Is Violence on Television Acceptable for our Growing...

â€Å"Is Violence on Television Acceptable for our Growing Generation?† I. The Beginning nbsp;nbsp;nbsp;nbsp;nbsp;Since the beginning of time, there has always been violence. From the death of Abel by his brother Cain in the Bible, to the mighty gladiator stadiums in Rome ruled by Alexander the Great, to the horrible accusations of the Salem Witch Trials in 1692, to what I will talk about specifically in this position paper, violence on the famous family fun center, the television. nbsp;nbsp;nbsp;nbsp;nbsp;To start off, John Logie Baird invented the mechanical television in 1926. The soul purpose of the mechanical television was to be able to see images at home from current events from around the world right in your very own home.†¦show more content†¦With the first person I killed, I did exactly what I saw in the movie.† nbsp;nbsp;nbsp;nbsp;nbsp;A grammar school child showered a Bronx office building with gunfire in New York City. â€Å"I watch a lot of television,† was what the little boy pronounced as he told an astounded police sergeant how he became skilled at loading his Uzi-like gun. nbsp;nbsp;nbsp;nbsp;nbsp;In the fall of 1995, in New York, a group of youths set fire to a subway token booth by spraying flammable liquids through the opening for the change slot. The booth exploded and the subway attendant in the booth was badly burned. That year in December, the attendant died as a result of extensive burns. The movie Money Train influenced this attack. IV. Opposing View Points nbsp;nbsp;nbsp;nbsp;nbsp;People who are opposed to television violence believe that is the responsibility of the network to monitor and sensor what they show on television. In a study of over forty years, Madeline Levine found that many children have found violence as a first resort to settle indifferences instead of the last resort. Madeline also stats that children who are heavy viewers of television are more pessimistic, more aggressive, are less imaginative, weigh more, and are less empathic. According to Madeline’s sources of information, America has become the most leading country in the world of violence. Homicide is the leadingShow MoreRelated Cartoon Violence, Has it gone too Far Essay852 Words   |  4 PagesCartoon Violence, Has it gone too Far Aggression. Killing. Revenge. Sound like the latest Scream movie or Keanu Reeves thriller? You may be surprised to hear that this describes the average Saturday morning cartoon. One of the most surprising facts is that the level of violence during Saturday morning cartoons is higher than the level of violence during prime time. There are 3 to 5 violent acts per hour in prime time, versus 20 to 25 acts per hour on Saturday morning (Gerbner,1). Violence on televisionRead MoreA Rhetorical Analysis of Editorial, â€Å"the Effects of Violence in Children’s Cartoons†947 Words   |  4 PagesOctober 03, 2012 A Rhetorical Analysis of Editorial, â€Å"The Effects of Violence in Children’s Cartoons† Claim: That childrens cartoons today are too violent and that these cartoons are greatly affecting their behaviors growing up. That violence is a learned behavior and therefore children that view violence can become violent themselves. The purpose of the argument is to raise the awareness about cartoon violence and come up with some solutions to lessen its negative impact on the childrenRead MoreMedia Influences our Children1181 Words   |  5 Pagesare experimenting with drugs and alcohol at an earlier age and there is even a show dedicated to teen moms on MTV. Of course, media is not the only force at fault here as peers and parents are just as much to blame as media. The media is full of violence, sex and the use of addictive substances, that affects youth negatively. Being a youth in today’s society is challenging. On a daily basis, many positive and negative influences are thrown at us; Without proper guidance, a child could have a toughRead MoreWhat World will We Leave Our Children? Essay552 Words   |  3 Pageswith their audience. Communication is an essential part of our daily lives but it is taking its toll on our younger generation. It is undeniable that our society is saturated with media, perhaps too suffocating at times. Our children choices are conditioned by what they see. A research conducted by the Michigan State University states that on average children between the ages 2-5 spend 32 hours a week in front of a television while kids between 6-11 spend about 28 hours and in 53% ofRead MoreYouth Violence: Is the Media to Blame?1514 Words   |  7 PagesYouth Violence: Is the Media to Blame? COM/156 07/27/13 Mallory Dunkley Youth Violence: Is the Media to Blame? Not all children who watch violent programming get in trouble with the law; some feel that there is a strong direct link between the two. There is a good deal of compelling data that suggests that there is a direct link between the media and youth violence. Throughout our history, the media has and can influence people in different ways but the more obvious questionRead More The Growing Trend of Sex and Violence in Media Today Essay examples692 Words   |  3 Pagesatmosphere. Moreover, parents have decided that the opportune way of reaching their ambitions is through the lives of their children. Under this strict lifestyle, one would presume that our values are very conservative. Surprisingly, the opposite is true. Due to the sexual and violent permissiveness in today’s Multi-Media, our society has developed a sordid standard of morals. Sex is often considered to be taboo among families. Parents do not want to believe that their children are aware of it, and vice-versaRead More Media Stereotyping of Men and Women Essay951 Words   |  4 Pagesneeds to be heavily regulated.  Ã‚     Ã‚  Ã‚   Today’s young men are increasingly being influenced by the harming mass media. Starting at a young age, these young boys are big active users of many types of media such as watching countless number of hours of television, movies, and sports programs, listening to radio programs and CDs, and playing violent video games. These boys are increasingly surfing the Internet at record numbers unsupervised. All of these forms of media are making huge influential decisionsRead MoreExposure to Violence and Videogames844 Words   |  3 Pagesraised in a generation where violence is idolized in video games and in the media. Although parents monitor and guide their children, â€Å"[the] media is everywhere. TV, Internet, computer and video games all vie for our childrens attention]† and often times are the sole free-time activity (American Academy of Pediatrics). As media monopolizes the adolescent generation, society has begun to look at the effects it may have especially material that promotes violence. Although much of this violence is fictionalRead MoreTelevision Should Be Limited For Children Essay1581 Words   |  7 PagesThe young generations are growing up in a phase of electronics; they are glued to television, phone, and tablet screens, â€Å"For some this vision represents a Utopian dream; for others, it suggests a nightmare. The difference lies in which hemisphere of the brain one sides with politically and perceptually† (Boyle 251). Being constantly glued to a glowing screen is partly to appease and partly to entertain however; parents seem to allow children to spend increasingly time staring blankly at screensRead MoreEssay about Teen Violence1694 Words   |  7 Pages  Ã‚  Ã‚  Ã‚  Ã‚  Teen violence is a serious and rapidly growing problem in America. From the horrible incident at Columbine, Colorado to the everyday incidents of youth violence, it is apparent that the problem is growing not shrinking. There are, according to most stud ies, several possible contributing factors which lead young people to violent behavior.   Ã‚  Ã‚  Ã‚  Ã‚  One problem facing children growing up in America is todays media bombardment. Children growing up in todays media bombardment are learning all the

Gap Between Literary Gothic and Pornography - 1719 Words

As a society, we are confronted daily with pornographic images, they feature in our newspapers, on our film screens, and even in our novels. This voyeuristic obsession the media holds has for a long time been desensitizing us to depictions of violence and sex, but has it also disabled us in being able to see the difference between what is carefully constructed satire and what is merely pornography? There is probably no text this discussion embraces more in modern gothic literature than that of Brett Easton Ellis’ American Psycho. The novel was surrounded with controversy, ecen before its publication in 1991. Originally, cited to be published by Simon Schuster, the company forfeited from the engagement, including its  £300,000†¦show more content†¦The sexual control of women by men is a major system within pornography, but it is not achieved through the same extreme level of violence used by Bateman, ‘in my locker in the locker room at Xclusive lie three vagin as I recently sliced out of various women I’ve attacked in the past week.’ Under his psychopathic control body parts cease to contain any sign of female sexuality or personal identity and instead they become ‘trophies’ of his violent sexual encounters. The image of the disembodied vagina acts to cause an extreme level of shock and horror within the reader, and it is not an image that stands alone within the book. These highly disturbing scenes of sexual violence against women surpass that of pornography, this does not account the novel as being a particularly horrifying piece of pornography, but instead it sets the novel from pornography completely. In order to understand this, we must consider that not all of society receives pornography in such a negative matter as so far discussed, for many people pornography is a private matter that is for the purpose of arousal. Therefore in order for the gap between American Psycho and pornography to be truly irrelevant, the text would have needed to be produced for the purpose of arousal. Although there are some scenes that explicitly serve as seeming only pornographic, the level of the violence coupled with sexual acts that progresses in

Interpersonal Relationship Analysis Characters of the Film Public Enemies Free Essays

string(173) " of progressing the relationship further by increasing self-disclosure to see if the other reciprocates the same level of disclosure and gain feedback on their impressions\." Communications 100 Interpersonal Analysis Effective interpersonal communication is crucial to development of all denominations of relationships between two or more individuals; from roll relationships shared between a doctor and patient, to platonic relationships shared between friends. Chiefly, interpersonal communication is arguably the most essential aspect contributing to the success or failure of a romantic relationship between a dyad. Communication directly influences the type of relationship participants share, how the relationship unfolds, and how satisfying that relationship is to the individuals sharing it. We will write a custom essay sample on Interpersonal Relationship Analysis: Characters of the Film Public Enemies or any similar topic only for you Order Now A lack of communication between individuals in an intimate relationship, such as one shared between a boyfriends and a girlfriend, typically results in mutual dissatisfaction which can lead to a decline in health of the individuals, both physically and emotionally, and ultimately, the disintegration of the relationship altogether. Read also Analysis of Characters in Flannery O’Connor’s â€Å"The Life You Save May Be Your Own† Romantic relationships develop and change over time as people communicate with one another. The evolution of the relationship can be depicted through four specific models; Irwin Altman and Dalmas Taylor’s Social Penetration Theory, Mark Knapp and Anita Vangelisti’s Knapp’s Stage Model, Leslie Baxter and Connie Bullis’s Turning Point Model and, Leslie Baxter’s Dialectical Theory. The progression of romantic relationships can easily be analyzed in films because they are vividly depicted and often over exaggerated. Michael Mann’s 2009 film, Public Enemies, an adaptation of the non-fiction book by Bryan Burrough, Public Enemies: America’s Greatest Crime Wave and the Birth of the FBI, 1933-34, chronicles the progression of the romantic relationship between the notorious bank robber John Dillinger and Billie Frechette while he is pursued by FBI agent Melvin Purvis in the midst of the Great Depression. The relationship Frechette and Dillinger carry out in the film perfectly displays the natural progression of an intimate relationship through the first five steps of the staircase in Knapp’s Stage Model. Knapp’s Stage Model is a communication model that conceptualizes relational development as a staircase consisting of five steps, with each step representing a respective stage of the relationship, that lead up toward commitment followed by five steps that descend from commitment towards the end of a relationship. The five steps that lead upwards towards commitment in chronological order are: initiating, experimenting, intensifying, integrating, and bonding. John Dillinger and Billie Frechette met one night at the Aragon Ballroom in Chicago where the initiating stage occurred. Initiating is when the individuals try to establish as positive an impression of oneself as possible to appear likeable and pleasant. This stage is where the first impressions are made from a greetings and physical appearance. However, in order for the initiating stage to occur, the individuals need to signal interest in initiating contact at all. In our society, especially historically in time periods like the Great Depression, men typically initiate heterosexual romantic relationships, but only after the woman sends cues that they are single and interested primarily through kinesics nonverbal communication like eye contact and smiles. The excerpt from the movie script below shows the pre-initiation stage where Dillinger first sees Frechette and she sends nonverbal cues from across the crowded ballroom that she is both available and interested: ARAGON BALLROOM-NIGHT JOHN DILLINGER is watching a sexy young woman on the dance floor. He loses sight of her†¦ He’s expecting someone. Then, Dillinger sees her again: jet black hair in a bob, brown eyes, high and a great smile. She lights up a room. She is BILLIE FRECHETTE. She feels the stare and looks over. She studies him, then, looks away. Dillinger adjusts his chair to watch for the girl. Dellinger can’t see Billie anymore. Billie reappears, dancing with a young man. Dillinger keeps his eye on Billie. Music ends. Young man escorts her to her table. He tries to join her. She turns him down. Dillinger finishes his drink, approaches. He now sees how beautiful Billie is. She looks Dillinger straight in the eye. Clear skin, dark eyes with humor playing about the edges. He unexpectedly starts to feel nervous. He gives her his best grin. Next is the initiating stage where Dillinger initiates communication following a standard interpersonal script for meeting a new person consisting of an icebreaker and beginning an introduction. Billie forms a first impression of Dillinger based on her perceptions of him. Billie categorizes him by labeling him in her mind as â€Å"Not a hustler† and interprets that â€Å"he’s holding something back† from the sensory input she selected to focus on. She then provides feedback showing her mutual interest to proceed to the experimenting stage. DILLINGER I don’t know what you said to your friend, but I sure am glad you did. What’s your name? Billie looks him over: a well-made man in a good suit with a great smile. And, paradoxes: he easily talks to women but he’s not a hustler. He’s young, but there’s a world of experience in his face. Open, but he’s holding something back. BILLIE Billie Frechette. DILLINGER Can I buy you a drink? Billie rises and they cross the bar. Is that French? BILLIE On my father’s side. There’s an â€Å"e† at the end. Do you have a name? DILLINGER Jack Harris. Music changes to â€Å"Bye Bye Blackbird. † The experimenting stage on relational development is when the participants try to learn more about each other by asking questions and start to self-disclose information to establish common interests. Typically, the proxemics observed between two people who are just beginning to become acquainted is at a personal distance of eighteen inches to four feet. However, because the progression of relationship between Dillinger and Frechette is depicted in a film that is just under two hours in duration, the experimenting stage is combined with the proceeding intensifying stage. Thus, Billie and Dillinger quickly move to an intimate distance while dancing to increase their connectedness. This stage is full of â€Å"tests. † First, individuals test the potential of progressing the relationship further by increasing self-disclosure to see if the other reciprocates the same level of disclosure and gain feedback on their impressions. You read "Interpersonal Relationship Analysis: Characters of the Film Public Enemies" in category "Papers" Billie tests Dillinger to see how he reacts to her ethnicity in era in which darker physical characteristics were not valued as highly on the social comparison scale of attractiveness. Billie expresses her self-concept perceptions that that been influenced by the reflected appraisals from society when she shares her primary identity by stating â€Å"I’m Menominee Indian,† and secondary identity by stating â€Å"I check coats at the Steuben Club. † BILLIE Do you dance, Jack? DILLINGER I don’t know how. BILLIE How come you don’t know how to dance? It’s easy. Follow me. This is a two-step. She smiles a pretty smile at him. She stays an inch or two distant in his arms. It’s slow and languorous. He follows her with little difficulty. DILLINGER My, but you are pretty. They look into each other’s eyes. He pulls her closer, wants to kiss her long smooth neck. He almost can’t resist†¦ Their lips are an inch apart. And then she rests her cheek on his shoulder and the kiss that wasn’t hangs in the air around them. He whispers†¦ Daddy’s French, what’s on the other side? BILLIE Im Menominee Indian OK. But most men don’t like that†¦ She glares at him. DILLINGER I’m not most men. BILLIE And I check coats at the Steuben Club. What do you do, Jack? DILLINGER I’m catching up. BILLIE Catching up on what? DILLINGER On life, meeting someone like you. Dark, beautiful, like the black bird in that song He touches her hair. She laughs at the flattery. Holds his eyes a beat with an ironic look. He returns the look. They look away. Say, how’d you like some dinner? Billy nods. He nods courteously to her girlfriends, grabs her coat, puts a hand around Billie’s waist and steers her out. It’s cold in the street. Dillinger pulls her close. Following, is the integration stage of relationship growth. During the fourth step, the deepest levels of self-disclosure begin signaling trust and intimacy and the individuals portray themselves as couple. Billie and Dillinger go to a restaurant together appearing to others as a couple. This scene also perfectly illustrates the three key factors necessary in the influence of one’s attraction to another: proximity, physical attractiveness, and similarity. GOLD COAST RESTAURANT – NIGHT Dillinger slips him bills. He and Billie are shown to a table. The clientele is North Shore old money and businessmen. Some of the women are in dazzling dresses even though it’s mid-Depression. A few stare at Billie. She’s out of her class. BILLIE What is it, exactly that you do for a living? She stares at him, ignoring her menu. He looks over the top of his menu DILLINGER. I’m John Dillinger. I rob banks. That’s where all these people here put their money. BILLIE Why’d you tell me that? You could have made up a story†¦ DILLINGER ‘Cause I ain’t gonna lie to you. BILLIE That’s a pretty serious thing to say to a girl you just met. DILLINGER I know you. BILLIE Well, I don’t know you†¦I haven’t been any place or done anything. DILLINGER Some of the places I been ain’t so hot. Where I’m going is a lot better. Wanna come along? BILLIE Boy, you are in a hurry. DILLINGER If you were looking at what I am looking at, you’d be in a hurry too. Laughs at his flattery, which she is also finding persuasive, then leans in. BILLIE Well, it’s me they’re looking at this time. DILLINGER That’s ’cause you’re beautiful. BILLIE They’re looking at me because they’re not used to having a girl in their restaurant in a three-dollar dress. He takes her hand DILLINGER Listen, doll, that’s ’cause they’re all about where people come from. Only thing important is where somebody’s going. She smiles excitedly BILLIE Where are you going? DILLINGER Anywhere I want. Let’s get out of here. She nods. They get up, get their things and he leads her with his hand on the small of her back. On their way†¦ a man intercepts Dillinger. (To Billie): Go wait outside. I’ll be right there. Billie turns and walks out of the restaurant. Finally, the fifth stage of the relational development incline towards commitment is bonding. The bonding stage is where the relationship is characterized by public commitment. STEUBEN CLUB- NIGHT Dillinger enters, sees Billie talking with another hostess checking coats and hats. BILLIE (Without looking up at Dillinger): May I check your coat, sir? DILLINGER You ran out on me. BILLIE You left me standing alone on the sidewalk. She places her hand on her hip DILLINGER If you’re going to be my girl, you have to swear you’ll never, ever do that again. A CUSTOMER comes up and puts his ticket on the counter. BILLIE (Ignoring customer) Hey! I’m not your girl! And I’m not going to say that DILLINGER I’m waiting. CUSTOMER So am I. DILLINGER (to Billie) â€Å"I am not ever going to run out on you again. † Say it. BILLIE No. DILLINGER Well, I ain’t ever gonna run out on you. And that’s a promise. CUSTOMER Well, I want to run out of here. So, lady, will you get my coat†¦? Dillinger swings him to the counter, grabs the man’s ticket, slams through the half door, finds the man’s coat, tosses it at him†¦ DILLINGER (To Customer): Hit the road Sport. Beat the tip. (To Billie): You ain’t getting other people’s hats and coats no more either. You’re with me now. He takes her coat and holds it for her. She doesn’t move. BILLIE I don’t know anything about you. DILLINGER I was raised on a farm in Mooresville, Indiana. My ma died when I was three. My daddy beat the hell out of me because he didn’t know no better way to raise me I like baseball, movies, good clothes, fast cars, and you. What else do you need to know? She gets into her coat. Dillinger opens the door for her. Although this interaction is fictional, John Dillinger and Billie Frechette really did carry out a relationship that progressed much like the one depicted above. However, their relationship did not decline down the staircase through the five steps of termination; differentiating, circumscribing, stagnating, avoiding, and terminating, because John Dillinger was shot and killed by FBI agent Winstead outside of the Biograph Theatre in Chicago. Billie was incarcerated on charges of being an accomplice to one of America’s most wanted criminals until 1936 and lived the rest of her life in Wisconsin. Works Cited Alberts, Jess K. , Judith N. Martin, and Thomas K. Nakayama. Communication Fundamentals. Boston, MA: Pearson Education, 2011. Print. Eiderman, Ann, Michael Mann, and Ronan Bennett. â€Å"Public Enemies Script. † The Internet Movie Script Database (IMSDb). N. p. , Nov. 2007. Web. 19 Mar. 2013. ;http://www. imsdb. com/scripts/Public-Enemies. html;. â€Å"Knapp’s Relational Development Model. † Wikipedia. Wikimedia Foundation, 16 Mar. 2013. Web. 19 Mar. 2013. ;http://en. wikipedia. org/wiki/Knapp’s_Relational_Development_Model. â€Å"Public Enemies (2009 Film). † Wikipedia. Wikimedia Foundation, Inc, 15 Mar. 2013. Web. 19 Mar. 2013. http://en. wikipedia. org/wiki/Public_Enemies_(2009_film). How to cite Interpersonal Relationship Analysis: Characters of the Film Public Enemies, Papers

Workplace Disability Management Programs -Myassignmenthelp.Com

Question: Discuss About The Workplace Disability Management Programs? Answer: Introducation In a business organization the managers have to make sure that among the workforce the communication is good. The communication has to be good among the workers to sustain and enhance the level of productivity. The sharing of knowledge and important information is a vital aspect of communication within the workplace (Thorsen et al. 2017). The managements of the business organizations should device a way like frequent team meetings or sending Google forms or by having one on one talks with the employees can build and enhance the communication to close any gaps of sharing information. In the ever-changing global market, in order to sustain, the managements of the business organizations need to develop the level of trust among the employees and all the stakeholders of the business organization. The governing body should choose some specific techniques to do so. The management can use techniques like developing the skills of the employees, reward and recognition technique, display level of competence to the suppliers and customers and many more. Reward and recognition is a technique that is widely used in business organizations to keep the staffs motivated and loyal towards the organization (Gensby et al. 2014). If the management focuses in building the occupational skills of the employees, the employees will be satisfied and the organization will profit from that as well. On the other hand if the management of a business organization shows how competent they are to all the stakeholders it would definitely increase the reputation of the business organization. In my organization the management follows the downward network of communication. In this communication network the top level manager initiates the process of sharing the information downwards to the different ranks of employees of the organization. In my operations this type of network can be easily maintained as the governing body makes sure that all the necessary information are shared to the concerned official in downward network so that they do not have to bother the lower rank employees by giving unnecessary information regarding the operations (Small 2017). Or in other way in this way the management of our organization maintains the confidentiality of important documents. To ensure the growth and development of the productivity the management needs to work on of there are any presence of conflicts or disruptions among the general employees. Under these circumstances the management should prioritize the suspected area of the conflicts and work on them to solve the issue, they can host team meetings to come to a conclusion or they can take one on one session with the concerned employees. To sustain the productivity along with the profitability, the management of the business organizations should work on the issues that can bring in harm to the bonding among the workforce. Conflicts and disruptions among the workforce can lower the productivity, lower the level of motivation and also can potentially harm the company culture (Plijter, van der Voordt and Rocco 2014). Thus if any situations arise regarding conflict among the employees, the management should step in and solve the issues. References Plijter, E., JM van der Voordt, T. and Rocco, R., 2014. Managing the workplace in a globalized world: the role of national culture in workplace management.Facilities,32(13/14), pp.744-760. Gensby, U., Labriola, M., Irvin, E., Amick, B.C. and Lund, T., 2014. A classification of components of workplace disability management programs: results from a systematic review.Journal of occupational rehabilitation,24(2), pp.220-241. Small, A., 2017. Attennn-tion! Steps and skills to ensure discipline in the workplace: management.Red Meat/Rooivleis,8(1), pp.44-46. Thorsen, S.V., Madsen, I.E.H., Flyvholm, M.A. and Hasle, P., 2017. Associations between the workplace-effort in psychology risk management and the employee-rating of the psychosocial work environmenta multilevel study of 7565 employees in 1013 workplaces.Scandinavian journal of public health, p.1403494817696377.

Business and Culture In the U.S. and Japan free essay sample

Compares cultures (individual and society, personal space) and examines the effective American use of Japanese management styles (just-in-time systems, work groups) in General Motors Saturn division. Introduction Japanese management techniques, including just-in-time (JIT) manufacturing and quality circles (QC), have gained much attention in recent years as American companies have focused on improving their profit performance and their competitiveness in the international market. However, it is not possible to simply transport Japanese management approaches without taking into account some of the significant differences between the cultures of Japan and the United States. This research examines some of the critical cultural differences between the two countries and considers how those cultural differences affect business operations in the two nations, and, specifically, within the automotive industry. Key Cultural Aspects Compared Between Japan and the USA One of the greatest

Story Writing 101

Story Writing 101 Story Writing 101 Story Writing 101 By Ali Hale Since prehistoric times, when tales were told around fires and painted on cave walls, stories have been an essential part of our human experience. But what exactly is a story – and how can you write a great one? A story is simply a tale of events that are linked by cause and effect. It can be true or it can be a work of fiction. We expect stories to have a beginning, middle and end; they involve at least two characters, and some events take place. In this article, I’ll take you through three major contemporary types of written story: The short story The novel The life story (biography or autobiography) For each, I’ll explain what it is, and how to write it successfully. I’ll end with tips about story writing which will help you improve your writing, whether you’re a beginner or a published author. Three Types of Story 1. Short Stories A short story is a piece of fiction under 20,000 words. More typically, a short story will be 1,000 – 5,000 words. (Pieces under 1,000 words are â€Å"short short stories† or â€Å"flash fiction†, over 20,000 and they’re novellas.) Short stories are published in magazines, newspapers and book anthologies. Short stories need: A small cast of characters, with one main character A compact time frame, with the story taking place over the course of a few days or weeks A single plot without subplots, though longer short stories may have a subplot The majority of writing competitions are for complete short stories, rather than novels or novel excerpts. If you do enter competitions, don’t be put off writing if you don’t win – judges have different likes and dislikes. How to Write a Great Short Story Like any story, your short story needs to have a beginning, middle and end: The beginning is where we’re introduced to the characters, especially the main character and his/her problem The middle is where the action and plot develops. The main character will face difficulties such as opposition from other people or a challenging environment. The end is where the main character triumphs over his/her biggest challenge (or fails, in the case of a tragedy). The resolution should be satisfying and conclusive for the reader. Even in literary and experimental short stories, it’s important that something should happen. Much of the action might take place inside the characters’ heads, but there should be a real change as a result. By the end of your short story, your main character should have experienced an internal change. This means that they’ve grown and developed as a person – perhaps overcoming a fear, or recognizing an unacknowledged truth about himself or herself. 2. Novels A novel is a piece of fiction that’s 60,000 words or longer (shorter books are novellas). The typical novel is around 80,000 – 150,000 words, depending on genre. Novels and short stories share similar structural features, but novels give the author a much wider scope. A novel might have: More than one main character (though attempt this with caution!) A large cast of characters A long time frame – potentially covering several centuries and several generations Multiple subplots Novels tend to be much more popular than short stories with the reading public, and almost all full-time authors are novelists rather than short story writers. How To Write A Novel A novel is a much bigger undertaking than a short story. Even if you are able to write short stories without much planning, you’ll need to plan out your novel in advance. There are a number of ways to do this, but whichever you choose, ensure: You have enough plot to meet your word count target Your main character (protagonist) is sympathetic – readers of short stories will put up with a dull or unlikeable character, but novel readers are stuck with the character’s viewpoint for much longer. As the writer, you’ll need to be able to become your characters. You have an escalation of events throughout the plot. Things need to get worse and worse for your characters, until they finally overcome their problems or enemies. 3. Life Stories A life story is a true story – though it shares features with fictional stories. Life stories are either â€Å"biography† (when you write about someone else) or â€Å"autobiography† (when you write about yourself). Most biographies and autobiographies are book length, similar to a novel. Many writers draw on their own life experiences for newspaper columns and magazine articles, though. There is also a market for â€Å"true life† stories in magazines, which are told in a story-like way: writing about your own life is a simple way to write about what you know. How To Write A Life Story A life story needs to be engaging and interesting for the reader. Don’t include boring details just because they’re â€Å"true† – the reader doesn’t need to know everything that happened. In many cases, details of childhood or dull years can be summarized – or told through a few vividly-drawn incidents. You will need to be careful when writing a biography or autobiography to: Structure your piece as a story, focusing on interesting events and incidents. Show the personality of the subject (yourself or the person you’re writing about), and making sure the reader will find them at least partly likeable. Be conscious of the other people involved – try to be sensitive to how they might feel (and avoid getting sued for libel – make sure you’re certain of your facts). There is often a fine line between life writing and fiction. If you are writing the story of your life, you will need to make decisions about whether you will alter or make up lines of dialogue, for instance. General Story Writing Tips Whatever type of story or stories you’re writing, and however experienced you are, there’s always room for improvement Share Your Story Writing Efforts It’s hard to write in isolation, and sharing your work with other writers is a great way to get feedback and suggestions. Look for a local writers’ circle, or join an online forum. You want to find somewhere that’s supportive but where people aren’t afraid to offer advice about things that aren’t working in your story. Keep Learning Writing is a craft that you can learn, like any other. There are hundreds of books on all aspects of writing, from the nuts and bolts of grammar and punctuation to writing in specific genres. You can also find free advice on the Internet (on blogs like this one). You can even take a degree or post-graduate course in creative writing. Keep Practicing As well as learning about writing, you need to practice. That means writing regularly – ideally daily. As you write more, your stories will get better – your characters are more â€Å"real†, your plots are convincing, and your endings are deeply satisfying to readers. You’ll also find that writing itself becomes easier: you’ll spend less time struggling to find the right words, and more time enjoying seeing the story spill from your fingers. Always Revise All authors need to revise their work. Your first draft might have a lot of problems – inconsistent characterization, scenes which don’t really fit, holes in the plot, incorrect pacing or tension. Don’t worry if this is the case: most published authors have to extensively rewrite their first drafts too. Always allow time to revise your story, and if possible, do several rewrites. Most authors recommend letting your story sit unread for a few days or weeks when you complete a draft, so that you can come to it with fresh eyes. Good luck with your story writing! Check Out Other Articles from The Writing 101 Series: The Writing Process Creative Writing 101 Story Writing 101 Letter Writing 101 Business Writing 101 Freelance Writing 101 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 Fiction Writing category, check our popular posts, or choose a related post below:How to Structure A Story: The Eight-Point ArcWork of Art TitlesSentence Adverbs

Critically assess Wildavksy's theory of the two presidencies (one Essay

Critically assess Wildavksy's theory of the two presidencies (one foreign and one domestic) with reference to at least two spe - Essay Example However, in their domestic and foreign policies, they differed tremendously in goals, strategies, and focuses. Each president faced a different world: President Kennedy encountered a nation in the 1960s in which the United States had to defend itself against the threat of nuclear annihilation and the plague of Communism whereas President Obama faced a society in 2009 ravaged with its worst economic crisis and financial uncertainty in its history. In selecting the inaugural speeches of these two prominent presidents, this paper will analyze Wildavsky’s dual presidency theory, looking both at their domestic and foreign policies. Analysis of the Presidency of John F. Kennedy (1961) The 1960s ushered in an era in American history that would greatly challenge its citizens, who would question on every level the very foundations of the United States. It was a nation that had safeguarded its preeminent position since World War II as the greatest country in the world, which rivaled in power and influence the Union of Soviet Socialist Republics (U.S.S.R). The nation gladly embraced, with open arms and excited anticipation, the election of the energetic and charismatic Catholic senator as their new president, who made them feel young and vibrant and embodied the best hopes of Americans to maintain their national and international preeminence. President Kennedy sought for the United States to assume its global mission of being the leader of the free world and human rights (Whitehouse 2011). In his inaugural speech (See Appendix I) of 1961, President John F. Kennedy, who became the thirty-fifth president of the United States, articulated the fundamental issues and policies that his administration would address during his presidency. His speech embodied three major themes: 1). conciliatory tone, 2). emphasis on foreign issues/policies, 3). patriotic/nationalistic ideals. Analysis of the Inaugural Speech of President John F. Kennedy (1961) The first chief theme of the speech of President Kennedy reflected his conciliatory tone. Employing very effective rhetorical language, he uses conciliatory verbs, such as â€Å"pledge† (which he used over and over again) in his masterpiece. He cites the verb â€Å"pledge† eight times throughout his speech. What message is he trying to convey to his audience by constantly using the verb â€Å"pledge†? â€Å"Pledge† meant to commit strongly to a cause, place, ideal, nation, person, organization, etc. As a promise, vow, or oath, the verb, â€Å"pledge,† represented a word loaded with connotative and denotative meanings. Even the American anthem used the word â€Å"pledge† in its opening sentence, i.e. â€Å"we pledge allegiance to †¦Ã¢â‚¬  President Kennedy employs this rhetorical device to evoke- among his fellow Americans- the sentiments of nationalism and patriotism to the nation. Moreover, by expressing himself with the word â€Å"pledge,† he also shows his conciliatory tone in his speech. What is he pledging to his people? He pledges to maintain a free nation and world. He also employs other mild and conciliatory verbs throughout his speech, for instance, â€Å"ask,† â€Å"explore,† â€Å"begin,† â€Å"offer,† â€Å"formulate,† â€Å"seek,† â€Å"unite,† â€Å"join,† etc. (Kennedy, 1961, pp. 1-3). Why did President Kennedy adopt this conciliatory rhetorical devices