I hate my job three signs you need to move on

I hate my job three signs you need to move on Everyone goes into a new job with a sense of optimism. New place, new coworkers, new responsibilities- what’s not to be optimistic about? After that initial buzz, however, you suddenly realize: I hate my job. It’s rarely in your interest to quit on the spot when you have that revelation, so how long should you stay? Let’s look at a couple of different scenarios. When seriously bad things are happeningIf you’ve discovered that there are illegal or harmful things going on at work, or your work is causing you serious physical issues, then you should seriously consider getting out now. It’s a safety issue.When you hate your boss, and your work is starting to sufferIf your work is making you miserable and you just can’t seem to get along with your boss, then it’s time to start thinking hard about your exit strategy. But if you can hold on for a few weeks or months while you start putting out feelers about a new job, then you should delay ha nding in that resignation letter.When you’re bored or mildly unhappyIf your job isn’t challenging you like it should or you have a general diagnosis of Over It-itis, then definitely start thinking about your next steps. Don’t quit just yet. Because this isn’t an emergency, you have some time to do some soul-searching about why you’re unhappy at work and what you can do to fix that. It may be that adjusting your workload or taking on different projects could make you happier and more fulfilled at work.Before you quit, talk with your boss (without issuing any ultimatums) and let him know you’re interested in taking on more opportunities, or changing up your role. If he’s receptive, then give these new responsibilities a try. If he’s not, or you’ve tried out this new regime and you’re still unhappy, then step up your efforts to find another job before you quit this one. Remember that fairly or not, it’s almost always easier to find a job while you already have one.Here’s what you need to consider before you quit, under any of these scenarios:What is my financial situation? Do I have enough savings to cover a potentially months-long job search?Do I have some good potential job leads lined up, or an interim plan (like freelancing or consulting)?Are there any skills I will need to build before I try to get a comparable job (or a step-up job)?Is there anything that I could do or ask of my boss that would make my job bearable again?It’s best to have a plan here; the last thing you want to do is quit your job in a huff, and then realize that you’ve made a mistake. Sometimes leaving is the right thing to do, and quitting can push you to move your career forward. But if you take that step before you’re ready, you could be opening yourself up to a period of stress and career upheaval unnecessarily.

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!

BP Essay Example | Topics and Well Written Essays - 500 words - 1

BP - Essay Example BP publishes a sustainability review report on a regular basis in which it focuses on building a safer as well as a stronger workplace. It does not have any designated Corporate Social Responsibility Officer (CSR) to oversee their CSR activities. The Chairman has the discretionary authority to look after their valuable social activities. In order to address ecological and social concerns, after the 2010 Gulf of Mexico oil spill case incident, BP has decided to pay around US$500 million within a period of 10 years towards supporting research activities for betterment of ecosystem in the Gulf region. In order to contribute to people, planet along with focusing on its long-term profitability, BP has decided to focus on ISO 14001:2004 standards for environmental management, which in turn can provide benefit to the people all over the world and can ensure its sustainability (BP plc, â€Å"Sustainability Review†). The company has recorded a huge number of environmental disasters wit h over 8,000 spills of oil, dangerous chemicals as well as gases. The states of Texas and Louisiana have been the worst hit with close to 3,000 cases being reported in those states. There occurred about 550 previous incidents in the Mississippi Canyon near the area where the current Deepwater Horizon disaster is unfolding. In the recent past, two major incidences have been reported in the city of Texas in which an explosion was registered in the major refinery of the company in the year 2005 and oil spill at the Prudhoe Bay. The Texas explosion led to the death of 15 people while at the same time 170 people were severely injured. The root cause of the explosion was found to have been caused by temporary trailers that had been placed close to the volatile units which the company’s top management admitted to have been a measure taken to cut costs. It was further established that poor maintenance of the

Nutritional Assessment Concerns in Competitive athletes Population Research Paper

Nutritional Assessment Concerns in Competitive athletes Population - Research Paper Example Another athlete concern is which best food supplements to take. The food supplements contain different quantities of vitamins, minerals, and other food needs. The article, Supplement Use in Sports: Is There a Potentially Dangerous Incongruence Between Rationale and Practice? ((Petroczi & Naughton, 2007), focuses on the dietary supplements to enhance athletes’ sports performance. The research centered on the athletes’ improved sports performance by enhancing their dietary intake. The researches delved into the analyzing the evident patterns when comparing the intake and rationale in terms of the athletes’ dietary supplements. Supplements include vitamins, minerals, herbal remedies, herbal products, and amino acids. The research also shows that the overdose of food supplements have toxic side effects on the athletes. In addition, the article, Comparison of pre-worked nitric oxide stimulating dietary supplements on skeletal muscle oxygen saturation, blood nitrate/nitrite, lipid peroxidation, and upper body exercise performance in Resistance Trained Men (Canale et al., 2010), focuses on research on three different pre-workout food supplements. The research focused on the effect of the food supplements of the athletes’ skeletal muscle oxygen saturation, blood nitrate/nitrite, lactate, malondialdehyde, and exercise outcomes. The research conclusions state only GlycoCarn supplement offers practical boosting benefits to the athletes. Another athlete concern is the effect of food supplements on enhancing the elderly athletes’ sports performance. In response, the article Arginine and Antioxidant Supplement on Performance in Elderly Male Cyclists: A Randomized Controlled Trial (Chen et al, 2010) focused on food supplements’ capacity to enhance sports performance, answering this concern. The research focused on the

Counter Strike Essay -- Video Game

In 1997, a group of college kids gave birth to something that would become a world renowned phenomenon, Counter-Strike. Counter-Strike is an online, team based, first person shooter. In this game, the two teams (terrorists and counter-terrorists) face off against one another using various team-specific weapons and attempt to gain victory by completing team specific objectives. The counter-terrorists must rescue hostages, protect V.I.P.’s, and protect bomb sites from the terrorists. While the terrorists must prevent the rescuing of hostages, assassinate V.I.P.’s, and destroy bomb sites. Counter-strike is host to a large variety of real weapons that are being used in similar situations today, spooky eh? Each player in the game has their own budget and may buy weapons, ammunition and equipment (such as Kevlar armor and grenades). Players earn money for by completing their specific objectives and by defeating opponents. There are five categories of primary weapons for players to choose from, shotguns, sub-machine guns, assault rifles, sniper rifles, and machine guns. Each of these categories has it’s own strengths and weaknesses and a player’s choice can mean the difference between victory and defeat. Shotguns are extremely powerful short ranged weapons. There are two shotguns to choose from in counter-strike, the M3 Super pump shotgun, and the Bennelli XM automatic shotgun. Both of these weapons are used best during close ranged combat, even though there has been some success using them during medium ranged situations. Shotguns are extremely powerful and are loaded with a deadly 12 gauge shell that can drop and opponent in two shots or less. The pump shotgun’s fire rate is significantly less than the automatic sho... ...rly quickly, and with such a large magazine, the Para is very a very deadly weapon. This weapon can be fired fully automatic, however inaccurate, it provides a very effective suppression fire, for improves accuracy, burst fire is recommended. As one can see, the player has a number of choices when they are selecting their primary weapon in the game counter-strike. All of the weapon classes are good for something different and outperform all the rest in their own fields. Shotguns for close quarters combat. Sub-machine guns for short ranges ranged dominance. Assault rifles for medium and long ranged conflict and taking down armored targets. Sniper rifles for extreme ranged engagements. And machine guns for excellent support and suppression fire. Each player makes a different choice and wields each weapon differently, keeping counter-strike full of surprises.

Dominican vs Haiti

Haiti vs. the Dominican Republic Comparing Two Sister Countries They say the grass is always greener on the other side, for Haiti this saying seems to be true. Haiti and the Dominican Republic share the island of Hispaniola, but are completely different in many ways. Haiti is the poorest countries in the western hemisphere and almost all of its people live in poverty, while the Dominican Republic is one of the wealthier countries.In 1960, both countries had the same per capita real GDP but in the last 50 years, the Dominican Republic has more than tripled its growth compared to Haiti. While these two countries are similar in geography and historical institutions, the growth between the two is drastically different. Throughout this paper, I will compare both countries economic growth and why two countries with the same geographic area are so different. Up until the 1960’s, the Dominican Republic and Haiti had very similar economic stance and were relatively growing at the same pace.But suddenly, over the next decade, the Dominican Republic rapidly increased, while Haiti barely grew at all. One reason, according to Jared Diamond’s book â€Å"Collapse†, is that because Haiti resides on the western side of the island and has a lower rainfall percentage resulting in deforestation and loss of soil fertility, which effects the agricultural industry and hinders their growth. Another factor is that Haiti has less than half the space that the Dominican Republic does, but in the 1960’s Haiti had a larger population.Throughout the 1960’s, it seemed as Haiti was beating the Dominican Republic in population, but if you look at graph 1, you can see that as soon as the 1970’s came about Haiti’s population growth slow down compared to the Dominican Republic. Because Haiti occupies a smaller portion of the island compared to the Dominican Republic, it has a higher population density in a smaller area, which also contributes to the poor soil fertility and deforestation, effecting Haiti’s agricultural industry.While Haiti’s agricultural industry was decreasing, the manufacturing industry increased because Haiti provided low-cost labor. This was a huge role in Haiti’s economy during the 1970’s, as well as other services such as tourism. But tourism soon decreased due to political turmoil during the 1980’s, and the media had identified Haiti has the place where the immune deficiency disease, commonly known as AIDS, had originated from. This caused Haiti to experience a rapid decrease in its economy, as you can see in the per capita real GDP in graph 2.You can identify the growth through the 1970’s, and then during the 1980’s you notice that it starts to decrease. This was just the beginning of Haiti’s downfall. On the other side of Hispaniola, the Dominican Republic was growing at a much faster pace. The Dominican Republic has the largest economy in the Car ibbean and second largest of population and land mass. It has a very stable manufacturing and construction industry. They also have mining, which exports many major minerals, like gold and silver.Tourism has also increased over the years, which has been the leading factory in the country’s service industry. The Dominican Republic’s government fully supported the growth of the tourism industry, but when the country’s water supply became poor and there was a shortage of many supplies and materials they needed, the tourism industry decreased. While researching these two countries policies and economy standings, I came across information about both countries relationships to the United States.The United States and Dominican Republic have a very good relationship, and the US has strong interests in the Dominican Republics’ strong economy and stable democratic development. The two countries have a strong export and trading relationship, and work together on man y foreign affairs, such as trafficking illegal substances and immigration policies. This strong political and economical relationship, I believe, has greatly helped the rapid growth that the Dominican Republic has experience over the last half century.

Enron Was Formed In 1986 By Ken Lay (“Enron Case Study”,

Enron was formed in 1986 by Ken Lay (â€Å"Enron Case Study†, n.d). It was an energy and service company based in Houston. â€Å"The early years of Enron were modest, and despite suffering financial woes and tremendous debt for several years, Enron survived.† (Rafraf Haug, 2013). Enron was the 7th largest company on the Fortune 500 in the year 2000 with assets of $65 billion and revenue of over $100 billion (â€Å"Enron: Quality Assurance†, 2016, p 17). Despite of revenues in 2000, Enron filed for bankruptcy in 2001 affecting billions of shareholders. The Enron collapsed despite of being audited by one of the â€Å"Big Five† accounting firms called Arthur Anderson. What caused the Enron failure? What was Arthur Anderson’s role in Enron’s failure? Enron had†¦show more content†¦In February 2001, some of the Anderson’s partners raised concerns related to Enron’s debt on balance sheet but Duncan reassured his partners. A ccording to Wall Street Journal, one of the senior Enron executive asked Duncan to remove Bass from any review responsibility for the Enron account. Carl Bass was removed from the Enron’s case in March 2001. Later on in October 2001, Enron announced a loss of $600 million in the third quarter. (â€Å"Enron: Quality Assurance†, 2016). Enron announced that they needed to restate its financial statement for the past 5 years to account for $586 million in losses. Enron filed bankruptcy on December 2nd, 2001. The first issue in the case Enron: Quality Assurance is lack of Internal Control. An internal control is defined as â€Å"Systematic measures (such as reviews, checks and balances, methods and procedures) instituted by an organization to (1) conduct its business in an orderly and efficient manner, (2) safeguard its assets and resources, (3) deter and detect errors, fraud, and theft, (4) ensure accuracy and completeness of its accounting data, (5) produce reliable and timely financial and management information, and (6) ensure adherence to its policies and plans.† (â€Å"Internal control†, n.d). Enron had sophisticated management control at the time of collapse. Enron’s collapse didn’t happen overnight. It revealed that for several years, Kenneth La and Jeffery Skilling, formerShow MoreRelatedEnron Stakeholders1700 Words   |  7 Pages215 Spring 2007 Enron Stakeholder Assignment Enron was a dream come true for a lot of people, but it was also a nightmare waiting to happen for many more. I am going to examine the collapse of Enron from the management perspective. 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