired search gain or loss has to be computed according to their respective accounting standards the amount which is paid in excess of the net assets acquired is known as Goodwill is computed by subtracting the net assets from the consideration paid by the acquirer entity Sometimes when the acquirer entity has to pay amount less than the value of the net assets in such case the acquired company is said to have made again on bargain purchase. Ways. in which business combination can be accomplished There are two ways of doing business combinations of 41 to 44deals with the way in which business communication can be achieved. both paragraph show the stages in which business communication can be accomplished .Paragraph 41 and 42 relates with the accomplishing combination of business pages it would be possible to control any other entity which will have equity interest before the admission date. Paragraph 43 and 44 shows how did business combination can be accomplished without a transfer of the consideration. It may happen that Combining entities in order to obtain the net asset without any consideration. The situation may arise due to various reasons like the acquiring entity main purchase order purchase it won't show from the existing acquirerin order to get the control. References Fazal, H., 2011, What is Negative goodwill and its accounting treatment? West, B., 2015, Business Combinations: Dont Fall in the GAAP Thouvenin, D., 2003, Business combinations and fair value, Silvia, M., n.d., IFRS 3 Business Combinations,

Yeast Fermentation Lab Report Sample

Yeast Fermentation Lab Report Paper In this lab, the purpose is to measure whether the changes of substrate concentration will affect the rate of anaerobic respiration. Because the rate of reaction refers to how quickly the reactants are used up or how quickly the products are formed, one method is to measure the volume of gas given off, the more gas given off per time interval results faster reactions. Question: Will the changes in substrate concentration affect the rate of anaerobic reaction? Why or why not? What are the independent variable and dependent variable in this lab activity? What are some other controlled variables? Hypothesis: If substrate concentrations are changed, then as the concentration increase, the rate of anaerobic reaction will also increase, because the increase of the reactant concentration means there are more reactant particles, and there is a greater chance for these particles to collide and let reaction happen. The independent variable is the concentration of the substrate, and the dependent variable is the one will be measured, which is the volume of gas. The controlled variables are the temperature, the amount of yeast and water. Materials: Three envelopes of active dry yeast Water Sugar Three 500 ml bottles Three Balloons (Medium-sized) Measuring Cups Measuring Spoons Thermometer Measuring Tape. Procedure: 1) The room temperature water was prepared and measured by using thermometer. 2) The three bottles were labeled 1. 5 ml sugar 2. 10 ml sugar 3. 15 ml sugar 3) 150 ml of room temperature water was added to each 3 bottles 4) One package of active dry yeast was added to bottle labeled ml and solution was swirled. ) 5 ml of sugar was added to the solution and a balloon was placed over the opening of the bottle to minimize the loss of any gas from the yester. 6) The tape was used to measure gas accumulation in the balloon after 1 minute. Measurement and qualitative observations were recorded. 7) The gas accumulation in the balloon was measured and recorded at one minute intervals for a total of 10 minutes (qualitative observations were included) 8) One package of active dry yeast was added to the bottle labeled 10 ml sugar and solution was swirled by rod gently. ) 10 ml of sugar was added to the solution and the balloon was quickly placed over the opening of the bottle to minimize the loss of any gas from the system. 0) The tape was used to measure gas accumulation in the balloon after Minute. Measurement and qualitative observations were recorded. 1 1) The gas accumulation in the balloon was measured and recorded at one minute intervals for a total of 10 minutes (qualitative observations were included) 1 2) The 8-11 steps for each of the remaining bottle was repeated, the sugar concentration was adjusted accordingly. We will write a custom essay sample on Yeast Fermentation Lab Report specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Yeast Fermentation Lab Report specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Yeast Fermentation Lab Report specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Observation: The bottle with higher concentration of sugar tends to produce more carbon dioxide. After 10 minutes, The ml/10% sugar bottle produced carbon dioxide, which occupied the balloon with 4. Inches, while mi/3% sugar bottle only released carbon dioxide that occupied 2. Inches. Results: Concentration (ml/ml) Carbon dioxide produced/ 1 min (Inches) Carbon dioxide produced/mains Carbon dioxide produced/l Onions 3% 0. 0125 1. 1875 2. 25 6. 7% 0. 025 2. 0 3. 3125 0. 0625 2. 24 4. 75 Graphs: Discussion: This lab was designed to prove whether the concentration of the reactants (sugar) would impact the rate of reaction. There are three patterns of the results. ml sugar/ ICC/2. Inches, ml sugar / ICC 13. 1 Inches, ml sugar/ICC/ 4. Inches. According to the statistics, the bottle with highest concentration of bottle produced carbon dioxide that accumulated 4,375 inches of the balloon, compared to ml sugar bottle that only accumulated 2. Inches. The rate of fermentation will increase as the concentration of sugar increase. In fact, a reaction only occurs when the particles collide with energies greater or equal to the activation energy, so the increasing number of particles means the particles will collide to each other more often, and the kinetic and thermal energies will also increase Therefore, the hypothesis is accepted. There might be some sources of errors, which may occur in the procedures, the first concern is about the controlled variables, temperature does impact the rate of reaction significantly, so its necessary to make sure that temperature of the water is constant.

Business Skills in travel and tourism Essay Example

Business Skills in travel and tourism Essay Example Business Skills in travel and tourism Essay Business Skills in travel and tourism Essay Scenario: you have just finished school and are now working as a travel agency. The agencies manager has decided to create a handbook on financial and administrative procedures. As you have just received training and have the skills to design the booklet. Task 1 Produce a word processed booklet which describes the administrative and finical procedures. Set out your booklet in 3 sections The administrative procedures used to process sales Enquire forms It is important that for the organisation to record every enquiry so that it can be followed up, to try to convert the enquiry into a sale. The organisation needs to record some customer details. This can be done either on a standardised form or on a computer. Booking Form Booking forms is when a customer books a product or service, this information also needs to be recorded. You would have to record the customers details and the details of the product that the customers booked. A copy of this information needs to be given to the customer so that he or she knows what has been paid for and to give the customer peace of mind Invoices Invoices must be sent out with every item that has been bought on credit. This is done because the customer has to nave a statement of how much he/she has paid for the product and the balance which is owed to be paid. An invoke should include all the details of the product or services that are being purchased as well as a statement of the account to date and amounts received. Confirmations Confirmations are sent out to verify any information or payments that have been arriving. This confirmation supply two purposes * It informs the customer that payments have been received. * It provides a record of incoming monies for the customers file. Customer Files Every customer must have an individual private file, which should be set out on a computerised record The information on it must be kept up to date at all times. Letters Most organisations will have a standard letters which will deal with discrepancies. The advantage of having standardized letters is that all staff within the organisation will know what the letter says It will also have on time confusion. How to deal with discrepancies and inaccuracies Incorrect details on a booking form * To deal with this problem the customer would have to complete a new booking form as soon as possible. The employer must cancel the mistaken one from the record and add the new one with everything up to date. The employer must inform the organisation of where they have booked of this incident. Incorrect price on an invoice This is a major problem because you can end up paying extra money that you didnt need to pay for. To deal with this you would have to send a letter to the customer explaining what has happened, and also over charging would signify that you must refund monies to the customer. Incorrect address on a customer file * Since there are many different ways of communication used today, it would be doable to telephone or email the client to get their correct address and details. The Financial procedures used to process sales * Payment methods accepted (debit cards, credit cards, travellers cheques and cash). The benefits of each one of the organisation and to customers Travellers cheques This is used to gain foreign money. You can buy the cheques in different currency. Travellers cheques can only be redeemed for money with identification and the signature of the person who originally signed travellers cheques when it was purchased. Cash- cash is easier because youre paying straight up with simple cash with the right amount or not with change given Debit cards ; Credit cards are very much the same; you can make simple and quick purchase on the card with just one swipe and your pin number, there is certain amount of money on the card which will come up o the computer once you insert the card and enter your pin to check if you do have enough for you to purchase your item. When and how Invoices are issued Invoices are set to customers each time they have purchased an item, invoices are given out to customers to ensure that they are aware of what they have bought and how much they bought it for and how much they have left to pay. Invoices are giving on a piece of paper with all the details needed. Payment procedures Deposits- this is the first payment made towards your purchase, some deposits are not likely to be refundable depending of the organisation. Balance- this is the remainder that the customer needs to pay for their purchase Balance date- this is the due date when the money must be received by. This can be staggered. Full amount- this payment has to be made in order for the product or service to be taken in. How transactions are carried out This should be a process which is routine and has a logical approach Step one- you need to establish which technique the customer wants to use to pay and weather the company accepts that technique. Step two- A receptionist should be issued to the customer as a record that payment has been made. Step three- complete appropriate financial documentation, you need to ensure that the customer file is kept up to date and that the account reflects this. How to deal with discrepancies and inaccuracies Declined card ; returned cheques Debit or credit card payments will be declined if the credit limit is over beyond or if there is no fund in the account of the card. If the customers card has been refused you must ask the customer to pay by another method. If a cheque has been refused from a bank, you need to contact the customer to inform them that the cheque has been rejected and that they must use another method of payment. * This must be done in writing, so that you have a written copy of the customers file.

Mastering the Art of Dialogue - Freewrite Store

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

Managing Human resources Essay Example | Topics and Well Written Essays - 1500 words

Managing Human resources - Essay Example ts are losing ground to a new generation of value-added core HR functions that include career planning, executive development, training, succession planning and organization development’ (Rowden, 1999, 22). In any case, the importance of human resource management (HRM) for the development of business activities cannot be denied; in fact, HR can help a firm to improve its position in its industry; in order for this target to be achieved it is necessary that the knowledge available in all organizational departments is appropriately evaluated and processed (Lawler et al., 2003). On the other hand, the cost involved in the development of various HR policies could be a reason for the limitation of relevant business initiatives; the specific issue is highlighted in the study of Haines (1997) where it is noticed that most firms worldwide ‘view their human resources as an expense rather than an asset -- an element that is expendable and perhaps discarded when the skills possesse d becomes obsolete’ (Haines, 1997, 95). Indeed, in a survey conducted by the National Statistics of UK – the most recent available data on this issue – it was proved that ‘‘nine out of ten employers (90 per cent) had provided any job-related training (either off- or on-the-job training) to their employees in the 12 months prior to the interview’ (National Statistics Online, UK, 2002). In the above report it is noticed that for previous years, the indications regarding the behaviour of employers towards their employees are similar. Current paper focuses on the examination of the various aspects of rewarding in a specific firm: JINNIKINS JEANS. The practices of the firm regarding the specific issue are presented and explained trying to identify the potential effects of these practices on the firm’s objectives – either in the short and the long term. In the firm under examination, the reward system is based on specific actions – in hierarchical order; the benefits for the