The Early Childhood Care And Education †MyAssignmenthelp.com

Question: Discuss about the Early Childhood Care And Education. Answer: Introduction Early childhood is the period after birth until 8years of age. This time is said to have the roots to its subsequent development when the brain grows to the fullest. Early Childhood care and education (ECCE) is the time at this period for children when they are prepared and assisted to enter into a formal schooling. Many researches are done related to early childhood and their impact on ECCE. Anders (2015), in his study on preschool children and came to the conclusion that home and learning environment help children develop numeracy skills. In another work by Vesely (2016), where he has selected immigrants, mother and their style of secured ECCE for their children. Thus, his findings say that diversity of program is important for this kind of selections. This report deals with the impact of early years curricular or pedagogical issues on how they affect programmed planning in young children. Discussion: Curriculum planning Curriculum planning in early childhood is the process which involves the engagement of learners in improving and developing the curriculum for a young child who is about to enter the school or learning environment. However, in a curriculum planning for child is important as well as challenging path. School issues regarding curriculum planning is the ideal age for entering kindergarten. The various ages for entering kindergarten are different worldwide. The ideal age to enter school is 6years for Russia, Switzerland, Australia, Japan, and Germany. In Sweden, it is 7 years of age, in England children starts schooling between 4 and 5 years of age, and in New Zealand, the child enters school on their 5th birthday. There is also a variation regarding entry to the schools in United States, with a level of birth dates for being enrolled in the school already set by the state. The children in traditional American schools kindergarten starts from 5 years of age, ranking the United States in t he forwarded portion for entering school in comparison with other countries (McLachlan, Fleer Edwards, 2013). The early life of a child is very important to make him learn the roles and prepare him to face the challenges that he may face in his future educational journey. Home and school both environment help the child in learning and thus when he enters kindergarten he actually brings with him lot of experiences that he gained at home. It is the role of the teacher to guide the child in polishing and rephrasing those experiences for future purposes through the curriculum planning (Galindo Sheldon, 2012). Wood and Hedges (2016), in their study focused on early childhood and have come up with three important questions within the curriculum theory that are content, coherence and control. Pinar (2011), gave a complete interpretation of curriculum as outlining on number of narratives and approaches like personal, historical, social, cultural, postcolonial, political, and ethical. Thus, many people being children, families, professionals, or policy-makers are attached in creating, living, and undergoing that curriculum. Dillon peaked on the significance of asking basic questions about the nature, components, context, goals, and practice of curriculum, and grasping the basic tensions in such questions (Keiding Qvortrup, 2017). Impact of Curriculum planning in early childhood According to me, teaching the young minds through worksheets can help them in their better understanding of the different concepts they go through and they often memorize them. As worksheets contain explanations of the topics thus, it helps the children understand their meaning first and then it becomes easy for them to grasp the basic and go through. Children have short memory span and so worksheets help children for practicing and improve their thought process. Play on the other hand helps the child to enhance their self worth because through play they can actually sense their own abilities and this act as a feel good factor for them. Through play, children get engrossed in what they are doing and so they develop the art of concentration. Making learning fun at this age helps children explore new and creative ways on their own. Thus, I think both have their own benefits for the development of the child. Active and experiential learning through worksheet and play can be impactful for the child as well. A child should actively take part try to engage in the task to think effectively and this helps them to learn better because they are engage actively. Play is an experiential process where the child is learning through physical movements as well as mental involvements. Here children get the opportunity to raise questions rather than simply finding the answers (Kolb, 2014). Impact of physical learning environment in early childhood In early childhood, their environments can limit the fastest development of the brain and their learning experiences and so the physical environment that is given to them has a vital impact on their brain development and is reflected in their worksheets and play. The environment where children are learning through worksheets must be supportive and encouraging. Teacher plays an important role and so they must help the child to explore through their cognitive skills. Classrooms should be designed so that the childs behavior can be explored. While children are learning through play, ample space and safely must be the basic criteria. Toys and games that would help the child to enhance their mental, as well as physical skills and they must be sanitized so that child remains germ free. We as a parent associate learning with worksheets but in reality maximum of the skills are learnt through play. Children majorly learn using their senses at the young age that helps them better understand their surroundings. They learn more by modeling and by visual stimulation. Thus through play, which is a fun filled activity for the child they learn, being actively involved in it. Children short attention span and so it is difficult for the child to sit back and learn o do the worksheet and often makes no interest to the child and so to get over it they just mug up rather than deeper understanding. Therefore, learning through worksheets are passive than play where learning takes place actively (Fisher, Godwin Seltman, 2014). . Learning from worksheets vs. play Fine motor skills in the child can be generated through various activities like open ended drawing and various writing tools should be used to attract the child. Children learn a lot more from the real experiences that they encounter with and through interacting and purposeful play. In many nursery schools, childcare and kindergartens, young children gets devoted on worksheet based tasks. Teachers who are using worksheets believe that they are updating children's learning advancement to parents. However, sadly for many children worksheet activities are not appropriate in their development. In the early childhood days, the child deals with cognitive, emotional, physical and social tasks to achieve. Therefore, they do not learn what their parents and teachers think they are learning and so the child should spend time towards some useful attempts (Branscombe, 2013). Play is on the other hand seems more beneficial for a child at the early childhood. As they grow older, their play evolves. Through play, a child is realistically encountering the problems and so they learn to think, remember and solve problems practically. The problem solving capacity is done through solving puzzles and games. They also get an idea of the various shapes, sizes and the textures through play. Play helps a child grow emotionally where they can expand their imaginations and be creative. They learn to be a part of the group so when the child enters schools this play helps them in adjusting (Piaget, 2013). Changes to improve any existing inappropriate practice based on worksheet and play pedagogy As a parent, we always put emphasis on worksheets than on play. The most inappropriate practice that I think of worksheet is that it is often the perspective of the one who makes the worksheet and it is his/her philosophy that is reflected. Children are engage for the answers rather than clearing and exploring through the topic broadly. So worksheets must be open-ended so that children gets a chance to think innovatively and understands deeply by realistically understanding the concepts altogether. On the other hand, we only structure the play of our children so that they can learn the skills we want. This is an inappropriate practice because it obstructs the Childs creative and imaginative skills. Thus, children must be given freedom and space so that they can evaluate and understand the situation themselves. Presently children are still pressured more for their worksheets and thus getting lesser time for play which I should be look after and children must get proper environment and time for both as they are beneficial in their own ways to the child. Environment plays a huge role in learning process so a child should get a supportive, encouraging and stress free environment where they can actually develop their imagination. The child should be given the freedom to ask questions, clear the doubts, and be free to participate and experiment with games that they are playing (Ling Lo, 2012). Conclusion To conclude this report, it should be said that early childhood is the phase in the childs development when he actually learns the basic through which he will shine in the future prospects of education. Through curriculum planning, the child is prepared so that he can deal with the challenges that he will encounter once he will enter the school. The role of teacher here plays an important role as their ideologies are reflected in the child later on. The child at this early age spends the maximum time in the preschools and thus the learning environment is playing a deep part for the child. Keeping in mind the role of worksheets and play through which the child learns a lot and that helps them grow. However, it was found that play is more helping in developing a child than worksheets. It helps in cognitive, motor, social and emotional developments. References Anders, Y., Rossbach, H. G. (2015). Preschool teachers sensitivity to mathematics in childrens play: The influence of math-related school experiences, emotional attitudes, and pedagogical beliefs.Journal of Research in Childhood Education,29(3), 305-322. Branscombe, N. A., Burcham, J. G., Castle, K., Surbeck, E. (2013).Early childhood curriculum: A constructivist perspective. Routledge. Fisher, A. V., Godwin, K. E., Seltman, H. (2014). Visual environment, attention allocation, and learning in young children: When too much of a good thing may be bad.Psychological science,25(7), 1362-1370. Galindo, C., Sheldon, S. B. (2012). School and home connections and children's kindergarten achievement gains: The mediating role of family involvement.Early Childhood Research Quarterly,27(1), 90-103. Keiding, T. B., Qvortrup, A. (2017). Higher education journals as didactic frameworks.Higher Education Research Development, 1-16. Kolb, D. A. (2014).Experiential learning: Experience as the source of learning and development. FT press. Ling Lo, M. (2012).Variation theory and the improvement of teaching and learning. Gteborg: Acta Universitatis Gothoburgensis. McLachlan, C., Fleer, M., Edwards, S. (2013).Early childhood curriculum: Planning, assessment, and implementation. Cambridge University Press. Piaget, J. (2013).Play. Taylor Francis. Pinar,W. F.(2011).The character of curriculum studies: Bildung, Currere, and the recurring question of the subject.New York,NY:Palgrave McMillan.[CrossRef],[Google Scholar],2012Pinar,W. F.(2012).What is curriculum theory? (2nd ed.).New York,NY:Routledge.[Google Scholar] Vesely, C. K., Letiecq, B. L., Ewaida, M. (2016). Immigrant Families in the United States.The Wiley Blackwell Encyclopedia of Family Studies. Wood, E., Hedges, H. (2016). Curriculum in early childhood education: critical questions about content, coherence, and control.The Curriculum Journal,27(3), 387-405.

The Supernatural In Macbeth Essays (756 words) -

The Supernatural in Macbeth In the play "Macbeth," there were many interesting sections which could be concentrated on due to the suspense and the involvement of the supernatural. The use of the supernatural in the witches, the visions, the ghost, and the apparitions is a key element in making the concept of the play work and in making the play interesting. Looking through each Act and Scene of the play, it is noticed that the supernatural is definitely a major factor on the play's style. The use of the supernatural occurs at the beginning of the play, with three witches predicting the fate of Macbeth. This gives the audience a clue to what the future holds for Macbeth. "When the battles lost and won"(Act I, Scene I, l.4) was said by the second witch. It says that every battle is lost by one side and won by another. Macbeth's fate is that he will win the battle, but will lose his time of victory for the battle of his soul. After the prophecies of the witches' revealed the fate of Macbeth, the plan in which to gain power of the throne is brought up. The only way to gain power of the throne was for Macbeth to work his way to the throne, or to murder King Duncan. Murdering the king was an easier plan since the motivation in his dreams urged him on. Lady Macbeth also relied on the supernatural by her soliloquy of calling upon the evil spirits to give her the power to plot the murder of Duncan without any remorse or conscience(Act I, Scene V, ll.42-57). The three sisters are capable of leading people into danger resulting in death, such as the sailor who never slept(Act I, Scene III, ll.1-37). Lady Macbeth has convinced her husband Macbeth to murder King Duncan. On the night they planned to kill Duncan, Macbeth is waiting for Lady Macbeth to ring the signal bell to go up the stairs to Duncan's chamber. He sees the vision of the floating dagger. The interest of the dagger is that it leads Macbeth towards the chamber by the presence of evil of the dagger being covered with blood. Then the bell rings and Macbeth stealthily proceeds up the staircase to Duncan's chamber. Once the murder has been committed, eventually Banquo has his suspicions about Macbeth killing Duncan to have power of the throne. There is constantly more guilt and fear inside Macbeth and his wife that they decide to have Banquo killed. Macbeth and his wife attend a banquet in which a ghost appears. Once the murderer notified Macbeth that the deed was done, he observed the ghost of Banquo sitting in his regular seat. This caused Macbeth to act in a wild manner, making people suspicious of his actions. (Act III, Scene VI, ll.31-120). The use of the supernatural has increased the suspense now that Macbeth is constantly relying on the prophecies of the three witches. Hecate, the Queen of witches is angry with the three sisters for not involving her in their encounters with Macbeth. The witches plan to lead Macbeth to his downfall by making him feel over-confident. (Act III, SceneV, ll.1-35). Further on in the play, Macbeth finds his way to the witches' cave and demands to know what lies ahead for him. The three witches predict what he is going to ask and produce the first apparition which is an armed head. "Macbeth!, Macbeth!, Macbeth!, beware of Macduff; beware thane of Fife. Dismiss me: enough." (Act VI, Scene I, ll.77-78). The first apparition tells Macbeth to beware of Macduff. Then the second apparition appears (a bloody child), and says: "Be bloody, bold, and resolute; laugh to scorn the power of man, for none of woman born shall harm Macbeth." (Act IV, Scene I,ll.85-87). This apparition informs Macbeth that no man born from a woman can harm him. Finally, the last apparition appears and is a child crowned, with a tree in his hand. The apparition is saying that he will never be defeated until Great Birnam wood shall come against him to High Dunsinane Hill. "Be lion melted, proud, and take no care who chafes, who frets, or where conspirers are: Macbeth shall never vanquish'd be until Great Birnamwood to High Dunsinane Hill shall come against him." (Act VI, Scene I,ll.98-102). These apparitions convinced Macbeth that this was his fate and became over confident, and lead him to his death. The use of the supernatural in Macbeth results quite well with the respect of the unknown. Without the witches, the ghost, the visions, and the apparitions, "Macbeth" would have been

How to Choose an Essay Sample For Writing Your Paper

How to Choose an Essay Sample For Writing Your PaperThe easiest way to choose the best Word essay sample is to determine what you are writing for. If you're simply writing for yourself, read an essay that has a style you've already tried and that you enjoy, and then go from there. However, if you're writing for the professor and reading an essay samples based on a class that you have taken, then there are a few more things to consider.First, you should go through your syllabus and make sure that the material that you will be addressing is relevant to your paper. For example, if you will be writing an essay about short stories, don't choose an essay that was merely on a television show. You would be wrong to chose something that did not pertain to your class.Secondly, choose the essay samples that you will be reading for the reason that you are writing the paper. For example, if you will be writing an essay on math, you may want to choose essay samples that are on another topic than t he one that you will be writing the paper about. You can use the same essay samples that you would use for other subjects, but they would not be the same because you will be writing about the subject. Choose these samples based on their purposes instead of their subject.Keep in mind that not all materials are created equal. Some writers choose essay samples based on the content, while others base them off of the essay's formatting. You need to do some research and find the ones that you feel most comfortable with and work with. Keep in mind that some writers won't even include their name so make sure that you're writing about the writer and not the essay itself.Now that you know what type of essay you'll be writing, you'll want to look for a Word essay sample that suits your paper. By this I mean look at the structure of the piece and how it can relate to the rest of the paper. Take note of the format and what they use to add content to their papers. Don't just look at the structure or the words but also take a close look at the format and how they use headers, footers, body content, etc.Finally, you want to make sure that the content of the essay matches the content of the writing you are writing. If there is too much of one thing, it may cause your paper to be too academic and boring, while not enough of one can actually ruin the overall effect of the paper.By following these tips, you should be able to choose the best essay sample. Just remember that many people believe that only the best essays are written with essay samples. However, it may very well be the case that if you have something that you are genuinely passionate about, then the essay samples are okay.

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