Technology in Society Essay Example | Topics and Well Written Essays - 4000 words

Technology in Society - Essay Example Where once ‘robots’ simply meant ‘robotic arms exhibited in the science lab’, today they have evolved into full-on automatons. Where once cellphones were extremely huge, bulky and cumbersome, they can now fit anywhere and be carried anywhere one goes. Music players that were once the size of a small filing cabinet can now be easily held in one hand. Truly, our fascination for technology has allowed us to create great things, and this will no doubt continue to be the case for years to come. This fascination also shows in various areas of pop culture. Works such as Ghost in the Shell or the long-running Gundam franchise are both examples of the lengths to which we envision or predict that technology will evolve, while others such as the .hack franchise portray how technology has very much become hardwired into our lives. This particular paper aims to review two such works – the novel Halting State and the first Terminator movie – due to their rel evance especially in today’s day and age. ... While nowhere near the status of such smash hits such as the Harry Potter series, for example, this novel has still managed to gain more than a modest degree of success for itself – enough to be nominated for both the Hugo and Locus awards (Worlds Without End, 2008). The story begins on a relatively mundane note – a faux job offer email sent to Nigel MacDonald for a stint as a home-based programmer for Hayek Associates LLC. At the same time, within the MMORPG known as Avalon Four, a cybercrime has taken place. Specifically, a small band of orcs together with a dragon had been found to have stolen thousands of euros’ worth of prestige items from the game’s central bank. And while this could easily have been written off as a mere in-game offense, it is soon discovered to be much worse when Hayek stocks and cryptographic keys are found to have been compromised in the process. From then on, the story introduces us to three more central characters: Sue, a polic e officer (herald); Elaine, an investigator (mentor); and Jack Reed, a programmer who happens to be a hardcore gamer. While each of their story lines at first run parallel to each other, they eventually intertwine as these three characters team up to unravel a conspiracy. Eventually, Jack and Nigel are revealed to be one and the same – Nigel MacDonald being the pseudonymous identity. However, soon enough, an even more earth-shattering revelation is revealed – that the entire European network backbone has been hacked into by Chinese hackers. This is the climax at which all pretenses of things being a game are dropped, and also where Jack and Elaine begin to fall in love. Together, the couple make use of Spooks as a sock puppet in order to

The Beauty and Complexity of Minimalism Essay Example for Free

The Beauty and Complexity of Minimalism Essay Today’s modern world is often complex, colorful, noisy and fast-paced. When I am engaged in art, I frequently look for works that allow me to escape from my hectic lifestyle. Clean lines and use of space appeal to my senses and calm me. Sometimes, what is not stated says more than what is stated. I have learned from my study of Japanese art history this semester that simplicity seems to be a common theme in many of the artworks produced throughout Japan’s rich history. Of course, this is not always the case; there are plenty of works that are colorful and loud. Use of color, in fact, seems to be an appreciated value in much of the art I have seen. However, there seems to a simplistic nature in even the most complex of Japanese artwork. This minimalism appears to be an appreciated Japanese aesthetic. Two works of Japanese art stood out to me this semester, precisely for their minimalistic nature: Pine Trees by Hasegawa Tohaku from the late 16th century Momoyama period, and a Shoki-Imari sake bottle from the 17th century Edo period. While there are many differences between these two works, they appear to complement each other. Each of these works has a rich history behind its creation and they both convey a sense of complex simplicity. Before diving into the two works of art presented in this essay, a brief overview of the periods that spawned these artworks is necessary; specifically the relationship of the Momoyama and Edo periods with painting and ceramics, respectively. 1. Momoyama Background Artistically, the Momoyama period (1568-1615) was the most important half-century period in the history of Japan (Swann 211). Momoyama means â€Å"Peach Blossom Hill,† and the period drew its name from the flowering peach trees, over-looked by the great Fushimi Castle, which was frequented by the local residents of the prefecture (Hickman 19). Hickman states, â€Å"[The term, Momoyama] seems appropriate†¦ for the vision of a brilliant cloud of evanescent peach blossoms serves well as an evocative visual metaphor for the period, a ‘golden age’ of short duration but memorable accomplishments,† (19). The period was fraught with intense warfare between clans, and the emperor remained powerless, but the Momoyama laid the foundation for a modern Japan that would experience over two hundred and fifty years of peace in the Edo period. Momoyama’s art was defined by color and movement that took the place of previously used monochrome and stillness (Swann 215). Artists suddenly felt free of restraint and were free to breath new life into old themes and form original interpretations (215). Color, gold and silver were frequently used in art. The Kano school style of painting gained prominence. Folding screens, covered in paper with bold paintings, became increasingly popular. â€Å"Perhaps [The Momoyama’s] most important product is among the most conspicuously decorative works ever produced†¦ a movable and flexible wall of dubious utilitarian value, but perhaps the most significant creation of the Japanese decorative style,† (qtd. Swann 216). The large area of the folding screen lent itself to broad, sweeping brushstrokes and immense designs. The Momoyama period attempted to bring nature into the household. 2. Hasegawa Tohaku Hasegawa Tohaku (1539-1610) was born in Nanao in the province of Noto (Tazawa 83). He was a painter of the Momoyama period who was able to paint in both Chinese and Japanese styles (Swann 219). Before he took the name Tohaku, he went by the name Shinshun and mainly produced portraits and Buddhist paintings (Tazawa 83). Hasegawa Tohaku was highly skilled and studied the works of Sesshu, Shubun, Kanga, the Kano school and Song and Yuan Chinese dynasty painters (83). Much of his work represented the style of the Momoyama period – flowering trees, flowers, and bright colors. However, his most famous paintings, like Pine Trees differ greatly from the typical Momoyama style (Seiroku 107). . Edo Background The Edo period (1615-1868) is distinguished by the long rule of the Tokugawa clan and an era of political stability. The period is called Edo since the capital was moved from Kyoto to the small village of Edo, which later became Tokyo. Two important developments influenced the subsequent artistic developments of the Edo period. First, in the Edo period Japan beca me completely isolated from the rest of the world by closing its borders to foreigners (with a small exception to some Dutch and Chinese near Nagasaki) and prohibiting foreign travel (Swann 239). Since the Chinese had historically influenced the Japanese, artists were now able to move towards the rejection and free adaptation of Chinese influences (Watson 260). The closed borders also removed the Western and Christian influences which had been slowly filtering in through the Dutch. As feudalism declined in the West in favor of the creation of parliamentary systems, Japan feverishly worked to pursue, â€Å"pleasure and extravagance which is most vividly reflected in the arts,† (Swann 240). The pursuit of the arts gave way to the second major Edo development the rise of the merchant class, which affected the artistic patronage and ushered in the Edo artists. New patrons allowed art to flourish in the Edo period. The new city of Edo helped create this new class of merchants that were able to supply not only the samurai, but themselves as well. This opened new and wider markets for the creations of artists and craftsmen (Swann 243). 4. Shoki-Imari ware One of the greatest influences to Japanese ceramics was Hideyoshi Toyotomi’s invasion of Korea at the end of the Momoyama period (Watson 260). The Japanese still wanted to produce ceramics that represented the greater Asiatic cultures, so the returning Japanese armies brought back Korean potters (Sanders 44). This led to a tremendous advance in ceramics of the early 17th century, allowing for the proliferation of porcelain (Watson 260). There were several innovations of porcelain throughout the Edo period, but for the purpose of this paper, only the Shoki-Imari ware will be discussed. Arita became a town in the Saga prefecture of Japan known for porcelain production after a discovery by a Korean potter in the early 17th century (Sanders 44). The earliest porcelains, called Shoki-Imari, were made out of a poor quality clay, with a high iron content (Watson 261). These Shoki-Imari were typically decorated with an underglaze of cobalt oxide, which had a bluish tinge. The decorations were often flowers or landscape of Korean influence (261). However, the Japanese still envied the enameled porcelain of the Chinese Ming Dynasty and finally by the mid 17th century the Arita potters learned how to use an overglaze to produce that effect. Both the underglaze and the overglaze porcelains were able to proliferate to Europe through the very limited trade with the Dutch. . Pine Trees and the Shiko Imari sake bottle The first thing one notices about Hasegawa Tohaku’s screen painting, Pine Trees, is that the entire painting is monochromatic and you can easily see how little of the canvas is used. There is more space than ink, or in terms of the environment, more mist than trees. This presents a sense of openness, almost an empti ness in the painting. According to Tazawa, â€Å"In no other work, perhaps, has the poetic quality inherent in Japanese style ink painting been so successfully realized,† (84). The same sort of feeling of Pine Trees is immediately seen in the Shoki-Imari sake bottle. The sake bottle is also monochromatic and the porcelain gleams all around the sparseness of the landscape presented. It has the same sort of emptiness as Pine Trees. This emptiness is interesting in the sake bottle because the use of the open space makes the bottle seem empty inside. Both pieces of art are similar in the sense that they present a landscape, which is a common Japanese aesthetic, especially of those time periods. The artist of the Shoki-Imari bottle is unknown, but it is clear that he was familiar with the environment he was painting. Both pieces of art make the viewer feel they are inside the painted scene, even if one piece is small and the other is large. Both works create environments that are simple and direct in their reference to an ageless Japanese reality (Seiroku 107). One element the sake bottle presents that Pine Trees does not is the bottle uses a man-made element it its scene; the sake bottle has a pagoda painted on it. This element causes the viewer to feel as if man had been inside the portrayed environment where Pine Trees does not. Pine Trees leaves the viewer feeling that no one had ever been inside the forest. The use of the mist helps enforce this feeling. It gives it a haunted, untouchable feel. The sake bottle landscape makes the artwork feel approachable. Another difference is that the techniques used in Pine Trees are distinctly Chinese. The techniques used in the creation of the Shoki-Imari Sake bottle were Korean. However, since the Japanese wanted to create ceramics in the manner of the Chinese, the underglaze was painted on in a Chinese style. This specific Shoki-Imari piece however, was not part of the first Shoki-Imari created, since it was formed sometime between 1650 and 1660 (Watson 267). It is in the style of the first porcelains exported by the Dutch, but was created later for the international market; Arita had already ceased production on poorer quality Shoki-Imari ceramics (267). Since the Japanese had already mastered overglaze technique by this time, this bottle was made purposefully with underglaze. The blue and white design was an aesthetic of the Chinese the Japanese were trying to master and created this vase to replicate earlier Chinese models (267). The painting styles of the two pieces of artwork are similar and different. In Hasegawa Tohaku’s Pine Trees, the ink was skillfully applied with â€Å"varying degrees of thickness to create the effect of pine trees partly hidden in mist, the work as a whole giving a strong sense of economy, vividness, and clarity of conception,† (Tazawa 84). Some of the ink of the trees is so dark that some individual branches are indistinguishable, yet they seem closer and more clear than those painted lightly. In some parts of the painting, there is nothing painted at all, but it is still clear that the forms of the trees are still there, even if only implied. For the most part, the use of hue in Pine Trees is not the same as the Shoki-Imari sake bottle. Some parts of the trees are painted darker than others, but only to give the individual trees added detail. There are some varying hues of the mountains and land in the bottle, but not in the same sense as Pine Trees. The mountains are not painted in detail either; they are only outlines, leaving the inside hollow. The lightest object on the entire bottle is, surprisingly, the man-made pagoda. The lightness of the pagoda assumingly expresses the Japanese respect for a nature. Each piece of artwork has something in common and something different in the way they portray the tree branches. In Pine Trees, Hasegawa Tohaku curves the branches, sloping toward the ground. But at the same time, there is a slight element of the Ma-Yuan Chinese influence on Japanese painting. The trees have a slight angular nature to them. It is not something that is noticed at a mere glance, but upon further study, you can see the implied angular nature of an older style of painting. He clearly studied the style and made it his own. The brushstrokes imply a hidden angularity in the forest. The Shoki-Imari sake bottle does not use any angularity, but it has another interesting element. The two trees in the foreground sit at an angle and curve with the roundness of the bottle. The mountains also protrude into the neck of the bottle. This method of following the lines and curves of the bottle makes the environment seem more real by conforming to the three dimensional object. Another element that the two pieces of art have in common is depth. The Shoki-Imari sake bottle certainly does not use a thickness in the brushstrokes to convey this. It conveys depth by the placement of the objects. The mountains are painted above the tree line with little overlap. A river flows from the base of the mountains to the middle of the bottle where the pagoda is located in the middle of the tree. The tree come up from the ground at an angle and curve to either side so that they have varying heights. The combination of each of these elements puts the trees in the foreground and the mountains in the background, with the pagoda and some vegetation in the middle. This creates a sense of depth, which was a newer element in Japanese art. Each of the brushstrokes on the bottle is deliberate and creates line for the eye to follow. Hasegawa Tohaku’s painting creates depth, if not more so than the bottle, but by using a different technique. The varying levels of ink he applied to the trees and the lack of ink used in the midst creates an intense depth. It is presumable that all of the trees are planted at the same relative level, but by having the darker trees at varying heights and painting the other trees at varying hues, he created an incredible amount of depth on a flat surface. He created a forest from a row of trees. 6. Conclusion The Shoki-Imari sake bottle and Hasegawa Tohaku’s Pine Trees are obviously very different pieces of art. Pine Trees is ink, black and white, large, on a folding screen and from the Momoyama period. The Shoki-Imari sake bottle is porcelain, underglazed, small, blue and white and from the Edo period. They were created roughly fifty years apart. However, they both express a minimalism that reflects an essence of Japanese aesthetic. Both pieces of art say more with what is understated. They are simple pieces; but the history behind these works and the processes involved are incredibly complex. I find both them both incredibly powerful, peaceful and refreshing.

To Kill A Mocking Bird :: To Kill a Mockingbird Essays

To Kill a Mockingbird is set in Maycomb County, an imaginary district in southern Alabama. The time is the years of the Great Depression in the United States. The mood of the novel is mostly light and humorous, especially when talking about the children’s antics. However, another mood throughout the novel is somber and calm, because come important issues are being valued and dealt with. Atticus’ dealings with the blacks, the negative attitudes of some other members of the community, the trial of Tom Robinson and his gruesome end, depicts a seriousness and a grave reconsideration of accepted beliefs, which is expected of the readers by the author. Atticus Finch, the father of Scout and Jem, is a highly respected and responsible citizen of Maycomb County. An attorney by profession, he has always tried to instill good values and a sense of moral in his children. Jem is a true brother to Scout, helping her out of scrapes, escorting her to school and back, guiding her at times and comforting her in general. When he is given money to buy something for himself, he buys a gift for Scout too. When he finds out that Scout has eaten the gum found in the knothole of the oak tree, he insists that she gargle her throat. When she muddles up her role in the pageant and is mortified, Jem is the one to console her. He displays much genuine concern and consideration in dealing with his unruly sister. Scout, because of her age, and being the youngest in the family, is impulsive by nature and extremely emotional too. She unthinkingly rushes into fights and scrapes, cries when her ego is hurt and is generally is rash in her actions. Conflict- The protagonist of the novel is Atticus Finch, who is the prime initiator and coordinator of various events in the novel. In his involvement with the poor whites of the community, like Walter Cunningham, as well as the deprived blacks, like Tom Robinson, he is portrayed as a just, sincere and a greatly considerate human being. He has clear-cut values and beliefs, and it is his sincere wish that his children too grow up with a broad outlook and an unprejudiced way of thinking. He is indifferent to what others have to say or think about his actions, and he is steadfast in his beliefs of equality and liberty. Bob Ewell serves as the antagonist villain in the novel, with his laid-back way of living and the utter disregard he has for other human beings.

Current trends in teaching growth patterns of children in elementary school Essay

Elementary schools for children have gained much attention especially in this 21st century. It is believe that the foundations laid at early childhood education have much influence on the whole learning process. It is at early stages that the intellectual development should be monitored, (Zhang, A. , Sayre J. W. , Vachon, L. 2009). The current trends in teaching growth patterns of children in the elementary schools have given more weight in promoting appropriate development of children’s physical and social growth as well as emotion. The following discussion illustrates how the above has been achieved in elementary schools, (Butte N. F. 2007). Individual appropriateness and the age of the child has been put has the first consideration in the current trend. The first understanding of children’s background be it be family, culture and the physical and emotional abilities has provided the opportunities of meeting the needs of different children, (Butte N. F. 2007). Playing in children has been the most effective approach to monitor children mental growth. Both the child supported play by the teachers and the one initiated by the child himself have proved to enhance growth and development. This approach is referred as experimental, (Zhang, A. , Sayre J. W. , Vachon, L. 2009). It is therefore by using songs and games that the children have been in position to learn more on numeric and alphabetical numbers. Another current trend which is appropriate in teaching the elementary children is the direct instruction by the teachers. In this children are directed to do something even though they do not have the idea of what they are doing. Through continuous exercise they master what they are taught. For instance children can be taught counting of numbers through the teacher’s instructions or naming some items in which at the end of the exercise they will have attained the skills of naming and counting, (Butte N. F. 2007). References Butte N. F. (2007). A new 21st century international growth standards for infants and young children: Evaluation of the Feasibility of International Growth standards for School Aged Children, 137: 153-157. Zhang A. , Sayre J. W. , Vachon, L. (2009). Radiology: Racial Differences in Growth Patterns of Children Assessed on the Basis of Bone Age, 48, 574-576.

Feasibility Report Guide Essay

Intro– Samsung Electronics is based in Seoul, South Korea and operates in 65 countries worldwide with 157,000 people working for the company. Samsung Electronics products include semiconductors, hard drives, digital displays, home electronics, mobile phones, and others. All Samsung products have the same tone when the device is turned on, so that customers can easily get used to them and this tone is mentioned when Samsung products are being advertised as well. â€Å"Smarter Life† theme was introduced recently in Samsung that is based on the innovative approach in improving the company’s current products, and introducing new products to the market. For instance, Android-based Samsung Galaxy Player 50 is to be introduced soon, containing a range of innovative features the product is expected to change the current media players’ market condition significantly SWOT Samsung– Samsung Strength as Becoming a world known brand (over 200 countries) R&D (investing on scientific talents) Innovation (new digital technology) Customization (new products every year) New allocation of marketing resources (M-Net). Samsung enjoys the widest range of product portfolio which includes : Mobile phones Tablet TV/Audio/Video,Camera,camcorder, Home appliance Pc‟s,Laptop, peripherals, printer, memory cards and Well diversified and differentiated product line toother accessories meet changing customer needs . Samsung electronics has 4business areas to cover customer electronics needs. Practice the good leadershipBrand value through multiple sponsorships High market share that continues to growtheory (Mobile Phones and Design with an attractive styling that interestsmemory chip)and LCD the customer, as the result of the development of Samsung‟s new products that involve team of product designers. product variation Samsung’s Opportunities unique products and existing products introduce userwith variety friendly mobile phones could launch sub brandsat affordable price. to the company. Samsung’s Opportunities O open more stores â€Å"Newmore customers O Launch creative products Technology,† â€Å"Innovative Products,† and â€Å"Creative Solutions. Weakness–Aver age pr i ces of pr oduct s seem t o bea l ow qual i t y pr oduct s-Not pr o-act i ve intro oduci ng a newpr oduct s. low cost competitors in China2. legal war between Samsung and its competitors such as Apple & nokia. Threads–Low-cost competitors Samsung is facing threats from many other low cost companies in China. While Samsung was busy competing with others, Huawei a company which focus on low cost products; is now a leader in fixed-line networks, mobile-telecommunications networks, and budget smart phones. Market share- Samsung Mobile eyeing 60% marketshare in India. The Indian mobile handset market is estimated to reach 251 million units in 2013, an increase of 13.5% over this year. The threat of potential new entrants (Low)- New entrants would have issues with overcoming patent issues if they didn’t plan on investing in their own R&D to create a unique product. These things together would require a new entrant to establish a competitive brand name while achieving economies of scale via investments in a supply chain process and developing a distribution infrastructure to remain competitive. The costs of accomplishing these things make a very strong barrier to entry. The threat of substitutes (High) Market share-Holding a revenue market share of 20.6%, Vodafone India is the country’s second largest telecom operator by revenue share after Bharti. Strengths: * Diversified geographical portfolio with strong mobile telecommunications operations in Europe, the Middle East, Africa, Asia Pacific and to some extent the US * Network infrastructure   * Leading presence in emerging markets such as India Weaknesses: * Little focus of impact of mobile on climate.   * Negative return on assets (ROA) under perform key competitors like AT&T, Airtel, Uninor etc * US business not nearly as strong as European/rest of the world operations * 80% of its business is generated in Europe. Opportunities: * Improve accessibility to wide range of customers * Focus on cost reductions improving returns * Majority stake in Hutchison Essar in India * Research and development of new mobile technologies Threats: * Highly competitive market * Still lags behind major competitors in the India and other countries. * Extremely high Porter’s five forces Buyer power The bargaining power of buyers in the telecommunications industry is high due to the cutthroat competition and lack of differentiated products. The strong buyer power effectively reduces the cost prices in the industry though not to the level of its competitors. As such, Vodafone will keep making reasonable profits compared to its competitors. Supplier power Vodafone’s suppliers have a high bargaining power since the company operates with greater margins compared to its competitors. As a leader in the market, the market share is large meaning that it can easily absorb any price increments from the suppliers more than its competitors can. As such, Vodafone can easily maintain low prices from its suppliers and continue making profits (MarketLine, 2012, p. 9). Threat of substitutes Vodafone faces a considerable threat for products and services. The landline and CDMA services are fast declining while broadband services are fast becoming common. Video conferencing, VOPI such as Skype, Google Talk and Yahoo Messenger, email and social networking have emerged as substitutes to mobile services. However, due to the strong buyer power and effective economies of scale, Vodafone does not need to pass down the costs attributed to substitution to consumers (MarketLine, 2012, p. 8). Threat of entrants The threat of fresh market entrants is low because of barriers to entry. Companies wishing to enter the market must pay huge licensing fees coupled by spectrum availability and regulatory issues attached to the industry. Similarly, the costs of setting up network infrastructure are high, and the rapidly changing technology make is difficult for new entrants to cope. However, Vodafone can cope with this by maintaining high-level efficiency of its services to unrivaled heights. Industry rivalry Vodafone faces extremely high rivalry from its competitors due to the low call rate prices charged by its closest competitors. Similarly, the competitors constantly provide innovative products and services to the customers, which mean that Vodafone has to provide the same to its customers. Vodafone PEST Analysis. PEST analysis is a strategic tool used to analyse external factors affecting the business and stands for political, economical social and technological factors. The main political factors affecting Vodafone include EU Roaming Regulation that aims to decrease charges for mobile phone usages Economical factors also affect Vodafone main of which are the growth of GDP and the level of inflation rate within markets where the company operates. Generally any external economic changes affecting Vodafone can be classified as external economic factors. There is a range of social factors as well that affect Vodafone. For instance, changing work patterns that are becoming very popular make people work from home increasingly relying in communication technologies. Also, there are issues like people going ‘green’ and ageing population in developed countries that are going to affect Vodafone directly or indirectly. The impact of technological factors on Vodafone is without any doubt due to the nature of the telecommunications industry. Specifically, a technological innovation in communications and emergence of alternative means of communication such as online chatting, and Yahoo! Messenger are going to affect Vodafone strategy in a way that the company is left with a choice of either to form strategic alliances with above companies or to commit to considerable amount of research and development in order to introduce innovative products and services to the market.

How to Start a Story Must-Have Tips From 11 Professional Editors

How to Start a Story Must-Have Tips From 11 Professional Editors How to Start a Story: 11 Tips From Our Editors Most writers don’t begin the novel-writing process knowing exactly how to start a story. That comes later, once the narrative arc has taken clearer form.It’s also because the opening lines of a novel carry a lot of responsibility with them. They act as an invitation for someone who’s glanced at the first page of your book to either put it back down or keep reading. It’s like the white rabbit showing up and asking Alice to follow him: the reader has to decide whether to follow despite not knowing what will happen next, and it is the writer’s job to convince them to go down the rabbit hole.Whether you’re just getting started on a novel, or revisiting Page 1 of a first draft, Reedsy Editors are here to help with tips for starting a story with literary examples from a few favorites. We asked our editors: "how would you start a story?" They came up with 9 insightful ways Tip 1. Start with the unexpectedGareth Watkins: Start with the unexpected. Think of the opening to Nineteen Eighty-Four, or Iain Banks’, The Crow Road, â€Å"It was the day my grandmother exploded.† Of course, your opening doesn’t have to be as outrageous as these, but always aim for the unusual. In other words: think of how people will be expecting the book to start, then take the plot  in another direction.If you're in the mood to get some similarly twisty ideas, you can go here to see a list of 70+ plot twist examples.â€Å"At dusk they pour from the sky. They blow across the ramparts, turn cartwheels over rooftops, flutter into the ravines between houses. Entire streets swirl with them, flashing white against the cobbles. Urgent message to the inhabitants of this town, they say. Depart immediately to open country.† - Anthony Doerr, All The Light We Cannot SeeTip 10. Start with your heartDiane Sheya Higgins: Ensure readers that you are not kidding around. You have invested blood, sweat, and tears into this story, and the opening lines should prove that. Compose the first lines of your book as though they were the last lines you will ever write.When readers are transported into your far reaching insights and soulful explorations, they are yours. Every time I read the opening lines of Hugh Howey’s bestselling self-published novel, Wool, I am drawn into the breathtaking depths of his vision and humanity, and I wrench my heart from my chest, and say, â€Å"Here, take it.†Ã¢â‚¬Å"The children were playing while Holston climbed to his death; he could hear them squealing as only happy children do. While they thundered about frantically above, Holston took his time, each step methodical and ponderous, as he wound his way around and around the spiral staircase, old boots ringing out on meta l treads.† - Hugh Howey, WoolTip 11. Start by placing a spell on your readerAnne McPeak: You want your reader to be swept up in the story- for its entirety, but especially at the beginning. This is your chance to intoxicate your reader and convince them that they can’t not read on. This doesn’t mean your story needs drama, or fireworks, or shocking material; what your story really needs is close attention to language, tone, and pacing. Dazzle your reader from the start, and they will willingly take your hand for the ride."Like a match struck in a darkened room:Two white girls in flannel nightgowns and red vinyl roller skates with white laces, tracing tentative circles on a cracked blue slate sidewalk at seven o'clock on an evening in July.The girls murmured rhymes, were murmured rhymes, their gauzy, sky-pink hair streaming like it had never once been cut." - Jonathan Lethem, Fortress of SolitudeEstablishing best practices for starting a story can be tricky because, as Reedsy Editor Nathan Connolly says, â€Å"Fiction should, by nature, seek to defy, redefine or expand beyond rules." It should not be an author’s goal to emulate the words or tastes of another person while writing a novel.However, many well-loved novels share a thread of commonality when it comes to their first few lines - such as a question, a brief to-the-point line, or in the middle of action. While there’s no hard rule for what works, these are guidelines you can follow when determining how to hook readers down your story’s path. Struggling with your opening lines? Here are 9 ways to start your story   Writing a book is a monumental task, but very doable once you have momentum and a compliant muse. If you're looking for ways to end  your novel, go here. And when you reach the finishing line of your entire publishing journey, please read our technical article on formatting and making a book ready for publishing.Do you have a favorite opening passage from a novel not mentioned? Or your own tips for writing a great story opener? Let us know in the comments!

The Agony of the Confederate Flag essays

The Agony of the Confederate Flag essays The Confederate Flag has always and will always stand for a dark time in our country. This flag reminds many people of a time when slavery was rampant in our country, and indeed, it is the flag of a country that supported slavery the entire length of its existence. This flag is offensive to people, it carries the connotation of hatred, inequality and severe injustice. This symbol is one of pure hatred, not heritage as some may say or believe. Lets say for a minute that this flag does not stand for hatred (which it clearly does); but rather it stands for heritage (which it clearly does not). Why would anybody want to display a flag of a country that is known for slavery, hatred, bigotry, and getting their behinds whipped rather handily by the opposing country in the only war it was ever apart of? I know it has a lot of historical value; I mean after all it was the symbol of a country that lasted all of what three to five years before they were defeated by the very union they sec eded from. Also, if it is heritage and should be allowed to be flown on government buildings, why then should we not fly the Union Jack of Great Britain, after all they were both our heritage and our history, it seems to make sense that if the confederate flag stands for heritage and history solely; then we should fly the Union Jack with pride after all it represents those same qualities. To me this flag represents the following: hate, bigotry, racism, prejudice, inequality, injustice, white supremacy, and an overall feeling of disgust. Personally I think it should not be flown on government buildings because it offends people, and should not be allowed in public school, because many students have no choice but to attend there and should not be forced to look at a symbol of hate all the time. If the government can rule to take prayer and Bible out of schools, and take the Ten Commandments off the court room walls merely because they offend people (e...