Motivating Sales Engineers in the Industrial Business Essay -- Busines

Introduction Salespeople are often internally driven and self-motivated (Srivastava and Rangarajan, 2008), and are increasingly becoming consultants who sell value-added services (Smith and Rupp, 2003). Nowadays more industrial companies employ sales engineers (SE) and therefore they represent an emerging class of knowledge workers on sales (Darr, 2002). I will first describe my experience in Festo, before briefly addressing some theories about motivation, related to it. Was there a mismatch between theory and business as I knew it? If so, I will try to identify it, and to explain why Festo's incentives failed with me. Finally, I will suggest how Festo should have motivated its SE, based on the theory previously discussed. What is a SE? I have mainly worked as a salesperson, although having studied engineering. Then, let me ask: what is a SE? A salesperson with a strong technical knowledge on the field he/she is selling. Furthermore, a SE could be defined as a technical-consultant salesperson or a knowledge worker (Darr, 2002). These ideas somehow extend Lidstone's definition of a technical salesperson: someone who sells industrial products, equipment or highly engineered components; put a major emphasis in his/her know-how, are often worried with technical details, and tends to forget his/her job is to sell (1995). SE at Festo Festo Argentina had around 20 SE (2007) nationwide (from a workforce of 120), half of them farther away than 400 miles from main office. Every SE had a different emotional background (psychological characteristics), engineering field (industrial, electronic, mechanical), and socioeconomic situation (some married, others young and single; well-off, working class, etc.). We were distributed geograp... .../2010]. Pritchard, R. and Ashwood, E. (2008). Managing motivation: a manager’s guide to diagnosing and improving motivation. New York: Taylor & Francis Group, LLC. Smith, A. and Rupp, W. (2003). An examination of emerging strategy and sales performance: motivation, chaotic change and organizational structure. Marketing & Intelligence Planning, 21/3, pp.156-167. Smyth and Murphy (1969). Compensating and motivating salesmen. New York: American Management Association. Srivastava, R. and Rangarajan, D. (2008). Understanding the salespeople’s â€Å"feedback-satisfaction† linkage: what role does job perceptions play?. Journal of Business & Industrial Marketing, 23/3, pp. 151–160. Steers, R. and Porter, L. (1987). Motivation and work behaviour, 4th edition. New York: McGraw-Hill Inc. Stewart, G. (1994). Successful Sales Management, 3rd edition. London: Pitman Publishing. Motivating Sales Engineers in the Industrial Business Essay -- Busines Introduction Salespeople are often internally driven and self-motivated (Srivastava and Rangarajan, 2008), and are increasingly becoming consultants who sell value-added services (Smith and Rupp, 2003). Nowadays more industrial companies employ sales engineers (SE) and therefore they represent an emerging class of knowledge workers on sales (Darr, 2002). I will first describe my experience in Festo, before briefly addressing some theories about motivation, related to it. Was there a mismatch between theory and business as I knew it? If so, I will try to identify it, and to explain why Festo's incentives failed with me. Finally, I will suggest how Festo should have motivated its SE, based on the theory previously discussed. What is a SE? I have mainly worked as a salesperson, although having studied engineering. Then, let me ask: what is a SE? A salesperson with a strong technical knowledge on the field he/she is selling. Furthermore, a SE could be defined as a technical-consultant salesperson or a knowledge worker (Darr, 2002). These ideas somehow extend Lidstone's definition of a technical salesperson: someone who sells industrial products, equipment or highly engineered components; put a major emphasis in his/her know-how, are often worried with technical details, and tends to forget his/her job is to sell (1995). SE at Festo Festo Argentina had around 20 SE (2007) nationwide (from a workforce of 120), half of them farther away than 400 miles from main office. Every SE had a different emotional background (psychological characteristics), engineering field (industrial, electronic, mechanical), and socioeconomic situation (some married, others young and single; well-off, working class, etc.). We were distributed geograp... .../2010]. Pritchard, R. and Ashwood, E. (2008). Managing motivation: a manager’s guide to diagnosing and improving motivation. New York: Taylor & Francis Group, LLC. Smith, A. and Rupp, W. (2003). An examination of emerging strategy and sales performance: motivation, chaotic change and organizational structure. Marketing & Intelligence Planning, 21/3, pp.156-167. Smyth and Murphy (1969). Compensating and motivating salesmen. New York: American Management Association. Srivastava, R. and Rangarajan, D. (2008). Understanding the salespeople’s â€Å"feedback-satisfaction† linkage: what role does job perceptions play?. Journal of Business & Industrial Marketing, 23/3, pp. 151–160. Steers, R. and Porter, L. (1987). Motivation and work behaviour, 4th edition. New York: McGraw-Hill Inc. Stewart, G. (1994). Successful Sales Management, 3rd edition. London: Pitman Publishing.

In this portfolio I will take you on the journey which I myself have travelled on throughout my IB theatre programme Essay

In this portfolio I will take you on the journey which I myself have travelled on throughout my IB theatre programme. Within this portfolio I will portray the processes which we as a group went through in order to create our devised piece as well as how we applied our knowledge and understanding from our experiences into our performance design. The Stimuli Our production began with each member of the group producing a stimulus. Before presenting their ideas we decided that we should individually analyse the stimuli and see what we as individuals could come up with. We did this before the member of the group voiced their ideas on their chosen stimulus so that we had the opportunity to take the stimulus along different paths and elaborate different ideas and amalgamate them together. Belo is our stimulus’ and our ideas which we had on each. After having discussed the available options which included images, music and objects of sentimental value we decided to use my stimuli. My stimulus was of a newspaper article that had been widely distributed throughout the UK. We then discussed the direction we wished to take with our chosen stimuli. We again split into different areas of the room to individually assess our dilemma. Below is the mind map which I created at this time. After thorough discussion we agreed upon the concept of using a ‘current affairs dilemma’ in order to solve our own. Our group was fascinated by the political outrage that Iran had caused with America in regards to capital punishment on women. The Research and Development of the plot Thorough research shown how on the 20th September 2010 Iranian Government publicly accused the US of ‘Double Standards’ in a newspaper article published in ‘The Guardian’. Centred on a 43 year old Iranian, Sakineh Mohammadi Ashtiani and a 43 year old American Theresa Lewis. Ashtiani was issued with capital punishment in 2007 after it emerged that she had an illicit affair with a man after the death of her husband in 2006; this was later revoked and she was charged with adultery, manslaughter and the murder of her husband. After heavy media attention in 2010 and the international campaigns lead by her children, the US decided to interfere. It was at this point that the political and controversial debate first took form. Iran used the case of Theresa Lewis and the issues surrounding her low IQ of 72 in order label the US Government as a hypocrisy. As a group we decided to build upon the idea that this issue was now a well known moral dilemma in the eyes of the media and transfer this to our audience. Preparation of roles Due to a shortage in group members most people on role allocation ended up with multiple roles outside of casting. As a strong leader I was required to both direct and create our script. Other roles distributed included head of lighting, head of technology (computer, projections, music), Costume designer/set designer and also a physical movement leader. After having directed a scene in both our performances of ‘The Seagull’ Anton Chekhov and also our modernized performance of Shakespeare’s ‘Romeo and Juliet’ I had already gained experience on my course for this role. Previously I had directed a scene from ‘The Seagull’ based upon the German movement in the 20th Century, Expressionism. I had began reviewing work from Georg Kaiser, Oskar Kokoschka and Ernst Toller whom were all highly influential playwrights. As I had already worked hard to gain understanding of this tradition I really hoped I would be able to use this experience. Following on from this I began thinking that maybe I could find a tradition for each country involved in order to uniquely apply my imagination to our piece. After thorough research however it was evident that Iran had not really adapted a specific practice in order for us to carry out this desire. Whilst researching I stumbled across the book pictured below and I was struck with the words â€Å"most people do not speak of theater and Iran in the same breath† By Willem Floor Because of this we decided to change tact and opt to symbolise the juxtaposition instead through lighting and staging. The Script As well as directing, my role was also to produce the script. After having seen a production of Willy Russell’s ‘Blood Brothers’ I was fascinated by the narration used. ‘Blood Brothers’ based upon the separation of two twin brothers at birth uses, a narrator to guide the play. I took inspiration from this and used the rhyming couplet format in order to symbolise the two women. Before penning the script we produced a flow chart collectively annotating the main plot and adding aspects of theatre which we had learnt on our journey. Below is a copy of our chart. After having an outline of things to be included in the script I began by listing all of the main things we wished the narrator to introduce in the play. We had a vision that the narrator would guide the play throughout through facts and that he would create a connection between the audience and the cast. Because of this the narrator’s speech was conducted first in its entirety. From here it really felt as though my script had a strong ‘spine’ on which to build our piece. As our piece began with a police interview we wished to keep it at a very simplistic level of speech just like that of a real interview. We decided on stage direction so that the interviewer was not visible throughout; leaving the actress playing Ashtiani alone on stage to symbolise how she was alone and not supported when interrogated. It was at this point that we reflected upon our past workshops based upon speech and theatrical forms in which we can convey speech. A workshop came to mind from the previous term where we had built upon the idea of a ‘sound collage’. A sound collage is where there is a build up of speech from multiple participants aimed at a particular subject. We decided that this would be a way of communicating to the audience a sense of anger or revolt; because of this we attached it to the chart in relation to the campaign against Astiani’s sentence as we felt this would have a strong effect. Another was that symbolism was used through my script writing was through Ashtiani and Lewis’ monologues; again showing how they were both alone yet in the same situation. We began our course creating a ‘one-person’ show based upon a real life event or experience which we had within our lives. Within my ‘one-person’ show I had a vast majority of my speech presented as a monologue and I wished to transfer my craftsmanship of producing monologues into our script. In order to create the monologues I first had to visualise the characters whom would be performing them. Because they were both real women I was able to complete a lot more thorough research into them gaining a better portrayal as them as individuals. From this I concentrated on themes and emotions which I wished to get across to my audience through the monologues. I learnt that Ashtiani and Lewis alike were very religious thus concentrated their monologues from a very philosophical and religious point of view: however I still kept in mind that their two religions were very different and ensured that I kept the appropriate context throughout (e.g. Allah instead of God for Ashtiani). Whilst researching our topic we had found that there had been a lot of media attention on both cases and we wished to portray to the audience just how much the media had been involved: also we wanted to show them how much people are influenced by the media. For the section of our chart where we introduce Teresa Lewis an idea was formed so that she would be introduced through a television broadcast. I began this section of the script by visualising a news reporter sat at a desk within the audience speaking directly at them. This idea developed and led us to have another cast member as a journalist actually interviewing Lewis at her correction centre. The idea of another interview type dialogue was to portray the two women’s differences in the way they were being interviewed and questioned. Allocating Roles To begin with it was decided that it would be best to create a mindmap of suggested roles that would need to be filled in order to go ahead with the production. Below is a copy of our mind map However we issued a problem when it came to the casting of roles. As we only had two female members of our group we were automatically cast as the two women. This then left us with three males to cover a total of six casting roles; because of this we had to organise ourselves in a way that allowed each male to cater to two parts without them conflicting. We managed to do this by using a theatre practice wisely after an idea emerged that the narrator would be in the style of a ‘Bunraku puppet master’ the ‘omozukai’. We were first introduced to Bunraku puppetry by our elder Baccalaureate students who provided us with a workshop. We decided that everything in the production should be under the narrators control like puppets would be; in a way the narrator could be seen as the controlling governments holding the women for their crime. Introducing this style allowed for a lot of stylised movement pieces throughout our performance. Characterisation After having been allocated our roles we wanted each cast member to fully understand their character whether it be an officer of the law, a journalist or one of the women themselves. We provided each member of the group with an image relating to their character Below is the image I was provided with along with how I answered certain questions given to me by my peers in order to develop my characterisation. It was at this point we experimented using a technique called ‘hot seating’ in order to enhance characterisation. We each took it in turns to be questioned in character. Everybody found it highly difficult at first however after a few minutes everyone managed to get the hang of it. We also brought in aspects we had learnt from our workshop on Stanislavski in how to apply his theories. We continued building on our characterisation by looking for resources. I found a particularly good resource online [2] from amnesty international which was not only personal but also highly emotive. In particular this helped me with my monologue as I was able to feel connected to my character in order to portray the appropriate emotions. There was a great discussion between the group as to whether we should apply accents or not. It was decided that we should not apply accents but that we should be highly expressive and use the gift of sound/speech in other more appropriate ways such as our sound collages. Movement From a very early stage of production I had a very vivid image of where I would ideally see the piece going in terms of movement. I really enjoyed both Kabuki theatre as well as improvised dance. We tried to incorporate the two into the scene that the Iranian officials came to collect Ashtiani’s lover. We tried a lot of improvised movements however found that the final product was much disorganised and we really wanted this scene to be both memorable and pivotal so we decided to journey down another path. Further discussion led us onto tableaux however after a short workshop this idea was also disregarded on the ground that the scene should have a content of movement in order to emphasise the brutal separation of the lovers. From this we organised a lesson where we explored the idea of using creative movement on the basis of a fight. We choreographed a routine using levels to show who was in control and also pace to highlight certain features. In the end the product for this movement piece in my eyes was highly effective in the way it showed the lovers being torn apart by their government and law. Masks Whilst developing our first scene we had to identify the difference in authority to the audience. We also had to show the difference in characters through this method due to the males playing more than one character. After having workshops on masks previously we were aware that the purpose of masks in Greek theatre was to signify the unity of a chorus: because of this we used them for our two Iranian officials as they had no speech during their time on stage. The idea of the masks was to create exaggerated facial features portraying the anger and authority associated with that scene yet at the same time disguise the actors true selves. The mask allowed us to show the contrast between the different levels of hierarchy within the scene as well as symbolise the isolation that the couple were feeling being faced with ‘masked intruders’. Music When devising our piece it was decided that our piece required two pieces of music. There was one necessary at the time of the movement scene where the Iranian couple are separated. We found a piece of music by ‘Radio head’ entitled ‘Talk show host’. The tempo of the song was highly appropriate to the atmospheric desire as it showed confusion, regret and desire all at once. The lyrics in the song such as ‘You want me? Well come on and break the door down†¦You want me?'[3] we believed were perfectly fitting for the scene. We were able to synchronise our movement so that our choreography was carried out in time to both the music and in time with other cast members. There was also another piece of music entitled ‘We are the World’ by ‘Lionel Richie and Michael Jackson’ to be played at the very end of the performance. This particular piece of music I believe thoroughly puts the world into perspective emphasising the importance of life which at the end of the performance is taken from the women. Lighting Due to there being two separate stories going on at one time on the stage the lighting was crucial. We used 2 spotlights (1 for each female character) with colour faded reflective lighting upstage. The flood lights used were chosen appropriately especially in terms of colour. For example green was used to portray coldness whereas red was used to show anger. We tried a variety of colours for the movement scene however in the end after a lot of trial and error we finally agreed on red fading through to blue to show the anger from the officials resulting in the blue for the loneliness and sadness. I really enjoyed experimenting with the lighting as not only did I learn a lot but we were also able to show the juxtaposition. Staging For our staging we tried to show the contrast through black and white flooring, curtains and backdrop. Not only did the black and white create the impression of harsh and soft but it also symbolised the two races. Below is a sketch of how we designed the set. The idea was that neither side crossed the boundary set out in the middle. We placed 2 old fashioned chairs back to back for the two women in the centre of the stage for them to be seated on at the end. Other than the 2 chairs there were no other props on the stage. Because we tried to use a very simplistic set design we compensated for this with a projector carefully placed to project newspaper headlines onto the white cloth background. Also attached to the backdrop was metal shackles which Ashtiani’s wrists were placed into to set the scene of her cell as well as show the restraints that she had against her: Lewis however had nothing but the chair and was not restrained in any way to show the two sides of the world two political views on law enforcement. As a whole I really enjoyed making the set as well as designing it. Although we encountered a few problems setting up the projector and laying out the flooring I was very happy with the outcome. The finished product was highly symbolic which was totally what we were aiming for. Bibliography [1] http://orangehouse.tumblr.com/post/778392704/campaign-for-iranian-woman-facing-death-by-stoning [2] http://www.amnesty.org.uk/actions_details.asp?ActionID=706 [3] http://www.sing365.com/music/lyric.nsf/talk-show-host-lyrics-radiohead/193ae81bd7d8a3fb4825686600141d5f

Barnados

Analysis of a Barnardo’s Advert: Stolen Childhood Why do charity adverts get complaints? Shocking, inappropriate, offensive- these words are often thrown at charities about their advertising. The Barnardo’s ‘Stolen Childhood’ campaign is typical of charity adverts, which engages people to donate, take action and make changes. Surely this means for people to support this charity, and not something to be complained about? The Barnardo’s campaign has created great controversy. This has made the public disapprove and to some what find disturbing.Thomas Barnardo’s established his charity in 1870; even then did it cause accusations. Barnardo’s opened many projects such as ‘Believe in Children’ and ‘Child Poverty’ and many more series of campaigns. During 2002 Barnado’s launched the campaign ‘Stolen Childhood’ to help children up to the age of 18, who have been abused through prostitution. Complain ts said audiences were left feeling disconcerted and disturbed. But making calls to stop child prostitution was a target for Barnardo’s; they wanted to create a new law allowing child prostitution to end.Barnardo’s produced posters for advertisements about the prostitution of children and altered their faces to illustrate the pain that they are going through. Noticing the complaints, has risen, Barnardo’s defended the decision to use shocking images: saying that these changes allowed them to get the message across to many people and allow Minsters to act quickly, providing enough protection for children. In this particular advert, it contains a picture of a little girl sitting on a sofa.Her face is digitally grotesquely old, but has a young body. Standing behind the sofa is part if a man and his fingers are running through her hair. The background is a subtle yellow, with curtains that are drawn. The advert includes a catchy slogan and information on how to dona te or get supplementary information about the campaign. The man in this image is placed behind a sofa, with his back towards a window. This arrangement gives me an idea he is hiding or protecting the little girl away from the public.This unknown man cannot be identified because the image does not allow the viewers to see his face because his face is deliberately hidden- this sets the audience eager to see his face. We are also not able to see his bottom half, as he is straightened up behind the sofa- Which suggests that the man may not be wearing any trousers. You can see the hairs upon the man’s chest, (as his shirt is seen to be undone) this straight away gives me a sense that this man is way beyond the age to be sexually connected with young girls.Plus I can identify that he is wearing a wedding ring which states the man might be either married or divorced. This proves that anyone can act in this behaviour, whether or not you’re married. Clenching his hand on the so fa expresses that the man is in anger and has force over the young girl. However, he is probably satisfied as well as incensed because, his other hand is touching the girl’s hair. Reminding ourselves that his shirt is undone, this can calculate that he may be ready to sexually abuse her, or that he has already done so.The terrified girl in the foreground is cramped up in the corner of the sofa: this shows that she is probably afraid and is trying to keep away. She looks as if she is trying to protect herself by holding both arms firmly around her. Through this I can sense that the girl may be in danger in some way perhaps, as she like to keep her self to herself. Her world might be very dark and cold so, therefore holding both arms is a way of keeping her pain within herself. Yet sitting in this position is also covering the lower part of her body, as she may not be wearing anything.This then shows me the young girls sensitive and emotional side as she may be a very shy perso n. The purple bruises on her legs must have a horrifying story behind them- A story that involves physical, brutal abusing conflict between the man and her, or maybe be she has self harmed herself which might be a way to relief her pain. The top that the girl is wearing stands out to me, it appears to be quite rigid as it looks almost washed out form a bright pink colour, this suggests a soft girly side that she once had, and has all been taken away from her.I can clearly say that this image of her clothing gives a sign of purity and innocence to contrast with her reality and the callousness of the room. Yet viewers who look at this poster are straight away drawn directly to her face. Her digital altered face appears to look old and wrinkly. Bug, heavy bags under her eyes are lined up with dark bruises, making her look stressed and tired, almost as if she has spent her hours crying with lack of sleep. From her droopy expression her mouth is weighed down with many defined lines which appear to be baggy wrinkles forming under her lips. Which is exaggerated on the amount of sexual abuse that she gets, hence it is equivalent to a life time and maybe it is difficult for her to relax and get some rest. This all results to how the child is being taken care of by the man –Not only does he abuse her but has no intention on her health and strength, she is some sort of shield for him, were she is being brutally knocked over, while he is safely fulfilled. The girl who once lived a happy life, with smiles and laughter, has almost faded away with a broken soul of worries, fear and pain.I think this altering of her face may reflect what she may look like in the coming years. The image of this lonely victim has been adjusted to make her look old with strands of grey hair. By doing this digital alteration the audience are led to believe that this young girl has been traumatised by suffering from too much sexual abuse from the man, resulting in ageing and loss of childho od. This image captures only a certain part of the room; this creates suspense and gives the audience thoughts about who else might be in the room†¦ nother abuser, or another child in a similar situation? The colour of the wall reflects the carpet, creating a sense of calm and a neutral atmosphere. This matches the colour of the curtains, and gives me an understanding that the main person living in the house has a sense of style, therefore can live in a decent looking way. Thus the soft colours clash with the situation of the trapped, dark story held between both characters in the image. Her disappointment and fear does not fit in well with the surroundings of the scene, which makes her prominent.Everything is in contrast to each other, the bright clean room to the dark filthy routine he portrays. Yet one may wonder what is really going on behind those doors and drawn curtains, where a little girl is forced to love with a man. There area different levels positioned in this phot ograph. The man in the background is standing behind her dominantly as if he is in control of his powerful actions committed against the frightened girl, (through his level of height) as she is sitting and being touched by him. Abuse through prostitution STEALS CHILDRENS LIVES’ is a slogan used in the poster. These effective, emotive words make the audience want to put a stop to prostitution, to give everything the child need which has been taken away from them. Their hope would want the audience to act quickly and efficiently, due to words ‘prostitution and children’ oddly put together (which is normally not relevant to children) it is a short powerful message that loiters onto to you after you have read it.The slogan also highlights the key points about the campaign, letting the audience know what prostitution can lead to. In this poster there is enough information needed, for instance the image is very vivid, followed by a catchy slogan, symbolising that the a udience’s awareness can make a difference. Overall, Barnardo’s feel they can be more daring with their use of images to a younger age group. Even though, the text on this advert is very limited, the images illustrate an understanding of the charity, as it is well explained, using lack of words.I agree with the fact that Barnardo’s has used visual distressing images- this will encourage and expose how neglect and abuse can bring horrifying consequences to children in the UK. The resulting of the poster will wake the public up, to the children’s distress. If not, the charity still received publicity through the complaints that were made, and will acknowledge them. However, this advert revolts me, and makes me aware of what is actually happening around me. I feel sympathy for the young girl; trying to understand what its like to be in her position and in this uncomfortable situation.No child should experience an outrageous, despicable act like this! The post er lets the viewers create the rest of the room in your mind. Which makes me think that the rest of the world might me suffering from the same situation? This sets me a sudden erg, an eager to help the juvenile girl, and try to stay connected to her, letting her know that there can be help being made. In addition to this, I reckon the more eye-opening and clear the advert is, the more successful that campaign will be!

Compare and contrast the poems Essay Example

Compare and contrast the poems Essay Example Compare and contrast the poems Paper Compare and contrast the poems Paper Essay Topic: Seamus Heaney Poems PCompare and contrast the poems Blackberrying by Sylvia Plath and Blackberry Picking by Seamus Heaney  I am comparing and contrasting the poems Blackberrying by Sylvia Plath and Blackberry Picking by Seamus Heaney. Both poems are about blackberries and the totally different situations in which people pick them. Both poets write in an autobiographical way and the poems are set at the same time of year, late summer. Plaths poem is written from the perspective of a grown woman and how she discovers the blackberries as she is walking down a country lane. Heaney on the other hand, portrays his childhood adventures of blackberry picking. He writes it in first person but from the eyes of a child. He recalls how children acted and his personal memories. He uses the vocabulary and imagery a child would use. Heaney tells a story on behalf of himself and his friends; he writes as though he is talking to an adult, he uses the vocabulary of a child dictating what they have recently been doing. Heany really tries to empathise with childish ideas by writing like one. He emphasises this through imagery. He uses short and simple statements such as I always felt like crying. This sort of sentence is a picture that we often relate to children. Throughout the poem we see that Heaney tends to write in a more simply manner, he captures the moment as it is and explains things simply, how a child would, Round hayfields, cornfields and potato drills. A child wouldnt go into much detail on what things could resemble or mean whereas Plath likes to do this. Heaney looks at what he sees, or what he remembers and writes in down, Plath looks at objects and tries to see what they resemble. Heany gives us more of a background of the childrens lives, every year they went and picked berries. During Blackberry Picking we see that Seamus Heanys thoughts and views seem to be very important to him in this poem, he likes to express his beliefs. Plath writes in an abstract and figurative view, instead of always stating what things are she tries explaining how they affect the atmosphere, what they resemble and the surroundings The poem is set in A blackberry alley, going down in hooks, Plath looks at the shape of things i.e. how the lane bends and twists round corners, to her it show hooks. Although she does not often explain how she is feeling, she uses a lot more meaningful words and phrases that can be ambiguous. Ebon is a prime example, it is another word for black. A child wouldnt know that it could mean black, where as an adult is likely to. Both the poems have a wide range of different techniques for imagery. They both use onomatopoeia. In Blackberry Picking words like tinkling, the sound of berries falling into the pot. Plath uses stronger words, heaving and cacophonous (meaning a jarring sound, she is referring to the sound of the birds nearby.)  Another technique that is solely used by Plath is metaphor. By the end of the poem when her mood has changed she starts to look more negatively on things, how nature turns on her and they way the wind is slapping its phantom laundry in [her] face. This is a metaphor, it is not literally applicable that wind can slap you, but she feels that it is natures way of being horrible. Even though I have referred to Blackberry Picking as having simple imagery compared to Blackberrying, it does not. Seamus has varied his use of imagery; Plath looks into more detail and explains what she sees. Heany uses similes (its flesh was sweet like thickened wine), repetition and strong simple words. The word glutting is plain, yet effective. It means to stuff or in this case stuffing, the sound of it when spoken is how he has created imagery. Heany really wants to increase this childish feel, he has looked into how children reacted to things and how they exaggerate to make it sound more grotesque. When the pickings are over he describes how they rot. He is very negative and states things the way he sees them. To enhance the grotesque childish atmosphere of the poem he uses repetition. The beginning of the second verse is an excellent example. We hoarded the fresh berries in the byre.  But when the bath was filled we found a fur,  A rat fungus, glutting on our cache.  The repetition of the letter F creates an unpleasant image of repulsion and disgust. Just after this extract there is a sibilant sound, not always at the front of the word, but often the S or C is emphasised.  The juice was stinking too.  Once. the sweet flesh would turn sour.  I always felt like crying. It wasnt fair.  The other form of repetition is a list, like the endless number of containers used by the children, to hold the berries and the description of all the colours that the berries posses. The number of containers enhances the amount of berries they have picked, something Plath does as well. Although instead of repetition she uses alliteration to show it. There was nobody in the lane, and nothing, nothing but blackberries. Plath uses repetition but in a different way from everything else. She only repeats a few different words continually throughout the poem with no pattern, words like nothing and emptiness. By using these word she is expressing her loneliness. Both poems are explaining journeys, metaphorically and literally. Plath describes a woman walking, in the countryside, down an alleyway. She uses the word alley to create the sense isolation and enclosure. When we walk down alleys they are normally dark, with buildings on either side. Down a blackberry alley you could imagine yourself being surrounded by blackberries creating an atmosphere. The woman is searching for the sea, she can hear it but is scared that nature will prevent her from ever reaching it. Heany is reliving the delight of when they were allowed out to pick the berries, after heavy rain and sun for a full week, the blackberries would ripen. His journey is how [they] trekked and picked until. the tinkling bottom had been covered. Heanys poem has rhythm to it; the lines flow and are continuous.

Essay about Bunnies Want and Babies

Essay about Bunnies Want and Babies Essay about Bunnies: Want and Babies You need to record when you bred the rabbits, keep track of time until 28 days have gone by, and then put in a nest box and bedding (inside the nest box that is). If the rabbit doesn't have babies in 36 days, call the vet, because the babies can't stay inside the doe. It will make her very, very sick and die. After about 28 days, you should start checking your doe's nest box about twice every day. Since you need the exact day they were born on your pedigree, you need to keep meticulous records on all goings-on with your doe, such as mating date(s), the date you successfully palpate your doe and feel that she has babies, birth date, and weaning date. When you do peek in and feel around and there are little tiny babies in the nest box, carefully count them, inspect their color, hunt the box for any dead ones, pick them out, and throw them away, and then leave the mother alone for the rest of the day. Make sure there are no very loud noises around the mother and babies, and make sure no one touches them too much. Both of these could cause both a scattered litter, which is when the mother kicks her litter out of the nest box and they are helplessly scattered around the cage and left to die, or cannibalism, which is when the other eats one, some or all her babies because she thinks danger could be near and she doesn't want to leave her litter there because it could lead her "predator" to her more easily. The litter grows very quickly, there's no doubt, and at about two weeks old, all of the babies will have their eyes and ears open. Do not try to force their eyes open. At about three weeks all the babies will be hopping around the cage with their mother. At this

How to Write a Memoir 13 Key Elements of a Memoir You Need

How to Write a Memoir 13 Key Elements of a Memoir You Need How to Write a Memoir: 13 Key Elements of a Memoir You Need Learning how to write a memoir might seem simpleYou may think it easy to jot down details about your life in a cohesive, entertaining fashionbut there’s quite a bit more to.And you probably dont even know what youre missing.Memoirs can be very complex pieces of work. It takes a lot of skill and craft to be able to write down intimate details about your life for others to read and learn from. Which means learning how to write a memoir can be really hard.But the great part?Writing a memoir is both empowering and rewarding, and when broken down into these feasible steps, it’s something you can learn to master in no time.Heres how to write a memoir in 13 steps:Choose your memoir themeList associating memoriesAdd others related memoriesWrite your memoir truthfullyShow, dont tell in your memoirGet vulnerableMake connections with each storyAdd the impact in your life todayPut your personality into itWrite a memoir you want to readHow many people can say they wrote a book detai ling the most impactful moments of their lives?Not many.And by taking this leap and diving head first into your memories and entire life, you’re reaching new heights for yourself and you may even enlighten others by the end of your journey. What is a memoir?A memoir is a historical account or biography written from personal knowledge or special sources. Its a book about your life, the lessons learned, and key moments that shaped who you are.We all typically think of a memoir and cringe a little at the idea of a book about someone else’s life. But that’s not all a memoir is!Essentially, this is a book written by you about key moments in your life. You bring your memories to life in order to touch on an overarching message others can learn and grow from.Its like the highlight reel from your diary (if you ever had one) about the experiences that shaped your life.NOTE: We cover everything in this blog post and much more about the writing, marketing, and publishing p rocess in our VIP Self-Publishing Program. Learn more about it hereWhat Qualifies as a Memoir?A memoir is unique in the fact that it covers your lifes events in a more story-like structure with an overarching theme or messaged written in.This means that how tos, motivational books, and other topics dont qualify as a memoir. Memoirs are very specific in the sense that it accounts for the entirety of your life with an emphasis on stories and impactful moments that lead to a great purpose.Writing a memoir is both empowering and rewarding, and when broken down into these feasible steps, it’s something you can learn to master in no time.Click To TweetMemoir DefinitionA memoir is a historical account written with personal knowledge and experience covering the lifetime of an individual, usually with a greater purpose or message within it.How is this different than an autobiography? I know what you’re thinking, â€Å"Aren’t they the same thing?†With so many genre s and writing terminology out there, knowing the differences between a memoir vs autobiography, (aka works of writing that are basicall the same) can be confusing.They’re both about someone’s life written by themselves, right? Right.But they do differ in a single way that really makes a memoir vs an autobiography completely different in terms of their end results.A memoir typically covers one aspect of a writer’s life (or a continuous theme through memories), while an autobiography is a chronological account of the writer’s life.So if you want to write a play-by-play of your entire life from the moment you popped into this world to the very second you started writing, you’d write an autobiography.But if you’re looking to share a profound message with the world through your own real-life experiences, you’ll write a memoir. How to Write a Memoir with Meaning and InfluenceWriting a memoir can not only be a valuable experience for you, bu t the impact it may have on other people is astounding too.You have a life worth something. You have experiences that led you to a very specific place in life, and you know what?Others have undoubtedly been in your shoes before and will benefit from you writing a book.Essentially, you can teach others how to get through what you did or even how to learn from their own journeys just as you have yours.That’s the meaning of a memoir and its influence knows no bounds.What are theKeyElementsofaMemoir?Writing a memoir can be difficult simply because it’s about your life. Somehow, we find it too hard to put our own lives into words through a meaningful message.How do you really sum up an accumulation of years and years of experience in only a couple hundred pages?We’ll help you learn how to write a memoir worth reading and sharing.History is written by the victors, but its victims who write the memoirs. ― Carol TavrisClick To Tweet#1 Choose your focus or theme A memoir isn’t just a list of all the experiences in your life. If it were, you’d call it an autobiography.What sets memoirs apart from a simple retelling of your life is an overarching theme or message that others can take away from it and that you personally learned from the stories you share.Think about what you want others to take away from reading your memoir.What will they learn or realize or gain from reading about your life? You can ask yourself those very same questions about your life to find the answers.What have you learned throughout your life? What’s the number 1 message that your experiences have taught you?Once you have that big, broad idea, the real work begins.#2 List all associating memoriesIt’s time to do a little mind mapping.Now that you know the overall theme and message of your memoir and what will set it apart, you have to connect the dots of your life to that core focus.Here are a few areas to think about specifically to help j og some of those memories in order to help you know how to write a memoir worth reading: There are so many areas that have a direct influence over how you perceive life as a whole. You just have to do a little digging to spark some specific memories that can circle back to the overarching theme of your memoir.#3 Add others’ related storiesI know this is a book about yourlife but it never hurts to back up your own experiences with someone else’s or many other people’s.Knowing how to write a memoir involves knowing when your message will be loudest. And that’s often with additional stories from others.Sometimes you cant always get the message across if only you have experienced it. To get readers to relate, you might have to show them that many people experience the same thing.One of the most powerful connections you can make to benefit from the message of your memoir is to show your readers that it’s not just you.Others have gone through the same situations you have and came out with the same perspective.This one requires some extensiv e research (and maybe even an interview or two), but possessing the ability to be credible in your readers’ eyes is crucial. And obviously, youll want to make sure youre using their experiences legally in your memoir.You can even interview family or friends who might see an experience you share differently than you.Adding those details will strengthen your core message.Heres a checklist of what your memoir should include in order to complete and at its best:Elements of a MemoirDetailsIntroductionA snippet of what your life is like now and why you're writing this memoirCore theme/messageEach memoir should have an overall theme or message that one can take away when they've finished reading.HonestyWriting a memoir without honesty will come across on the pages. Readers will be able to tell and will be pulled out of the book because of this.Entertainment valueNobody wants to read a memoir that's written like a textbook. Create entertainment value through the stories you tell.Supp orting storiesBecause you have an overall theme, it needs supporting stories from your life to back it up.Intriguing writingOnce again, a memoir is still a book and therefore, it cannot read like a textbook. Great writing is necessary for a great book.Overall arcYour life has an arc and your memoir's purpose is to show this through lessons learned from start to end.#4 Write truthfullyOne of the hardest parts about writing a memoir is the fact that we tend to be a wee bit biased with ourselves.*Gasp* You don’t say!It’s true. Nobody really likes to admit their faults. It’s one thing to recognize when you were wrong in life, it’s another to actually write it down for the world to see.It’s hard. We want everyone to see the best version of ourselves and therefore, we leave out details or flat out lie to seem â€Å"better† in their eyes.But that’s not what makes a good memoir. In order to learn how to write a memoir that really touches peo ple in deep, emotional ways, you have to learn to be honest.#5 Show, don’t tellNo, this doesn’t mean you have to write a picture book. That’s not what â€Å"show† means in this case.When it comes to creating intrigue with your writing and trust me, you want to do this, especially for a memoir you have to write by showing, not telling.For the sake of brevity, I’ll just give you an overview of this writing technique, but if you’re interested in mastering the ability to pull readers in, you can check out this detailed explanation.Essentially, showing versus telling is the way in which you describe your experiences with an emphasis on emotion.But that doesn’t mean you should write down every feeling you had during a specific time. In fact, that’s what you want to avoid.We’ll cover this in more detail below,but heres agreatvideooutlining this method↓ #6 Get vulnerableMemoirs are not a time to distance yourself from your inner feelings.Quite the opposite, actually.It’s time to dig deep and show the world what kind of author you are through your life experiences by getting vulnerable.Open yourself up to the truth behind who you are today. If you shield yourself in any way, it’s going to be obvious on the pages of your memoir and therefore, not as effective.At first, you may want to cringe while writing certain memories but after a few days, you’ll find it easier to share your truth.And best of all? You’ll be happy you did.#7 Make connections with each storyYou have your focus, right? Having that overarching message is going to help you tie all of your memories together in a cohesive manner.Each story you tell whether it’s yours or someone else’s has to connect to your focus in order for that theme to come across to your readers.But they don’t all have to directly relate to your focus.Some experiences may have led you to moments of realization that then led you to other events that tie into the main message you want others to gain from reading your memoir.Think of it this way: you want to connect the dots so by the time the readeris finished, the message comes full circle.#8 Talk about how everything affects your life todayUsually, writing a memoir is about looking back on your life and determining how you made it to who you are today. What events lead to the very core of who you are right now?That means your memoir will include inside peeks into your life as you live it now.Each chapter should bring your readers back to your presents to EmulateSometimes its easier to learn by example. That way, you can fully comprehend what a memoir is in order to write your own.These are famous memoir examples:A Moveable Feast by Ernest HemingwayWest with the Night by Beryl MarkhamPersonal Memoirs of Ulysses S. Grant by Ulysses GrantOut of Africa by Isak DinesenThe Story of My Life by Helen KellerI Am Malala: The Girl Who Stood Up for Education and Was Shot by the Talibanby Malala YousafzaiReading Lolita in Tehranby Azar Nafisi.My Beloved Worldby Sonia SotomayorFun Homeby Alison BechdelHunger: A Memoir of (My) Bodyby Roxane GayMemoir examples by our own students:Mile-High Missionary: A Jungle Pilots Memoir by Jim ManleyWalking My Momma Home: Finding Love, Grace, and Acceptance Through the Labyrinth of Dementia by Kathy FloraPrayers, Punk Rock and Pastryby Chris StewartBare Naked Bravery: How to Be Creatively Courageous by Emily Ann PetersonShift Happens: Turning Your Stumbling Blocks into Stepping Stones by Jill RogersThis is the Story of Your LifeThe biggest takeaway here is that this is your story, it’s your life, and therefore, it should be told just as you want it to be.There’s nothing more freeing than having the ability to articulate your life experiences in a way that will truly speak to others and potentially change their lives.Do you want to change lives and help others through the same tur moil you’ve experienced? By self-publishing your memoir, you’ll be rewarded for all of your honest hard work with more than just additional income.You will be responsible for changing and shaping the lives of others.Start Your Memoir TODAY!The work doesn’t just stop when you learn how to write a memoir.In fact, it’s just beginning! Here are a few steps you can use to start your memoir and make some progress.#1 Begin your trainingIts NEVER too early to start working toward your dreams and goals of becoming an author. In fact, you shouldnt waste any time!

Time to tame the targeted tax tinkering Essay Example | Topics and Well Written Essays - 1000 words

Time to tame the targeted tax tinkering - Essay Example Besides, he feels that the government fails to account for the use of the high tax revenue in its social responsibilities. There are no significant social changes that would be expected from the high profit that the government acquires from the tax system. To this point, he argues that there is need to contain this problem by revising tax policy to ensure that the liability is reduced and that the government uses tax income in an effective manner. The argument of the author is that the federal tax system needs immediate attention if it has to achieve the intended changes within the society. Simpson (2014) finds a number of issues in the development of federal tax structure. Firstly, he criticizes federal tax structure that has little breaks designed to target different classes of people. The finance minister in the country is proud of a tax system that uses too much capital in collection of tax. He feels that it would be wise for the government to use the money used in tax collection to lower the income tax. Secondly, he raises concern on the government’s reforms that have shifted tax from the consumer to income earners. While he recognizes that these changes have come as a result of the urge of the government to create better tax policies, he finds that such structures ignore the principles of a sound tax policy. In his view, such tax policies are discriminative and lack credibility due to their favoritism. Developing tax policies that target classes treats the same people differently, which is against the principles of a sound tax system (Simpson, 2014). There fore, he feels that there is need to reform the tax policies to ensure that they are fair to all the members of the public and to ensure that equal income earners are treated in the same way. Next, the article presents another weakness in the federal tax system in the US. The author recognizes that a tax system is one of the mechanisms that the government uses to close the wealth gap in the