#refinement may be necessary if my thoughts on this change

[pocket-sized-person]

Since I can’t seem to stop thinking about that scene..

New Moon eh?

That was …something alright

The cherubs were fun I guess, execution could’ve been better but it was fun seeing them again

With that said, Stolitz falling apart the way it did is so good, like yes it hurt to watch, but the way it all came together, Stolas finally deciding to stop hoping Blitz would catch on, with Blitz immediately realizing Stolas wasn’t joking about how he felt, and taking it in the only way he knows how.

He got mad, and understandably so.

Both sides saw what they had from the opposite side, Stolas saw a potential opportunity for a genuine relationship (which I believe is still on the table, just not any time soon) and Blitz who saw it as Stolas using him to satisfy his “Perverted bird needs”, and in return IMP could use his book, a “transactional fucking”, as Blitz put it in Harvest Moon.

Both sides were wrong about what the other wanted, which of course was a pile of powder kegs in a ring of fire and every bit of that was in character for them and it hurts, especially if you’ve seen the trailer with Blitz saying “I don’t want to be like this, not forever”

He WANTS to be loved, to love someone truly, but he can’t. Not yet.

Stolas, loves Blitz in a way Blitz isn’t capable of yet, but seemingly only in the new episode does he realize this, although he doesn’t see that Blitz WANTS to love, he just sees that Blitz can’t.

[copperbadge]

Hey Sam! Since it's currently AO3 donation time, I'm wondering what your thoughts are on it? I'm asking because you've written RPF and it's one of many "anti-AO3/anti-AO3 donations" people's favourite things to bring up when they're complaining about AO3 getting so many donations that it continuously obtains an excess of its donation goal whenever donation time rolls around? (Wow, how many times can I say "donation" in an ask?) Sorry if this question bothers you! I don't mean to offend or annoy.

Hey anon! Sorry it took a while to get to this, I don't even know if the drive is still going on, but the question came in while I was traveling and I didn't really have the time for stuff that wasn't travel-related. In any case, let's dig in! (I am not offended, no worries.)

So really there are two issues here and as much as some people who are critical of AO3 want to conflate them, they are different. While some criticism of AO3 may be valid, rhetoric against AO3 tends to misinterpret both in separate ways.

First there's the issue of what AO3 hosts -- RPF, yes, but more broadly, varied content that some people find distasteful or think should be illegal, which is a misunderstanding of the purpose of the archive and more broadly a dangerous attitude towards the concept of freedom of expression.

Second, there's the issue of AO3 generally outpacing its fundraising goals while not allowing monetization, which is a misunderstanding of the legal status of AO3 and to an extent a misunderstanding of philanthropy as a whole.

The longer I watch debates about content go on, the more I come to the conclusion that I was fortunate to have a teacher who really wanted to instill in us an understanding of free speech not as a policy but as an ongoing dialogue. It's not only that freedom of expression "protects you from the government, not the Justin" as the meme goes, but also that freedom of expression is not a static thing. It's an ongoing process of identifying what we find harmful in society and what we want to do about it.

Should the freedom to shout "Fire!" in a crowded theater be restricted? Should the freedom to yell slurs at drag performers? Should the freedom to teach prepubescent kids about gender, sexuality, and/or safe sex? Should the freedom to wear a leather puppy hood at Pride? Who gets to say, and why?

I was nine when my teacher did a unit on freedom of speech and the intersection of "harm prevention" and "censorship", which is (and should be) a discussion, not a set of ironclad rules. This ambiguity has thus been with me for over thirty years, and I'm comfortable with the ambiguity, with the process; I'm not sure a lot of people critical of AO3's content truly are. Perhaps some can't be, especially those affected by hate speech, but RPF is not hate speech. It's just fiction. Or is fiction "just fiction"? This is a question society as a whole is grappling with, although fandom seems to be a little out ahead of society in terms of how explicitly we discuss it.

The idea that prose can incite violence or cause harm is both valid to examine (witness the rise of fascism on the radio in the 20s, on Facebook and Twitter in the past ten years; they're very similar processes) and a very slippery slope. Because again: who decides what harm is, and what causes it, and what we do about it? Our values align us with certain beliefs, but those are only our values, not universal truths. So AO3 is part of the ongoing question of harm and benefit both to society and individuals.

AO3 itself, however, has a fairly defined policy that it is not meant to police content; it is an archive, not a bookstore or a school board. AO3 refines its TOS and policies as necessary, but the goal is always open access and as much freedom of expression as possible, and if that's uncomfortable for some people then that's a discussion we have to have; ignoring it won't make it go away. But it has to be a discussion, it can't be a unilateral change to the archive's TOS or a series of snaps and clapbacks, and I don't see a lot of people ready to move beyond flinging insults. Perhaps because they were taught a much more binary view of freedom of expression than I was.

So, self-evidently, I support AO3 and I don't have a problem with RPF. Whether other people do is something we're going to have to get to grips with, and that's likely to be a process that is still going on when most of us are dust. I'd rather have a century of ambiguity than a wrong answer tomorrow, anyway.

But whether AO3 hosts RPF is truly a separate issue from its donation drives, because it's a criticism some people level at the site which exists whether it's fundraising or not. So people can criticize AO3's open policy and they can give it as a reason not to support the site, but it's just one aspect of the archive and the fundraising as a whole should be examined separately.

I think AO3's fundraisers are deeply misunderstood (sometimes on purpose) because even people who are anticapitalist get a little crazy when money gets involved, and this is, to fandom, a lot of money -- a few hundred thousand, reliably, every fundraiser. To me, a fundraiser that pulls in three hundred grand is almost quaint; my current nonprofit pulls in better than ten million a year and my previous employer had an endowment of several billion dollars. At my old job I didn't even bother researching people who couldn't give us a hundred grand.

On the other hand, AO3 is an extreme and astounding outlier in the nonprofit world, because basically it's the only one of its kind to work the way it does. It is entirely volunteer-run on the operational side (ie: tag wranglers, coders, lawyers, etc) and has no fundraising staff (gift officers, researchers, outreach officers) as far as I'm aware. To pull in three hundred grand from individual one-time donations, without any paid staff and without even a volunteer fundraising officer? That's insane. That doesn't happen. Except at AO3.

What people misunderstand, however, is the basic status of a nonprofit, which is a legal status, not simply a social one. (I'm adding in some corrections here since it gets complicated and the terminology can be important!) The Organization for Transformative Works, the parent of AO3, is a nonprofit, which indicates how it was incorporated as an organization; additionally it is registered federally as tax-exempt, which carries certain perks, like not paying sales tax, and certain duties, like making their financials transparent to a certain extent. (Religious nonprofits are exempt from the transparency requirement.) If you're interested in more about nonprofits and tax-exempt status a reader dropped a great article here.

Nonprofits, unlike for-profit companies, cannot pay a share of their income to stakeholders. Nonprofits don't have financial stakeholders, only donors. They can have employees and pay them a salary -- that's me, for example -- but if a nonprofit pulls in $10M in donations, my salary is paid from that, I don't get a percentage and nobody else does either. That's what it means to be a nonprofit -- the money above operational costs goes back into the organization. The donations we (and AO3) receive must be plowed under and used for outreach, server maintenance, further fundraising, services expansion, et cetera. You can see this in the 990 forms on Guidestar or ProPublica, or in their more accessible breakdowns on Charity Navigator. Nonprofits that do not put the majority of their income towards service provision tend to get audited and lose their nonprofit status. So nobody's getting paid from all that money, and the overage that isn't spent goes into what is basically a savings account in the name of the nonprofit. (I'm vastly simplifying but that's the gist.) Using that money for personal purposes is illegal. It's called "private inurement" and there's a good article here about it. The money belongs to the OTW as a concept, not to anyone in or of the OTW.

So the biggest misunderstanding that I see in people who are mad at AO3 fundraisers is that "they" are getting all this money (who "they" are is never clearly stated but I'm pretty sure people think @astolat has a special wifi router that runs on burning hundred dollar bills) while "we" can't monetize our fanfic. But "they" get nothing -- nobody even earns a salary from AO3 -- and you can easily prove that by looking at the 990 forms they file with the government, which are required to be made public. You can see the most recently available 990, from 2020, here at Guidestar. Page seven will show you the "highest compensated" employees, all of whom are earning zero dollars or nonmonetary perks (that's the three columns on the right).

Either AO3 is entirely volunteer-run or someone's Doing A Real Fraud. The money the OTW spends is documented (that's page 10 and 11 primarily) and while they may pay for, say, the travel and lodging expenses of a lawyer going to DC to defend a freedom-of-expression case, they don't pay the lawyer for their time, or give them a cut of the income.

Despite what you've read, the reason "we" can't monetize our fanfics on AO3 has nothing to do with the site being the product of volunteer handiwork or AO3 having it in their terms of service or it being considered gauche by some to do so; it's because

IT'S ILLEGAL.

I cannot say this loudly enough: It is against the law for a nonprofit to be used by its staff, volunteers, or beneficiaries to earn direct profit from the services provided by the nonprofit.

You can be paid to work at one, but you cannot side-hustle by selling your handmade friendship bracelets for personal gain on the nonprofit's website. If the nonprofit knowingly allows monetization of its services, it can lose nonprofit status, be fined, be hit with back taxes, and a lot of other unpleasant bullshit can go down, including prosecution of those involved for fraud. If you put a ko-fi link on your fanfic, you are breaking the law, and if AO3 allows it, they are too.

Okay, that was a sidebar, but in some ways not, because it gets to the heart of the real complaints about AO3 fundraising, which is that people in fandom are sick or unhoused or in some form of need and other people in fandom are giving to AO3, a fan site that is financially stable, instead of giving to peoples' gofundmes or dropping money in their Ko-Fi or Paypal. And while it is a legitimate grievance that there are people who are in such desperate need while we live in an era of unprecedented abundance, that's not AO3's fault. AO3 doesn't solicit actively, there's no unasked-for mailings or calls from a gift officer. They just put a banner up on their website, and people give. (Again, this is incredibly outlier behavior in the nonprofit world, I'd do a case study on it but the conclusion would just be "shit's real, yo.") You might as well be mad that people give to their local food bank instead of someone's ko-fi.

You cannot lay at AO3's feet the fact that people want to give to AO3 instead of to your fundraiser. That's a choice individuals have made, and while you can engage with them in terms of why they made the philanthropic choices they did, to blame an organization they supported rather than the person who made the choice to give is not only incorrect but futile, and unlikely to win anyone over to supporting you. We know from research that guilt is not a tremendous motivator of philanthropy.

It is also not necessarily a binary choice; just because AO3 gets a hundred grand in $5 donations doesn't mean most of the people giving don't also give $5 elsewhere. I support the OTW on occasion, and I also fundraise for UNICEF and the Chicago Parks Foundation and BAGLY and others, in addition to giving monthly to several nonprofits that I have longterm relationships with -- my alma mater, the animal rescue where I got the Cryptids, my shul. And I give, occasionally and anonymously, to fundraisers that pass through Radio Free Monday, which are mainly individuals in need, because I was once in need and now I pay it forward. These are the choices I have made. Nobody twisted my arm. I respond poorly to someone making the attempt to do so by attacking places I've given.

I think the upshot is, after all of this that I've written, that we cannot begin to come to grips with questions of institutional inequality in philanthropy, or freedom of expression and censorship, until people actually understand what's going on, and too few do. So all I can do is try and explain, and hopefully create a forum for people to learn and grow when it comes to charitable giving.

Archive Of Our Own and the Organization for Transformative Works are products of our community and as that community changes, we will necessarily continue to re-evaluate what aspects of it mean and how AO3/OTW express the community sentiment. I hope that the ongoing discussion of support for AO3 also leads to people learning more about their philanthropic options. But criticizing AO3 for fundraising by attacking it for fulfilling one of its stated purposes is silly, and attempting to guilt people into giving in the ways one thinks they should give rather than how they do give is just going to make one extremely unlikable.

As members of this community, we have to be a part of the push and pull, but it's difficult to do that competently in ignorance. So, I do my best to be knowledgeable and to educate my readers, and I hope others will do the same.

[gogandmagog]

As to advising beginners—why, I love to do it. Advice is so cheap and easy. First, I always tell them what an old lady used to say to me: "Don't marry as long as you can help it, for when the right man comes along you can't help it." So—don't write if you can help it; because if you ought to write and have it in you to make a real success of writing you can't help it. If you are sure you can't help it, then go ahead.

— L.M. Montgomery, 1923, from Fiction Writers on Writing Fiction

Below the cut, I’ve included L.M. Montgomery’s submissions to ‘Fiction Writers on Writing Fiction,’ which may be (obviously) best summed up as… Maud’s writing advise for beginners. Mind, it is still a thoroughly enjoyable read, even if you don’t write, and would really simply just like to hear more about her process!

QUESTION; What is the genesis of a story with you—does it grow from an incident, a character, a trait of character, a situation, setting, a title, or what? That is, what do you mean by an idea for a story? L. M. Montgomery: The genesis of my stories is very varied. Sometimes the character suggests the story. For instance, in my first book, Anne of Green Gables, the whole story was modeled around the character of "Anne" and arranged to suit her. Most of my books are similar in origin. The characters seem to grow in my mind, much after the oft-quoted "Topsy" manner, and when they are fully incubated I arrange a setting for them, choosing incidents and surroundings which will harmonize with and develop them.

With short stories it is different. There I generally start with an idea—some incident which I elaborate and invent characters to suit, thus reversing the process I employ in book-writing. A very small germ will sometimes blossom out quite amazingly. One of my most successful short stories owed its origin to the fact that one day I heard a lady—a refined person usually of irreproachable language—use a point-blank "cuss-word" in a moment of great provocation. Again, the fact that I heard of a man forbidding his son to play the violin because he thought it was wicked furnished the idea for the best short story I ever wrote. QUESTION; Do you map it out in advance, or do you start with, say, a character or situation, and let the story tell itself as you write? Do you write it in pieces to be joined together, or straightaway as a whole? Is the ending clearly in mind when you begin? To what extent do you revise? L. M. Montgomery: I map everything out in advance. When I have developed plot, characters and incidents in my mind I write out a "skeleton" of the story or book. In the case of a book, I divide it into so many "sections"—usually eight or nine—representing the outstanding periods in the story. In each section I write down what characters are necessary, what they do, what their setting is, and quite a bit of what they say. When the skeleton is complete I begin the actual writing, and so thoroughly have I become saturated with the story during the making of the skeleton that I feel as if I were merely describing and setting down something that I have actually seen happening, and the clothing of the dry bones with flesh goes on rapidly and easily. This does not, however, prevent changes taking place as I write. Sometimes an incident I had thought was going to be very minor assumes major proportions or vice versa. Sometimes, too, characters grow or dwindle contrary to my first intentions. But on the whole I follow my plan pretty closely and the ending is very often written out quite fully in the last "section" before a single word of the first chapter is written. I revise very extensively and the "notes" with which my completed manuscript is peppered are surely and swiftly bringing down my typist's gray hairs with sorrow to the grave. But these revisions deal only with descriptions and conversation. Characters, plot and incidents are never changed.

QUESTION; 1. When you read a story to what extent does your imagination reproduce the story-world of the author—do you actually see in your imagination all the characters, action and setting just as if you were looking at an actual scene? Do you actually hear all sounds described, mentioned and inferred, just as if they were real sounds? Do you taste the flavors in a story, so really that your mouth literally waters to a pleasant one? How real does your imagination make the smells in a story you read? Does your imagination reproduce the sense of touch—of rough or smooth contact, hard or gentle impact or pressure, etc.? Does your imagination make you feel actual physical pain corresponding, though in a slighter degree, to pain presented in a story? Of course you get an intelligent idea from any such mention, but in which of the above cases does your imagination produce the same results on your senses as do the actual stimuli themselves?

2. If you can really "see things with your eyes shut," what limitations? Are the pictures you see colored or more in black and white? Are details distinct or blurred?

3. If you studied solid geometry, did it give you more trouble than other mathematics?

4. Is your response limited to the exact degree to which the author describes and makes vivid, or will the mere concept set you to reproducing just as vividly?

5. Do you have stock pictures for, say, a village church or a cowboy, or does each case produce its individual vision?

6. Is there any difference in behavior of your imagination when you are reading stories and when writing them?

7. Have you ever considered these matters as "tools of your trade"? If so, to what extent and how do you use them? L. M. Montgomery: Yes, when I read a story I see everything, exactly as if I were looking at an actual scene. I hear the sounds and smell the odors. When I read Pickwick Papers I have to make many an extra sneak to the pantry, so hungry do I become through reading of the bacon and eggs and milk punch in which the characters so frequently revel. I never feel physical pain when I read a story, no matter how intense the suffering described may be. But I feel mental pain so keenly that sometimes I can hardly bear to continue reading. Yet I do not dislike this sensation. On the contrary I like it. If I can have a jolly good howl several times in a book I am its friend for life. Yet, in every-day existence, I am the reverse of a tearful or sentimental person. No book do I love as I love David Copperfield. Yet during my many re-readings I must have wept literal quarts over David's boyish tribulations. And ghost stories that make me grow actually cold with fear are such as my soul loveth.

I can "see things," with eyes shut or open, colors and all. Sometimes I see them mentally—that is, I realize that they are produced subjectively and are under the control of my will. But very often, when imagination has been specially stimulated, I seem really to see them objectively. In this case, however, I never see landscapes or anything but faces—and generally grotesque or comical faces. I never see a beautiful face. They crowd on my sight in a mob, flashing up for a second, then instantly filled by others. I always enjoy this "seeing things" immensely, but I can not do it at will.

The very name of geometry was a nightmare to me. I decline to discuss the horrible subject at all. Yet I loved algebra and had a mild affection for arithmetic. These things are predestinated.

I have no "stock pictures" as a reader. I generally see things pretty much as the writer describes them—though certainly not as the "movie" people seem to see them! This is especially true of places and things. But very few writers have the power to make me visualize their characters, even where they describe them minutely. Illustrations generally make matters worse. I detest illustrations in a story. It is only when there is some peculiarly striking and restrained bit of description attached to a character that I can see it. For example: when R. L. Stevenson in Dr. Jekyll says that there was something incredibly evil about "Hyde"—I am not quoting his exact words—I can see "Hyde" as clearly as I ever saw anything in my life. As a rule, I think the ability to describe characters so that readers may see them as clearly as they see their settings is a very rare gift among writers.

Yes, as a reader I do resent having too many images formed for me. I don't want too much description of anything or too many details in any description.

When I read a story, I see people doing things in a certain setting; when I write a story I am the people myself and live their experiences.

QUESTION; When you write do you center your mind on the story itself or do you constantly have your readers in mind? In revising? L. M. Montgomery: In writing a story I do not think of all these things—at least consciously. I never think of my readers at all. I think of myself. Does this story I am writing interest me as I write it—does it satisfy me? If so, there are enough people in the world who like what I like to find it interesting and satisfying too. As for the others, I couldn't please them anyhow, so it is of no use to try. I revise to satisfy myself also—not any imaginary literary critic. QUESTION; Have you had a classroom or correspondence course on writing fiction? Books on it? To what extent did this help in the elementary stages? Beyond the elementary stages? L. M. Montgomery: I never took any kind of a course in writing fiction. Such things may be helpful if the real root of the matter is in you, but I had to get along without them. I was born and brought up in a remote country settlement, twenty-four miles from a town and ten from a railway. There I wrote my first stories and my first four books. So no beginner need feel discouraged because of remote location or lack of literary ���atmosphere.” QUESTION; How much of your craft have you learned from reading current authors? The classics? L. M. Montgomery: I think I owe considerable to my greedy reading and rereading of standard fiction—the old masters—Scott, Dickens, Thackeray, Hawthorne. Occasionally, too, a well-written modern magazine story has been helpful and illuminating. But, as a rule, I think aspiring authors will not reap much benefit from current fiction—except perhaps from a purely commercial point of view in finding out what kind of stories certain magazines take! Most writers, except those of absolute genius, are prone to unconscious imitation of what they read and that is a bad thing. QUESTION; What is your general feeling on the value of technique? L. M. Montgomery: I feel that its value is great up to a certain point. But when you become conscious of a writer's technique that writer has reached the point of danger. When you find yourself getting more pleasure from the way a writer says a thing than from the thing itself, that writer has committed a grave error and one that lessens greatly the value of his story. Carried too far, technique becomes as annoying as mannerisms.

QUESTION; What is most interesting and important to you in your writing—plot, structure, style, material, setting, character, color, etc.? L. M. Montgomery: In my own writing character is by far the most interesting thing to me—then setting. In the development of the one and the arrangement of the other I find my greatest pleasure and from their letters it is evident that my readers do, too. This, of course, is because my flair is for these things. In another writer something else—plot, structure or color would be the vital thing. Only the very great authors combine all these things. For the rank and file of the craft, I think a writer should find out where his strength lies and write his stories along these lines. In my own case I would never attempt to handle complicated plot or large masses of material. I know I should make a dismal failure of them. QUESTION; What are two or three of the most valuable suggestions you could give to a beginner? To a practised writer? L. M. Montgomery: As to advising beginners—why, I love to do it. Advice is so cheap and easy. First, I always tell them what an old lady used to say to me: "Don't marry as long as you can help it, for when the right man comes along you can't help it." So—don't write if you can help it; because if you ought to write and have it in you to make a real success of writing you can't help it. If you are sure you can't help it, then go ahead. Write—write—write. Revise—revise—revise. Prune—prune—prune. Study stories that are classed as masterpieces and find out why they are so classed. Leave your stories alone after they are written long enough to come to them as a stranger. Then read them over as a stranger; you'll see a score of faults and lacks you never noticed when they came hot from your pen. Rewrite them, cutting out the faults and supplying the lacks.

I would advise beginners to cultivate the note-book habit. Jot down every idea that comes to you as you go on living—ideas for plots, characters, descriptions, dialogue, etc. It is amazing how well these bits will fit into a story that wasn't born or thought of when you set them down. And they generally have a poignancy that is lacking in deliberate invention. For example, I was once washing the dinner dishes when a friend happened to quote to me the old saying: "Blessed are they who expect nothing, for they shall not be disappointed." I retorted, "I think it would be worse to expect nothing than to be disappointed." Then I dropped my dish cloth and rushed to "jot it down." It lay in my note-book unused for ten years and then it motivated one of the best chapters in my first book. This illustrates what I mean by the note-book habit.

Practised writers should try to avoid mannerisms and stereotyped style. They won't succeed, of course, but they should try. Also, they shouldn't presume on their success and think that anything goes because they write it. QUESTION; Do you prefer writing in the first person or the third? Why? L. M. Montgomery: Personally I prefer writing in the first person, because it then seems easier to live my story as I write it. Since editors seem to have a prejudice against this, I often write a story in the first person and then rewrite it, shifting it to the third. As a reader, I enjoy a story written in the first person far more than any other kind. It gives me more of a sense of reality—of actually knowing the people in it. The author does not seem to come between me and the characters as much as in the third-person stories. W. Collins's Woman in White is a fine example of the use of the first person. It could not have been half so effective had he told it in the third. And Jane Eyre simply couldn't have been written in any but the first.

QUESTION; Do you lose ideas because your imagination travels faster than your means of recording? Which affords least check—pencil, typewriter or stenographer? L. M. Montgomery: I don't think many ideas ever get away from me by reason of slowness of recording. My aforesaid note-book habit has been of tremendous value here. I write with a pen and couldn't write with anything else—at least, as far as prose is concerned. When I write verse I always write on an ordinary school slate, because of the facilities for easy erasure. But for prose I want a Waverly pen—this is not an advertisement—I just can't write with any other! a smooth unlined paper and a portfolio I can hold on my knee. Then I can sail straight ahead and keep up with any ideas that present themselves. But these are only personal idiosyncrasies and have nothing to do with a writer's success or non-success. So no aspiring beginner need despair because his or her stationer is not stocked up with Waverly pens!

[jalenay]

Nothing's Wrong with Dale - Publishing Update May 4 2024

So my work work is starting to relax - it'll be 'normal' working hours after May 15, but i'm manifesting some early additional free time (by ignoring some of the things i still have left to do) and i thought i'd give an update on my current NWWD plan to fill you guys in (if anyone wants to know) and to motivate myself to, you know, do it.

let me know what you think and if you have any questions! or if there's anything else you want to know!

So the overall plan is as follows:

First Rough Edit - this is basically just changing the POV from 2nd POV to 3rd POV. This is very tedious and currently what I'm doing right now. I'm also making a list as I go for high level updates/changes i want to make. Just thinking about the story as a whole and what tweaks i want to make now that the whole thing is finally done (primarily moving exposition around, if there's anything extra i can remove, timing of when certain things are discussed, and so on).

My Main Edit - this will be more time consuming but probably more fun as i do my main revise and edit of the story as a whole. i'll likely print the entire story out, make edits on hard copy, and then type up all the edits. I will also probably be sending the updated chapters to my main beta, for her opinion. (this would be the person i first texted about Dale in Dec 2021, she deserves first look lol)

Editor - After I'm happy with what I've done, i'll send the entire thing over to my editors, the main ones who worked on DSM. This will likely take a good amount of time (DSM took one month) but in many ways involves less effort from me lol. Just nerves.

Cover, Self-publishing Details - while my editors have the manuscript, I'll be narrowing down what I want the cover to look like and hiring a cover artist. (i've got a short list of artists right now, but i'll probably continue to refine that). I'm bad a visualizing covers and so this will be hard for me, although i have some basic ideas. i'll need to gather reference photos too and then work with the artist. I also want to publish more widely than just Amazon and will hopefully get DSM out to other places as well as a test run before NWWD. Look into more marketing? This is the most miscellaneous of the steps.

Process Edits - actually go through all the edits and notes given to me by my editor. This takes a lot of time (and is mentally taxing - no one likes to read pages of people telling you what you need to fix about what you wrote even if its overall extremely helpful and necessary)

Finalizing - I'll send the edited version to my first beta and another ARC reader/friend. I'll work on the formatting for the book. Coordinating where it will be published and when.

Publishing!

This is a loose list of steps that I mostly defined right now, but are similar to what i did with DSM. As i said, I'm in step one, currently just finished Chapter 25 of 36 of that rough edit.

I'll try to provide some updates on the process at it moves along, if people are interested in hearing about that. I'll most likely keep those updates on this blog, along with any other publishing specific commentary. if any one has any questions or thoughts on the whole thing, please feel free to send them to this blog or comment on this post.

I'm very excited to really dig into publishing NWWD and looking forward to sharing it with you!

Thanks to everyone for all their support - I wouldn't even be considering this (i probably wouldn't have even had a finished draft) with you!

[a-d-nox]

Heyy I just wanted to come on here to say that I reallyyy love your blog. I was just messing around and found an old post of yours titled "Pluto in Aquarius: what's to come" and I thought it was soo well written. I love the choice of pictures for the post as well. You don't even have to answer this ask. I just wanted to come on here and appreciate your work, that's all. Keep up the dedication!

pluto retrograding back into capricorn: a prediction of what's to come

hahaha too funny!!! "i didn't have to answer this" but it was so well planned! i was in the middle of drafting this post when this ask notifications popped up!! so thank you so much for the compliments and i hope you enjoy this one equally!!

house matters:

THIS IS THE FIRST OF TWO PLUTO RETROGRADES THAT WILL OCCUR - this one will last from june 11th to jan 20th, 2024. we likely won't see too much wildness because we only recently started experiencing what pluto in aquarius is like. we know the vibe of pluto in capricorn already and likely still feel comfortable with its predictability. THE FINAL RETROGRADE BACK INTO CAPRICORN will be september 1st, 2024 to november 19th, 2024. then we are full steam ahead with pluto in aquarius until march 9th, 2043.

live in the USA so my post likely will be slightly more focused there examples wise so i apologize in advance! feel free to comment, dm, or reblog with other examples from your country based on my prediction key phrases.

i personally am NOT a witch or anything wild, everything i am saying is purely theoretical - it is not fated to happen just because i am saying it. i am simply socially aware. i know what's up generally in the world today and what was up in world when pluto was in capricorn.

like last time i am going to start light and get darker so mentally prepare yourself for that (tw: COVID-19, assassinations, and other abrasive topics that may make people uncomfortable) depending on where they are currently reading from - but we are talking about pluto so... expect the unexpected?!

let's get to it!

time and schedule changes

in the US people have been saying that daylight savings hour should be concluded indefinitely because it is unnecessary. we don't need "daylight" like we used to because we have advanced technologically. there are more risks with keeping time change then there is with getting rid of it. i could also see this being about the 4-day work week because it was trialed at the beginning of the aqua pluto transit and it was a success. capricorn is a worker and can be about workplace efficiency too, so we could see the work week become "refined" to be 4 days only.

the rise of new non-tech and/or tech-intensive careers

where there are AI doomers, there is a market. we will see old-school businesses and professionals trying to justify and reestablish their career without AI involvement - ground zero for this prediction is real-estate (people fighting virtual or 3D-tour technology) and politics (look at the tiktok ban nonsense - i can see them saying their jobs are necessary 100% of the time... or they don't need to evolve...). capricorn again represent efficiency when it comes to working, so we could see people commingling with tech to make the most out of AI in new ways to make their careers and the work they do more efficient (and less time consuming to piggyback off of the 4-day work week prediction).

the collapse of dead space

there is a chance we will see some sort of conversation about what to do with places we no longer use - strip malls, movie theaters, mineshafts, etc. pluto retrograde makes me think of fear mongering (yes, i see the irony between that statement and this post) - i can see where with climate issue and the haze that is falling over old-money US currently that people might start talking about building bunkers in preparation of a mass natural disaster or "apocalypse." my logic behind this is that capricorn represents reliability, money, and underground places while pluto is demolition and extremes.

technology failures and setbacks

enjoy your air conditioning when you have it and if you have it - i sense that we will likely face more blackouts and rolling blackouts this summer than ever before. i also think we could see AI doomers in full swing or we will see that AI is monitoring more than it should and people will distance themselves from it.

extreme weather and climate shifts

as we have seen in the past few days, wildfires are on the rise across canada. pluto can represent extremes and electrocution while capricorn can be ashes, dryness, and old trees - people are predicting "dry thunderstorms" and stating that wildfires can occur because of these storm systems/conditions. while it is not winter here in the US this retrograde, the second retrograde will be near enough to the season: expect an extreme and EARLY winter. capricorn symbolizes cold, ice, and snow. the extreme of that being a blizzard, of course. this past winter in buffalo, new york we saw how bad it can get. where i live (almost three hours from buffalo) we had no solid snowfall... i don't think i will say the same in 2024 - the movie the day after tomorrow comes to mind.

repression of freethinkers

pluto retrograde can make people less likely to "fight against the patriarchy". we might see those who were fighting back being prosecuted or jailed (incarceration is pluto ruled). while aquarius welcomed change, shifting backwards into traditionally-minded capricorn can cause this silencing.

real-estate crisis

real-estate is starting to straighten out but i want to point out that when pluto initially entered capricorn in 2008, there was a huge scandal surrounding the housing market. the subprime mortgage crisis caused a recession to occur because the market crash and lenders couldn't return on their loans. we might see similar problems again. right now lots of homes are overpriced and if certain lenders are using the money on loan and we crash again we can see another market crash.

recession or depression

speaking of market crash... it's the roaring 20s. i don't think it is a coincidence that the Great Depression was in the 1920s, while the Great Recession was when pluto initially entered capricorn in 2008. could there be a Great Depression part two? MAYBE. considering pluto in retrograde typically indicates trouble with power dynamics and capricorn can represent business and the economy.

the death of politics and/or the church

2024 the year of the election - it's early to be talking about it for some of us, i know, BUT the campaigns are beginning. i want us to be aware that going between tradition capricorn and utopian aquarius during this time may cause some chaos... we have biden and trump again on the trial... two recent POTUSs... there are a lot of extreme people who are not happy with either of their times in office. i want to just put out there that JFK was just passing through texas on a friendly visit when his assassination occurred. pluto represents assassinations, so it might be in the stars during the retrograde seasons (hopefully not though). i feel like it will be someone close to the presidents if so because capricorn can be a "watchman" while pluto can be betrayal. since capricorn is the church, we could see the death of a pope or higher church official that causes havoc as well. alternatively, we could see people saying (towards the end of the second retrograde) / questioning why we even need a president.

capricorn terms i can't think of change in but seem important to note / keep in mind: colds (COVID being labelled the common cold while it is mutating?), hair, hysteria (another outbreak? panic early in a presidency?), limitations (lockdowns? maybe for COVID or the air conditions because of wildfires?), minerals (running out of them), mining industry (the end of this industry all together and switching to renewable resources by the end of this cap pluto era), old age (the boomers are dying off? or are we going to make a discovery of some sort about aging or age related diseases), orderliness, responsibility, tile, afghanistan, greece, lithuania, mexico, and tombs (are we going to say goodbye to cemeteries?).

plutonian terms i can't think of change in but seem important to note / keep in mind: aliases, alibis (governmental riffing similar to how no plan was in place when for COVID-19), cemeteries (removal of that method if too many are dying at any giving time - mass graves?), convicts (prison release due to overcrowding? the mega-prison of el salvador?), corruption (governmental likely?), earthquakes (more environmental issues on top of the wildfires?), liars, massacres (the rise of crime?), murder, nihilism (the rise of philosophy at the time of war?), ransom (war?), satire (rise of political satire?), stolen goods, and taxes (trump-esque no? likely to be brought up during the presidential campaign).

like what you read? leave a tip and state what post it is for! please use my "suggest a post topic" button if you want to see a specific post or mythical asteroid next!

click here for the masterlist

want a personal reading? click here to check out my reading options and prices!

© a-d-nox 2023 all rights reserved

[therealslimshakespeare]

What got you into writing/how long have you been writing?

What’s your writing inspiration?

Do you write in silence or need background sounds? Like music?

Do you struggle more with dialogue or detail?

Any tips for someone who wants to write fanfiction?

How do you differ all your OC’s so you don’t rewrite the same characters over and over?

Do you do research?

— from someone who would love to write their own stories lol but yours are great!

My darling. So many apologies for how tardy I’ve been in replying to this, I really wanted to give it due thought because I’m quite touched you’d even ask.

1: I’ve been writing since I was little, my mama was always reading me classics and my greatest ambition was to be some kind of author every bit as colorful as their characters, a la Oscar Wilde. 🥳

2. Writing inspiration? Oh that’s a hard one only in that I could cite a million things and chat your poor ear off, but to be boring and also frank -I just love stories. I think they’re so inspiring and healing and necessary for making sense of things, or else resigning to things that can’t be explained. I love to study love and how very human and fallible and also indestructible it is in its many forms. I love to dig through tragedy and find the refining purpose of it, I love to take characters through hells I’ve been through so that I can imagine their triumphs, too, and my own through them. If this can happen to -name your hero- then I’m no smaller for it happening to me, if -name your hero- can get through it and be loved and admired by a whole fandom? -I deserve the same commendation from myself at the very least. Stories are essential and fun and I never ever imagined I’d have a little group one day liking my own where we could all scream about these things together. I’m legit so humbled each time I log on here and find y’all ready and waiting and interactive. The community of it, that’s the biggest drive right now, tbh. What a sweet season.

3. I usually write in silence, or else at any chance where I have a moment, so that could be public transport or lunch breaks or in the loo during family holidays, ha. However I do find music to be an inspiring mood setter for writing later that day. Especially as i juggle many ongoing projects at once, the genre im listening to before may very well influence what gets worked on.

4. Detail!! Dialogue can be challenging but I hear it so clearly in my head most of the time that it’s not hard. Details can devastate me.

5. Ooof, I still feel like I’m a baby at it, this is only my second fandom to dare for. I’d say for sure write what you find inspiring instead of what appears to be wanted, i firmly believe that’s the only sure way to keep up any inspiration and the niche will draw its own crowd, one’s who will like it all the better for its specially crafted world. Also, for dialogue -replay and replay dialogue from the character before you write. Are they terse or do they ramble? Are they sarcastic or earnest? Do they have a word they repeat often? -I noticed the other day how Rosenthal uses “you know?” often in the show. Also, sometimes switch up sentence structure from character to character, it helps feel like hopping brains without a fully jarring POV change. All these are things I’m currently working at myself, but that’s the best I’ve got for advice.

6. Oh boy I’m still figuring this out myself. Three things come to mind as little helps I use- first off, read real biographies, it helps tremendously with crafting fully dimensional fictional people. Two -have a maturing arc for your OC during the story, separate from whatever adventure or romance that occurs, this will make it feel less like a inserted person into the broader story. Three, choose a personality type or something similar to both keep them separate from the next but also to ensure their virtues have corresponding vices.

7. I do research a lot. But I find that it’s a fine line for myself of when that drains all creativity or bravery. Im massively indebted to so many mutuals who generously share their own with me.

[hellsitesonlybookclub]

Frankenstein by Mary Shelley

CHAPTER VI.

Clerval then put the following letter into my hands. It was from my own Elizabeth:—

"My dearest Cousin,

"You have been ill, very ill, and even the constant letters of dear kind Henry are not sufficient to reassure me on your account. You are forbidden to write—to hold a pen; yet one word from you, dear Victor, is necessary to calm our apprehensions. For a long time I have thought that each post would bring this line, and my persuasions have restrained my uncle from undertaking a journey to Ingolstadt. I have prevented his encountering the inconveniences and perhaps dangers of so long a journey; yet how often have I regretted not being able to perform it myself! I figure to myself that the task of attending on your sick bed has devolved on some mercenary old nurse, who could never guess your wishes, nor minister to them with the care and affection of your poor cousin. Yet that is over now: Clerval writes that indeed you are getting better. I eagerly hope that you will confirm this intelligence soon in your own handwriting.

"Get well—and return to us. You will find a happy, cheerful home, and friends who love you dearly. Your father's health is vigorous, and he asks but to see you,—but to be assured that you are well; and not a care will ever cloud his benevolent countenance. How pleased you would be to remark the improvement of our Ernest! He is now sixteen, and full of activity and spirit. He is desirous to be a true Swiss, and to enter into foreign service; but we cannot part with him, at least until his elder brother return to us. My uncle is not pleased with the idea of a military career in a distant country; but Ernest never had your powers of application. He looks upon study as an odious fetter;—his time is spent in the open air, climbing the hills or rowing on the lake. I fear that he will become an idler, unless we yield the point, and permit him to enter on the profession which he has selected.

"Little alteration, except the growth of our dear children, has taken place since you left us. The blue lake, and snow-clad mountains, they never change;—and I think our placid home, and our contented hearts are regulated by the same immutable laws. My trifling occupations take up my time and amuse me, and I am rewarded for any exertions by seeing none but happy, kind faces around me. Since you left us, but one change has taken place in our little household. Do you remember on what occasion Justine Moritz entered our family? Probably you do not; I will relate her history, therefore, in a few words. Madame Moritz, her mother, was a widow with four children, of whom Justine was the third. This girl had always been the favourite of her father; but, through a strange perversity, her mother could not endure her, and, after the death of M. Moritz, treated her very ill. My aunt observed this; and, when Justine was twelve years of age, prevailed on her mother to allow her to live at our house. The republican institutions of our country have produced simpler and happier manners than those which prevail in the great monarchies that surround it. Hence there is less distinction between the several classes of its inhabitants; and the lower orders, being neither so poor nor so despised, their manners are more refined and moral. A servant in Geneva does not mean the same thing as a servant in France and England. Justine, thus received in our family, learned the duties of a servant; a condition which, in our fortunate country, does not include the idea of ignorance, and a sacrifice of the dignity of a human being.

"Justine, you may remember, was a great favourite of yours; and I recollect you once remarked, that if you were in an ill-humour, one glance from Justine could dissipate it, for the same reason that Ariosto gives concerning the beauty of Angelica—she looked so frank-hearted and happy. My aunt conceived a great attachment for her, by which she was induced to give her an education superior to that which she had at first intended. This benefit was fully repaid; Justine was the most grateful little creature in the world: I do not mean that she made any professions; I never heard one pass her lips; but you could see by her eyes that she almost adored her protectress. Although her disposition was gay, and in many respects inconsiderate, yet she paid the greatest attention to every gesture of my aunt. She thought her the model of all excellence, and endeavoured to imitate her phraseology and manners, so that even now she often reminds me of her.

"When my dearest aunt died, every one was too much occupied in their own grief to notice poor Justine, who had attended her during her illness with the most anxious affection. Poor Justine was very ill; but other trials were reserved for her.

"One by one, her brothers and sister died; and her mother, with the exception of her neglected daughter, was left childless. The conscience of the woman was troubled; she began to think that the deaths of her favourites was a judgment from heaven to chastise her partiality. She was a Roman catholic; and I believe her confessor confirmed the idea which she had conceived. Accordingly, a few months after your departure for Ingolstadt, Justine was called home by her repentant mother. Poor girl! she wept when she quitted our house; she was much altered since the death of my aunt; grief had given softness and a winning mildness to her manners, which had before been remarkable for vivacity. Nor was her residence at her mother's house of a nature to restore her gaiety. The poor woman was very vacillating in her repentance. She sometimes begged Justine to forgive her unkindness, but much oftener accused her of having caused the deaths of her brothers and sister. Perpetual fretting at length threw Madame Moritz into a decline, which at first increased her irritability, but she is now at peace for ever. She died on the first approach of cold weather, at the beginning of this last winter. Justine has returned to us; and I assure you I love her tenderly. She is very clever and gentle, and extremely pretty; as I mentioned before, her mien and her expressions continually remind me of my dear aunt.

"I must say also a few words to you, my dear cousin, of little darling William. I wish you could see him; he is very tall of his age, with sweet laughing blue eyes, dark eyelashes, and curling hair. When he smiles, two little dimples appear on each cheek, which are rosy with health. He has already had one or two little wives, but Louisa Biron is his favourite, a pretty little girl of five years of age.

"Now, dear Victor, I dare say you wish to be indulged in a little gossip concerning the good people of Geneva. The pretty Miss Mansfield has already received the congratulatory visits on her approaching marriage with a young Englishman, John Melbourne, Esq. Her ugly sister, Manon, married M. Duvillard, the rich banker, last autumn. Your favourite schoolfellow, Louis Manoir, has suffered several misfortunes since the departure of Clerval from Geneva. But he has already recovered his spirits, and is reported to be on the point of marrying a very lively pretty Frenchwoman, Madame Tavernier. She is a widow, and much older than Manoir; but she is very much admired, and a favourite with everybody.

"I have written myself into better spirits, dear cousin; but my anxiety returns upon me as I conclude. Write, dearest Victor,—one line—one word will be a blessing to us. Ten thousand thanks to Henry for his kindness, his affection, and his many letters: we are sincerely grateful. Adieu! my cousin; take care of yourself; and, I entreat you, write!

"Elizabeth Lavenza.

"Geneva, March 18th, 17—."

"Dear, dear Elizabeth!" I exclaimed, when I had read her letter, "I will write instantly, and relieve them from the anxiety they must feel." I wrote, and this exertion greatly fatigued me; but my convalescence had commenced, and proceeded regularly. In another fortnight I was able to leave my chamber.

One of my first duties on my recovery was to introduce Clerval to the several professors of the university. In doing this, I underwent a kind of rough usage, ill befitting the wounds that my mind had sustained. Ever since the fatal night, the end of my labours, and the beginning of my misfortunes, I had conceived a violent antipathy even to the name of natural philosophy. When I was otherwise quite restored to health, the sight of a chemical instrument would renew all the agony of my nervous symptoms. Henry saw this, and had removed all my apparatus from my view. He had also changed my apartment; for he perceived that I had acquired a dislike for the room which had previously been my laboratory. But these cares of Clerval were made of no avail when I visited the professors. M. Waldman inflicted torture when he praised, with kindness and warmth, the astonishing progress I had made in the sciences. He soon perceived that I disliked the subject; but not guessing the real cause, he attributed my feelings to modesty, and changed the subject from my improvement, to the science itself, with a desire, as I evidently saw, of drawing me out. What could I do? He meant to please, and he tormented me. I felt as if he had placed carefully, one by one, in my view those instruments which were to be afterwards used in putting me to a slow and cruel death. I writhed under his words, yet dared not exhibit the pain I felt. Clerval, whose eyes and feelings were always quick in discerning the sensations of others, declined the subject, alleging, in excuse, his total ignorance; and the conversation took a more general turn. I thanked my friend from my heart, but I did not speak. I saw plainly that he was surprised, but he never attempted to draw my secret from me; and although I loved him with a mixture of affection and reverence that knew no bounds, yet I could never persuade myself to confide to him that event which was so often present to my recollection, but which I feared the detail to another would only impress more deeply.

M. Krempe was not equally docile; and in my condition at that time, of almost insupportable sensitiveness, his harsh blunt encomiums gave me even more pain than the benevolent approbation of M. Waldman. "D—n the fellow!" cried he; "why, M. Clerval, I assure you he has outstript us all. Ay, stare if you please; but it is nevertheless true. A youngster who, but a few years ago, believed in Cornelius Agrippa as firmly as in the gospel, has now set himself at the head of the university; and if he is not soon pulled down, we shall all be out of countenance.—Ay, ay," continued he, observing my face expressive of suffering, "M. Frankenstein is modest; an excellent quality in a young man. Young men should be diffident of themselves, you know, M. Clerval: I was myself when young; but that wears out in a very short time."

M. Krempe had now commenced an eulogy on himself, which happily turned the conversation from a subject that was so annoying to me.

Clerval had never sympathised in my tastes for natural science; and his literary pursuits differed wholly from those which had occupied me. He came to the university with the design of making himself complete master of the oriental languages, as thus he should open a field for the plan of life he had marked out for himself. Resolved to pursue no inglorious career, he turned his eyes toward the East, as affording scope for his spirit of enterprise. The Persian, Arabic, and Sanscrit languages engaged his attention, and I was easily induced to enter on the same studies. Idleness had ever been irksome to me, and now that I wished to fly from reflection, and hated my former studies, I felt great relief in being the fellow-pupil with my friend, and found not only instruction but consolation in the works of the orientalists. I did not, like him, attempt a critical knowledge of their dialects, for I did not contemplate making any other use of them than temporary amusement. I read merely to understand their meaning, and they well repaid my labours. Their melancholy is soothing, and their joy elevating, to a degree I never experienced in studying the authors of any other country. When you read their writings, life appears to consist in a warm sun and a garden of roses,—in the smiles and frowns of a fair enemy, and the fire that consumes your own heart. How different from the manly and heroical poetry of Greece and Rome!

Summer passed away in these occupations, and my return to Geneva was fixed for the latter end of autumn; but being delayed by several accidents, winter and snow arrived, the roads were deemed impassable, and my journey was retarded until the ensuing spring. I felt this delay very bitterly; for I longed to see my native town and my beloved friends. My return had only been delayed so long, from an unwillingness to leave Clerval in a strange place, before he had become acquainted with any of its inhabitants. The winter, however, was spent cheerfully; and although the spring was uncommonly late, when it came its beauty compensated for its dilatoriness.

The month of May had already commenced, and I expected the letter daily which was to fix the date of my departure, when Henry proposed a pedestrian tour in the environs of Ingolstadt, that I might bid a personal farewell to the country I had so long inhabited. I acceded with pleasure to this proposition: I was fond of exercise, and Clerval had always been my favourite companion in the rambles of this nature that I had taken among the scenes of my native country.

We passed a fortnight in these perambulations: my health and spirits had long been restored, and they gained additional strength from the salubrious air I breathed, the natural incidents of our progress, and the conversation of my friend. Study had before secluded me from the intercourse of my fellow-creatures, and rendered me unsocial; but Clerval called forth the better feelings of my heart; he again taught me to love the aspect of nature, and the cheerful faces of children. Excellent friend! how sincerely did you love me, and endeavour to elevate my mind until it was on a level with your own! A selfish pursuit had cramped and narrowed me, until your gentleness and affection warmed and opened my senses; I became the same happy creature who, a few years ago, loved and beloved by all, had no sorrow or care. When happy, inanimate nature had the power of bestowing on me the most delightful sensations. A serene sky and verdant fields filled me with ecstasy. The present season was indeed divine; the flowers of spring bloomed in the hedges, while those of summer were already in bud. I was undisturbed by thoughts which during the preceding year had pressed upon me, notwithstanding my endeavours to throw them off, with an invincible burden.

Henry rejoiced in my gaiety, and sincerely sympathised in my feelings: he exerted himself to amuse me, while he expressed the sensations that filled his soul. The resources of his mind on this occasion were truly astonishing: his conversation was full of imagination; and very often, in imitation of the Persian and Arabic writers, he invented tales of wonderful fancy and passion. At other times he repeated my favourite poems, or drew me out into arguments, which he supported with great ingenuity.

We returned to our college on a Sunday afternoon: the peasants were dancing, and every one we met appeared gay and happy. My own spirits were high, and I bounded along with feelings of unbridled joy and hilarity.

[moviesessionwithmyhubby]

The jigsaw puzzle pieces -Part4

#notamovieexplanation

Part 4: The Tab and The Hole Do you recall that in the first part of "The Jigsaw Puzzle Pieces", I mentioned that a jigsaw puzzle piece consists of two parts?  The Tab represents the valuable contributions that an individual can offer to others, while the Hole represents the areas in which that same individual may require assistance or support. These two components were created during a phase of refinement and polishing. This is the statement I made in the first part, but I must confess that I neglected to mention a particular detail. In my humble opinion, it seems unlikely that a puzzle piece would only connect with a single other puzzle piece. It is more possible that a puzzle piece would connect with numerous other pieces, and undergo repeated rounds of polishing and refining with each connection. Occasionally, a pair of puzzle pieces fail to align and must proceed with an uneven shape. They no longer resemble their original form, as they are now riddled with holes and edges. So when the puzzle piece moves on and encounters another, it experiences a sense of hesitation or vulnerability. When my husband initiated a conversation about my value, power, and the success or failure of our relationship being in my hands, I was initially confused and taken aback. "What is he talking about? Why is it all about me now?” Do you know the student who is rebellious?  If you have a rebellious student on your team who always causes trouble, you may feel that the success or failure of your team depends solely on their behavior. I felt like I was the rebellious student in our relationship, always causing trouble. I began to feel emotional (and to make matters worse, it's autumn week for me now.)

But as my husband began to peel the onion and explain his idea, I began to comprehend that he believed I held more value than him. However, I disagreed with his perspective and began to argue that we held equal value. I used the analogy that he was like the sun and I was like the moon, and that both of us were essential to the functioning of the earth. However, my husband remained stubborn and insisted that the moon was more significant because of its proximity to the earth (I mean, seriously baby lol).

However, this layer of the onion is not the final one. After we ended the call, my husband sent me messages that revealed the deepest part of his onion. He explained to me that he believed I held the upper hand in our relationship due to my youth, intelligence, and physical attractiveness, while he felt vulnerable and insecure due to his age and past negative experiences. Despite his tough exterior, these factors had affected him deeply. When I first heard him say this, I was stunned and upset. I don't know why. Probably I have felt that he was anticipating me to behave similarly to his previous partners. I also felt a sense of helplessness and lack of power. Despite being told that I was powerful, I couldn't help but feel that if I truly possessed such power, I would have been able to heal him of his wounds. But I am unable to do so. I found myself in tears and began to question what I could do to make him feel more secure. Initially, I believed that there were no words that could make him feel secure until we lived together and experienced life together. 

But after calming down, I came to the realization that insecurities are similar to the holes - something we feel is missing within ourselves. And not only does my husband struggle with his insecurities, I sometimes struggle with these feelings as well. To my surprise, despite the fact that I had put in a lot of effort to be in shape, I had never felt really secure in my physique. I worked out extensively, under the impression that all men only value a physically attractive body. I believed that changing my hairstyle was necessary, as I thought my current one was unappealing. But the most significant insecurity for me was feeling like I was difficult to love. I believed that my frequent mood swings and intense emotions would be too much for anyone to handle. However, my husband entered the picture and with his love, patience, and care, he gradually helped me realize that I am an incredible person with a sharp mind, lovely smile, and endearing double chins. I am gradually becoming more comfortable with my own skin and emotions. I am comfortable showing my husband my double chins and big tummy, and being vulnerable enough to cry in front of him. 

As you can see, none of my anxieties are related to my husband in any way, nor do any of his insecurities relate to me in any way. Likewise, none of my husband's insecurities are related to me in any way. Our wounds were caused by our histories and the relationships we had in the past. This is the present. My husband and I are now in the middle of the polishing phase of our jigsaw puzzle, and we still have a long way to go. I am aware that we are unable to mend each other's wounds, but we can hone our tabs so that they may be inserted into the wounds. During the polishing phase, my husband has been sharpening himself for me for a very long time without me sometimes even realizing, he has been utilizing his Tabs to fit in my Holes of insecurity. And I have been sharpening my tabs to fit in his holes as well; nevertheless, in order to address the greatest insecurity that my hubby has, which is not having a settled house, I will need some time to fit in this hole.

I will spend my whole life loving you. Baby, wait for me <3

[humancollectivenz]

Human Collective - the essence is in the name: Everything You Need to Know

I launched my consultancy with a focus on uniting people and collaborating with businesses to integrate Diversity, Equity, and Inclusion (DEI) strategies into their organisational DNA. Creating an environment where differences are celebrated and embraced, and where everyone is treated equitably, just makes sense.

Human Collective has grown and evolved alongside the clients I work with. My primary motivation has always been helping businesses to prepare for the future. Working closely with boards and senior leadership teams, I've enjoyed crafting / refining business strategies, coaching leaders to deliver operationally and ensuring people practices align effectively with business goals.

I take pride in applying my skills and expertise to foster growth and success in both people and businesses. There’s nothing more rewarding than seeing businesses and individuals taking the next step towards achieving well defined goals. Check out My Services page to see how Human Collective could partner with your business.

Overview of services My clients have wide and varying needs. For example, you may be part of a fantastic HR team, or in a standalone HR role and could benefit from specialist support. Or you could be the leader of a business with no dedicated people person. Perhaps you are an individual who could benefit from transformational coaching or could use some help with an employment issue. Regardless of your needs I’m confident that we can find a way to work together.

The commonly heard phrase that "people are a company’s greatest asset" has never completely resonated with me. In my view, people are not assets, FTEs, or resources. They are individuals, and to bring out their best, certain essential conditions must be in place. I firmly believe that an organization flourishes and succeeds when it has the right individuals in the right roles, leveraging their strengths, contributing to the mission, and aligned towards achieving common goals. While this sounds straightforward, achieving it is often challenging.

At Human Collective, people are at the core, embracing both our similarities and differences. I assist businesses in thriving by partnering with them to elevate "the people side of things," creating a workplace where individuals feel energised on Sunday evenings at the thought of Monday mornings ahead.

my approach I approach my work with curiosity, empathy, and a non-judgmental attitude, prioritizing active listening and fully understanding my clients' needs before proposing solutions. I love facilitating group discussions, guiding conversations towards productive outcomes, and when necessary, acting as a mediator to ensure positive results.

Clients often describe me as passionate, professional, experienced, pragmatic, and straightforward. I take pride in thoroughly understanding your business, your desired outcomes, and offering dedicated support throughout every stage of our partnership.

about me My professional experience: With over 20 years as a senior Human Resources leader in corporate environments across diverse industries such as Financial Services, Telecommunications, Retail, Advertising, Publishing, Manufacturing, Engineering, Recycling, Mining, and Primary Industries, I bring a wealth of experience and a best-practice approach to support your business needs. My consulting background further enhances my ability to provide up-to-date and effective solutions.

My skills and knowledge: I have extensive expertise in Human Resources, Organisational Development, Talent Management, and Change Management, among other areas. Committed to continuous growth, I recently completed studies with Stanford Executive Online while continuing my studies to become a Globally Accredited Certified Diversity Professional (CDP) through The Society of Diversity. I leverage Capgemini Change Management Training and Transformational Coaching methodologies from Coach Masters Academy to ensure sustainable and impactful change for the companies and individuals I work with.

My lived experience: I have been fortunate to work and live in different parts of the world. I have loved experiencing different cultures and connecting with people from many walks of life. I’ve heard their stories, shared their experiences and seen the opportunity to make things better for them, their colleagues and their organisations.

Giving back: I am a proud member of the Project Jonah Board and a volunteer mentor with the Graeme Dingle Foundation. Both not for profits are close to my heart and I’m delighted to be able to offer my time and experience to such worthwhile causes.

ORIGINALLY FOUND ON- Source: The Human Collective(https://www.humancollective.co.nz/)

[patna-psychiatry]

How to Set Goals in Therapy with Your Psychologist

Setting goals in therapy is a crucial step in the journey toward mental well-being. When working with a psychologist in Patna, it's essential to establish clear and achievable objectives that guide your therapeutic process. In this blog, we will explore the importance of goal-setting in therapy, how to effectively communicate your goals with your psychologist doctor in Patna, and the different types of goals you might consider. Whether you are seeking help from the best psychologist in Patna or a psychotherapist in Patna, understanding how to set goals can significantly enhance your therapeutic experience.

Why Goal-Setting is Important in Therapy

Goal-setting in therapy serves several purposes:

Direction and Focus: Goals provide a roadmap for your therapy sessions. They help both you and your therapist to stay focused on what you want to achieve, making the process more efficient.

Motivation: Having clear goals can motivate you to engage actively in the therapeutic process. When you see progress toward your goals, it can boost your confidence and encourage continued effort.

Measurement of Progress: Goals allow you to measure your progress over time. This can help you and your psychologist in Patna assess the effectiveness of the therapy and make necessary adjustments.

Empowerment: Setting and achieving goals can empower you, giving you a sense of control over your life and circumstances.

Types of Goals in Therapy

When working with a psychotherapist in Patna, you can set various types of goals, including:

1. Short-Term Goals

These are achievable within a few sessions and are often specific and concrete. For example, you might set a goal to practice mindfulness exercises daily or to identify triggers for anxiety. Short-term goals can help build momentum and provide quick wins.

2. Long-Term Goals

Long-term goals are broader and may take several months or even years to achieve. They often relate to significant life changes, such as improving relationships, managing a mental health condition, or developing coping strategies for stress. An example might be working toward a healthier work-life balance.

3. Process Goals

These goals focus on the therapeutic process itself rather than specific outcomes. For instance, you might aim to open up more during sessions or to practice self-reflection regularly. Process goals can enhance your engagement in therapy.

4. Outcome Goals

Outcome goals are specific results you want to achieve, such as reducing symptoms of depression or improving self-esteem. These goals are often measurable and can be evaluated at the end of your therapy journey.

How to Set Goals with Your Psychologist

Setting goals in collaboration with your best counsellor in Patna can enhance the therapeutic experience. Here are some steps to guide you through the process:

1. Self-Reflection

Before your therapy session, take some time to reflect on what you want to achieve. Consider the challenges you're facing and the changes you wish to see in your life. Write down your thoughts to discuss with your best clinical psychologist doctors in Patna.

2. Open Communication

During your session, communicate your thoughts and feelings with your top psychologist in Patna. Be honest about what you want to work on and any concerns you have. This open dialogue is essential for effective goal-setting.

3. Collaborative Goal-Setting

Your psychologist will likely guide you in refining your goals. They may help you to make your goals SMART (Specific, Measurable, Achievable, Relevant, and Time-bound). For example, instead of saying, "I want to feel better," you might set a goal like, "I want to reduce my anxiety levels by practicing relaxation techniques three times a week for the next month."

4. Prioritize Your Goals

Sometimes, you may have multiple goals you want to address. Work with your psychologist in Patna to prioritize them. Focus on what feels most urgent or important to you at this moment. This can help prevent feeling overwhelmed.

5. Regular Check-Ins

As you progress through therapy, make it a point to regularly check in on your goals with your psychologist doctor in Patna. Discuss what is working, what isn’t, and whether any adjustments are needed. Flexibility is key in therapy, and goals may evolve as you make progress.

6. Celebrate Achievements

Recognizing and celebrating your achievements, no matter how small, is vital. When you reach a goal, take the time to acknowledge your efforts and the progress you've made. This can reinforce your motivation and commitment to the therapeutic process.

Overcoming Challenges in Goal-Setting

While goal-setting can be a powerful tool in therapy, you may encounter challenges along the way. Here are some common obstacles and how to address them:

1. Fear of Change

Change can be intimidating. If you find yourself resisting goals because of fear, discuss this with your best psychologist in Patna. They can help you explore these feelings and develop strategies to cope with the discomfort that change may bring.

2. Unrealistic Expectations

It's essential to set realistic and achievable goals. If you set goals that are too ambitious, you may feel discouraged if you don’t meet them. Work with your psychotherapist in Patna to ensure your goals are attainable and aligned with your current circumstances.

3. Lack of Motivation

If you find it challenging to stay motivated, revisit your goals. Are they meaningful to you? If not, consider adjusting them to better reflect what you genuinely want to achieve. Your best counsellor in Patna can provide support and encouragement to keep you on track.

Conclusion

Setting goals in therapy is a collaborative process that can significantly enhance your therapeutic experience. By working closely with a psychologist in Patna, you can establish clear, achievable objectives that guide your journey toward mental well-being. Remember that goal-setting is not a one-time event but an ongoing process that may require adjustments along the way. Embrace the journey, celebrate your achievements, and allow yourself to grow through the therapeutic process. Whether you are working with the best clinical psychologist doctors in Patna or the top psychologist in Patna, the power of goal-setting can help you pave the way toward a healthier and more fulfilling life.

[lovestruckelf]

Your Mother Loved You (Chapter 7)

Summary:

Erlan is placed in an uncomfortable position. He wishes to keep the trust between himself and his closest friend, the prince, by not divulging information he has gathered concerning the prince's well-being. However, he knows by doing so that he risks losing his friend even further down into the pit of grief and despair. When the King approaches him, everything inside Erlan is screaming at him to inform his friend's father of his suspicions, however, he is held back by his morals and loyalty. Will Erlan be able to move past his internal dilemma and do what is necessary to save the spiraling prince?

CHAPTER 7

After eating his morning meal a little later than usual alone in his chambers with no word from his son, the King decided to try and locate Legolas before attending the first engagement of the day. It was not unheard of for his son to occasionally skip their morning meal, especially if the prince was eager to engage in an activity that required his refined archery skills. However, it was unusual for Legolas to not send word to his father about the change of plans. Thinking upon this and remembering what Erlan had said at dinner the night prior regarding Legolas’ late arrival for yesterday morning’s hunt in addition to arriving late for dinner, an uneasy feeling began to fester within the King’s being.

Rising from his table, and briefly looking at the full plate of food meant for his son, he requested his attendant who was waiting outside his chamber door to clear the setting as he was finished.

“My Lord will the prince be requiring his meal this morning?” the attendant asked.

“It appears my son had other plans which did not include informing his King,” Thranduil responded abruptly.

“Forgive me, my Lord. I did not mean to question the prince’s actions. Would you prefer me taking his meal to him in his private chambers?” the attendant offered, not looking at the King directly as they sensed frustration resonating from him. “I shall take it to him myself for I wish to speak with the prince directly” the King replied.

“My Lord” the attendant acknowledged the King’s wishes, collected the dining utensils, and quickly left the space. They were not willing to block the path of the irritated King, lest they also feel the wrath he could impose.

Picking up the plate of now cold food, Thranduil headed straight for his son’s chambers that resided down the hall. Upon his stride, he noticed Erlan walking from the direction of the prince’s quarters.

“Young hunter. Stop.” The King commanded; his eyes full of concern not leaving the form of the young elf. He placed the cold plate of food and his free hand behind his back

Erlan stopped immediately in place, eyes wide with fear. “Oh no. Oh please no” he thought to himself before raising his head and standing tall to face his King.

“My Lord. How may I serve?” Erlan composed himself.

“You may serve by informing me what you were doing within the prince’s chambers.” Thranduil spat.

Legolas’ eyes snapped open from his bed upon hearing the booming sound of his father’s voice. He rose from his lying position and raced to placed an ear by his door.

“I was simply visiting a friend, my Lord. Nothing more.” the scared elfling responded.

“A simple visit, you say. At this time of day? Why weren’t you both out tending to your duties or studies? As I believe, you both had training before the sun rose this morning, did you not?” Thranduil questioned, already knowing the answer.

Legolas was frozen in fear at his father’s questioning.

“You are correct, my Lord. We did have a training session this morning before dawn.” Erlan responded, not being entirely dishonest. He did have a training session that he attended; he just chose to leave out the part where the prince was not present.

“It is rare for the two of you to find respite within the confines of the prince’s quarters this late in the morning while the sun still shines upon us. Would you agree?” The King pressed.

“Yes, my Lord. It is rare but not entirely unheard of. The prince required a change of clothing. I merely accompanied him to ensure he was well” Again, not a complete lie as Legolas did require new clothing this day but not from training, and Erlan’s visit was essentially a well-being check.

The prince, listening to each word shared between his friend and his father, still not breathing normally, hung his head in shame. Erlan was now covering for him to the King of Mirkwood, a punishable offense if caught.

“Ensuring he was well?” the King asked with a raised brow. “Why would he not be?”

“Forgive me, my Lord. It appeared to me that the prince’s attention was elsewhere. It seems exhaustion has been following him around like a dark shadow lately. I was merely concerned for his overall health, physical or otherwise.”

… “Too much, Erlan. You’ve said too much!” Legolas thought in a state of panic, knowing his father could read between the lines. A skill he hoped to acquire one day.

“Your concern is noted, Erlan. I extend my gratitude to you for the care you’ve shown my son. If what you say is true, I shall see to Legolas myself to ensure he is resting as intended. Is there anything else I should be aware of before you’re dismissed?” Thranduil asked, detecting slight hesitation from the young elf.

Legolas pushed his ear closer to the door to hear Erlan’s response.

The young hunter heard the slightest movement from the prince’s chambers and looked behind him towards the door, observing the faint shadow moving slightly under it. He knew Legolas was listening.

“Well, young hunter?” the King pressed, growing impatient with the lack of response.

Erlan turned his head to once again look at the King, noting the tense features written across his face.

…”Please, Erlan. Please don’t” Legolas begged his friend in his mind.

If Erlan’s suspicions were correct, if he were to ever listen to all the warnings within his being screaming that his friend was in emotional turmoil and needed help, the time to act on it was now. “There is nothing more, my Lord. I have told you all I know” Erlan responded while nodding his head yes towards the King, his eyes showing signs of fear that Thranduil immediately noticed. It was within this moment that the worried father realised that his son was listening with his sharp elvish hearing through his chamber door.

Placing a hand on the young elf’s shoulder to calm his heightened state, Thranduil nodded his head acknowledging Erlan’s double coded message. “Very well, young one. I thank you for your service. You are dismissed.”

As Erlan began to take his leave from the King, he was gently stopped as Thranduil leaned down to whisper in his ear so Legolas would not be able to hear. “I will send for you so we can discuss this further.” Erlan looked up at the King with great concern. Thranduil answered with a gentle, yet reassuring closed mouth smile. He nodded his head once more indicating to the young elf to move along which Erlan was more than happy to oblige.

Legolas was overcome with relief, not realising the secret conversation that had just transpired between his friend and father. He took the first breath he had taken in several minutes and retreated to the middle of his room, finally changing out of last night’s attire and into a fresh tunic. Upon leaving the spot near the door, Thranduil noticed the shadow fade away with his son’s movement. Staring at the door for a moment, he found himself being consumed with worry for his only child.

“Legolas, what is happening, my son?” the King thought silently to himself. He looked down at the plate of stone-cold food he had forgotten he was holding and shook his head. Turning back in the direction he came he made his way towards his chambers to collect his thoughts before the first meeting of the day, which he was risking running late on. Handing the plate to the attendant who was now tidying up his room, he placed the royal robe over his shoulders and began taking his leave.

“My Lord was the prince not hungry?” the attendant asked innocently.

“He was not in his chambers. I suspect he will be famished after his training this morning. Please see to it that he is fed this day but before dinner. The prince needs his strength” the King responded and with that he left the attendant to continue their duties.

Turning to his guard on his way out, the King squared his shoulders with his new resolve. “Guard, I require the company of the young hunter, Erlan. He is to provide me with an audience before this evening’s meal but after the final engagement of the day. See to it that he attends. No exceptions.” Thranduil would hear all that was plaguing the young elf’s heart with regards for his son.

[umass-digiturgy]

Émilie: La Marquise du Châtelet Defends Her Life Tonight... and she defends women and happiness too.

Emilie is now coming to be known for her scholarly excellence as a mind of math and physics, but did you know she also impacted the French Enlightenment with profound notions of happiness and gender equality? If you didn't, I thought it may be worth sharing some quotes below.

1. “Let us choose for ourselves our path in life, and let us try to strew that path with flowers”

Emilie du Chatelet demonstrated her fearlessness through strength and courage, but she also expressed fearlessness as a spirit led by compulsive drive, persistent purposefulness, and radical honesty. Emilie already held the conviction to set her own course in life, yet she still prioritized permeating graciousness and generosity while setting that course. Having interest that intersect at science and philosophy, Emilie desired to discover the secrets of the universe. Rather than be unnerved with panic or immobilized with fear at this opportunity to change the world, Emilie’s fearlessness made her path immovable and inevitable. Beyond contributing to physics and mathematics in ways that advanced the fields, Emilie du Chatelet gave humanity a message revealing that when we walk the path that fulfills our hearts, we’ll always have enough love to leave a trail for others.

2. “If I were king, I would redress an abuse which cuts back, as it were, one half of human kind. I would have women participate in all human rights, especially those of the mind” 

Emilie challenged societal norms as a youth and was cognizant, even then, that gender is not a limitation. Emilie’s awareness made her mind strong and unsusceptible to long-told fables that woman are inferior to men. However, this same awareness granted Emilie the insight that even perception of gender can have damaging effects; Emilie avoided these effects by submitting her works under Voltaire’s name to encourage/solicit a fair judgement. It raises the question, how much more might Emilie have accomplished in science if her gender was not inherently a limitation to accessing public and financial support of academic pursuit? It is necessary to discern that Emilie did experience some unique privileges due to her access to wealth, and therefore, would not have been dissuaded from studying as heavily as a less fortunate woman. But it’s difficult to separate Emilie from the ghost of countless brilliant women who sharpened their minds amidst the muck of misled men; along with the other women who even after learning and refining, still had their merits credited to dishonest men.

3. “And the perpetual combat of this effort of fire and of the resistance bodies offer to it, produces almost all the phenomena of nature” 

Love or Philosophy? While an enjoyable question to consider, the reality is that Emilie excelled at both. She contributed to translating and advancing the world of physics through study. Yet, she also had a life that was fulfilled with love, passion, and romantic embraces. In this way, her novel approach to thinking of people and energy as a metaphysical system actually ties love and philosophy together, it doesn’t pit them against each other. Fire, in and of itself, will cause human bodies to repel and resist it. However, if that fire is within another person, the same temperature and energy can become a magnet that draws others in. Emilie may compliment and subdue the men in her life by referring to them as elements, but the truth is that her lifework embodied the elements of Earth the best - she was as graceful as water, as dangerous as fire, and unforgettably electric. 

4. “I have always thought that the most sacred duty of men was to give their children an education that would prevent them, when they were older, from regretting their youth, which is the only time when one can truly get an education; you, my dear son, have now arrived at this happy age when the mind begins to think, and when the heart isn't yet subject to those intense emotions that will later come to disturb it” 

Emilie understood that study is more complex than the raw consumption of new information because true learning requires the learner to be in a certain headspace conducive to receiving new information. Emilie navigated the intense emotions of life such as true love, grief, heartbreak, and betrayal while still pushing forward the envelope of scientific discovery. Emilie cautions us to take advantage of our youths, because for the more fortunate of us, adolescence will be absent of heavy disturbances that impede learning. In utilizing the privilege of learning freely in an peaceful environment, our minds will have a chance to receive and retain so much more. In short, most of us are not good for ourselves or anyone else when our hearts our disturbed; but the same lot of us can move mountains when it’s a peace. 

5. “As no two things in life are alike, it is almost always useless to see one’s errors, or at least to pause a long time to consider them and to reproach oneself with them. In so doing we cover ourselves with confusion in our own eyes for no gain.” 

Emilie deserves admiration and acknowledgment for advancing the philosophy of happiness and simultaneously expanding the world of physics, almost four-hundred years ago. She faced resistance from friends and family who encouraged her to consider the error of her ways and stay in a woman’s place; but Emilie stayed committed to her path instead. Emilie’s boundless ambition directed her to relentlessly seek progress, and in seeking progress Emilie realized that there isn’t room for guilt or ruminating in mistakes. With this message, Emilie reminds us to let go of guilt and shame, and rather to- “forgive ourselves; guilt may write us letters often, but we don’t have to write back” 

[thedocumentco04]

Do my assignment Alchemy: Transforming Challenges into Triumphs

Do my assignments often present themselves as formidable challenges, requiring diligent effort, critical thinking, and creative problem-solving. Yet, within the crucible of these tasks lies an opportunity for transformation—a chance to turn challenges into triumphs through the alchemy of skillful execution and strategic approach.

Embracing the Challenge

Every do my assignment, whether it be an academic essay, a professional project, or a personal endeavor, comes with its unique set of challenges. Instead of shying away from these obstacles, embrace them as opportunities for growth and learning. Approach each do my assignment with a positive mindset, acknowledging that overcoming challenges is an integral part of the journey toward success.

Alchemy of Preparation

Preparation is the cornerstone of do my assignment alchemy. Take the time to thoroughly understand the task at hand, dissecting its components and identifying potential pitfalls. Conducting preliminary research, gathering necessary resources, and formulating a clear plan of action are essential steps in laying the groundwork for success. By investing in preparation, you set the stage for alchemical transformation.

Transmuting Ideas into Gold

Just as alchemists sought to transmute base metals into gold, so too must you transform your ideas into polished works of excellence. Cultivate your thoughts, refine your arguments, and craft compelling narratives that captivate your audience. Whether you’re writing an essay, delivering a presentation, or completing a project, infuse your work with creativity, originality, and attention to detail.

Alchemy of Collaboration

In the pursuit of do my assignment excellence, collaboration can be a powerful catalyst for transformation. Engage with peers, mentors, and colleagues, drawing upon their insights and expertise to enhance your work. Embrace diverse perspectives, foster meaningful dialogue, and harness the collective wisdom of your community to elevate your do my assignment to new heights.

Alchemy of Resilience

Like the alchemist’s journey, the path to do my assignment success is rarely linear. Along the way, you may encounter setbacks, setbacks, and unforeseen challenges. Yet, it is through resilience that true alchemy occurs. Embrace adversity as an opportunity for growth, adapt to changing circumstances, and persevere in the face of obstacles. Remember that failure is not the end but rather a stepping stone on the path to triumph.

Celebrating Triumphs

As you emerge from the crucible of your do my assignment, take a moment to celebrate your triumphs. Reflect on the journey you’ve undertaken, the lessons you’ve learned, and the skills you’ve acquired along the way. Whether big or small, each triumph is a testament to your resilience, creativity, and commitment to excellence.

Conclusion

do my assignment alchemy is not merely about completing tasks; it’s about transforming challenges into triumphs through skillful execution, strategic planning, and unwavering determination. By embracing the journey, preparing diligently, collaborating effectively, and cultivating resilience, you can harness the transformative power of do my assignment alchemy to achieve extraordinary results. So, go forth with confidence, knowing that with the right mindset and approach, you have the power to turn every do my assignment into gold.

[eaglehomeappraisals]

How to get the most out of my home appraisal?

Getting the most out of your home appraisal

Understanding Home Appraisal: Factors That Affect Home Value When it comes to understanding home value, the process of home appraisal is a key concept to understand. Whether you are planning to sell your property, refinance your mortgage, or are simply interested in the market value of your property, a property appraisal plays a crucial role in determining the monetary value of your property. In this article, we look at the factors that affect your home's value during an appraisal and give you an insight into how appraisers arrive at their appraisals. Factors Influencing Home Valuation Location, location, location: It's not just a real estate slogan; It is a crucial factor in determining the value of a home. The location of your property has a major impact on its value.Homes in attractive neighborhoods with good schools, low crime rates, and proximity to amenities generally fetch higher prices. Lot Size and Layout: The size of your home, including the number of bedrooms, bathrooms, and floor area, is another important consideration. Larger houses tend to have a higher value, but the layout and functionality of the space is also important. Homes with open floor plans and well thought out floor plans often get better reviews. Condition of the property: The general condition of the property has a significant impact on its valuation.The appraisers pay attention to the external and internal conditions of the house. Well-maintained homes with modern appliances, working systems (such as air conditioning and plumbing), and minimal wear and tear tend to fare better. Comparable Sales: Appraisers look at recent sales of similar properties in the same area to provide a benchmark for your home's value. These comparable sales numbers or "builds"; They serve as a basis for estimating the value of your property in comparison to similar homes recently sold. Recent Improvements and Renovations: Home improvements can have a positive impact on the value of your home.Improvements like kitchen remodeling, bathroom remodeling, or energy efficiency improvements can add value to your property. However, the cost of the modernization should be in line with local market expectations.Market Trends: The real estate market is dynamic and can fluctuate depending on supply and demand. When assessing the value of your property, appraisers take current market conditions into account. When there is high demand and low stocks in the market, this can contribute to a higher estimated value.External Factors: Factors external to the property itself, such as the economic environment, interest rates and local planning, can affect its estimated value. Economic growth and infrastructure improvements in the region could have a positive impact on property values.Preparing for a Home AppraisalBy understanding the factors considered by appraisers, you can prepare your home for an appraisal:Make Necessary Repairs: Address any maintenance or repair issues affecting the condition of your home and its general could affect attractiveness.Document Improvements: Please provide a list of recent updates, renovations and improvements made to the property.Highlight positive traits: Highlight features that may not be immediately obvious, such as a new roof, energy-efficient windows, or a well-tended yard.Provide Comparable Sales Information: If you know of recent comparable sales in your area that support a higher value, please share this information with the appraiser. A home appraisal is a fundamental step in determining the true value of your property.By understanding the various factors that influence the appraisal process, you will be better able to navigate your real estate transactions and make informed decisions about your property. Remember that while you cannot change the location of your home, you can take steps to maintain and improve it to positively affect its value.

Read the full article

[n11592907]

Platformer Development Post

I began to work on the digital prototype,the goal of this was to primaraly explore the controls and movement as this is the core part of a platformers gameplay. Tracy Fullerton states In her book that, "As part of your digital prototyping process, you will want to build models of core systems that you have questions about: game logic, special physics, environments, levels, etc. Additionally, two of the core tasks of digital prototyping will be envisioning your gameplay using the input and output devices of your digital platform." This would be the focus of the digital prototype, I wanted to refine what the controls and core mechanic as a platformer would be, GDevelop already provides the base controls needed (space and arrow keys to move and jump) however all other controls such as the dash will have to be made and refined. With this in mind I began work on the digital prototype.

I had also read chapter 7 of Tracy Fullerton's book, and in that chapter she discussed physical prototypes. I had already started the digital prototype before reading this and I thought about if I wanted to do one. In the end I decided not to, this was due to several reasons. The prototypes we were making where created by following guides, as well as this it is only one person working on the project. I understand that in larger projects with groups of people creating prototypes from scratch, these physical prototypes would help to show a low level vision of what the game may be like. However in this context with me following a guide to create a digital prototype, creating a physical prototype would be partly useless in this context, so I continued the project still learning and acknowledging that this is a critical part of a ‘normal’ game design project.

The first thing I thought of and designed in the game where the basic rules it would follow, most of which were basic for a platformer. In Tracy Fullerton’s book she states that, “a distinctive quality of games is that they are experiences that have rules that define game objects, prescribe principles, and limit behaviour within the game. These rules are respected because the players understand that they are a key structural element of the game, and without them, the game would not function”. With this in mind I decided I needed a way to lay out these rules, I already knew what some of the rules where for example a player cannot jump mid-air. Rules like that did not need to be stated to the player as it is a common rule, however some rules need to be stated so that the player knows them. I found how to add text into GDevelop and decided the rules necessary to mention were the controls, the dash mechanic, and the cloud mechanic.

I stated that space is jump and jumping on enemies will kill them as well as give the player a jump, the next two rules were more abstract with pressing space mid-air to dash, and jumping on clouds gives a large bounce. I decided that these mechanics had to be explained so I implemented some text to tell the player this, I kept the text short, just for fun I kept a secret of what clouds would do. The image below is the first iteration of this text.

This was changed after I experimented with the dash mechanic, this is the new and probably final iteration.

(Talk about dash development, the struggle!)

The fist thing I tried to do was create the dash, this ended up being far more painful to do than I originally thought, the reason for this was a combination of gravity and my own lack of knowledge in GDevelop. I found a way to propel the player forward, but gravity still affected it and caused the player to fall while dashing, as well as this the controls felt weird as the player has to hold the space key to continue dashing. I at this time could not find a solution to the control issue, but I did experiment with the dash. The image below depicts the final results of my experimentation.

The first dash iteration is the first event in the image, it is simple and when the player is both falling and presses space, they dash. The second event is a failed and more experimental attempt, it activates the same way, but it also tries to reduce gravity and implement a timer. Reducing the gravity removes the falling in the dash, however it also slowed the player and required something to stop it, that is why the timer is there, to stop the dash after a set amount of time. This did not work, the timer just simply didn’t work and I don’t know why, this iteration of the dash was disabled, and I decided that I would just keep the original dash, the gravity affecting it did make it more unique and it had grown on me. I also decided to look at fixing the controls of the dahs at a later date.

I designed the first jumps of the level to be simple, they would be an easy way to become familiar with the jump of the game and allow the player to get a feel for the controls. The sprite for the platform was slightly wrong but I decided I would fix it at another time. The image below shows the first jumps.

Later, I added an extra section to the introductory jumps, that required use of the dash. This would, similarly to the previous jumps, be a tutorial for how the dash mechanic works. The image below is the added section.

The first enemy was also made fairly simple, it just moves back and forth on a flat surface, similar to the first jumps it is there it introduce the player to mechanics and to allow for the player to learn on their own. Image below shows the enemy.

This part of the post marks when I read chapter 3 of Tracy Fullerton’s book after designing this part of the prototype. In the chapter she discusses the formal elements of a game, so I decided that I would think about and document the formal elements of my game so far.

The first element was the players themselves as well as how many there are and if they will interact with other players. For this prototype and all prototypes I will do in this class, they will all be single player vs game systems, meaning that it is one player trying to accomplish an objective against the game’s systems and obstacles.

The objectives in this context it is to ‘beat the game systems’ and to make it to the end of the level, and while there is no end of level in this prototype, the goal is still the same.

The procedures (or the controls) for this prototype are all on keyboard. The left and right keys move the player character left and right, and the space key both jumps and dashes.

The games rules are fairly simple, they include:

 if you are touched by an enemy you lose

jumping on enemy destroys them

jumping on clouds will bounce you

reaching the end of the level would mean you win if there was one in this prototype

falling off the level means you lose

The conflict is that the player has to make their way around and past the obstacles which include enemies and platforms to make it to the end of the level.

The boundaries for the prototype are the most neglected formal elements as they are partly a passive element that is present. The boundaries of this prototype are mostly the limit of the controls and the physical boundaries of the platforms.

After this I continued designing the prototype. The next mechanic I wanted to introduce was the cloud mechanic, it would add more variety in the level and players can jump on clouds to gain extra height. Creating this was more difficult that anticipated, I needed to first add the cloud sprite, I made a mistake and made it the wrong type of sprite (tiled) and had to delete and re add it. The image below is of the sprite.

 After that I had to add the event to make it work, the first iteration did something similar to the dash and “used add force to player” to propel them up. This felt bad, it would be instant and jarring for the player and made it difficult to tell what was happening, so I decided to change it. The second iteration was far better, it used the jump of the player instead, it made it seem like it was propelling the player up, however in reality it is changing the jump speed and acceleration of the player and simulating a jump to make it propel them upward. This iteration did not feel jarring or bad of the player, so this is the iteration I ended it on. The images bellow are the events for the cloud.

The next part of the level that was designed was the tower as I have decided to call it. It is a simple platforming section that requires the player to jump back and forth in a small tower area, the twist is that the tower will lead the player to the first clouds in the level, introducing them to the cloud mechanic (as mentioned previously the clouds will bounce you up when you jump on them). The image below depicts the first iteration of both the tower and the clouds.

After testing the area, I realised that the area needed some improvements, the first f which were to the tower. The top of the tower felt bad to navigate, the player could hit the roof when going t jump form, it and it needed to be changed so I removed part of the roof to make jumping easier. The next changes I made to the area was the clouds, I decided that there could be a better (and slightly crueller) way to introduce the clouds. I added a jump that the player physically can’t do but added a bed of clouds below to introduce the player to the mechanic. I also created invisible walls to ensure that the player cannot make the jump.

I made one final iteration of this area after further testing, I decided to just completely remove the roof of the tower and to implement an extra invisible wall, a new boundary for the player. The player can now easily jump form the tower and fail the jump, and the invisible wall at the bottom will stop players from dying by falling between the platform and the clouds. I was happy with this final iteration and moved on to the next area.

The next area was primarily the cloud introduction in a previous iteration, I moved this forward and added it here. This allows the player to preform a real platforming section that utilises the clouds and builds off what was introduced in the previous area. The image below is this area.

At the end of this prototypes development, I was reading chapter 4 of Tracy Fullerton’s book which talks about the dramatic elements of a game. Similar to the formal elements I decided to think about the elements of my prototype.

The first dramatic element was the challenge and the games ability to make players enter the flow state. This one did not apply to the prototype at all as it is too short to achieve the flow state, and while it could be challenging the prototype as it is has very little challenge.

The next dramatic element is the potential for play as well as the types of players. In terms of the player types, most could be catered to apart from the competitor however the achiever is probably the player type that is catered to the most by my prototype.

Premise, Character, Story, and World building are all things that cannot be applied to this as it is a simple prototype. As there is no real story it would be difficult to find any of these in this prototype.

Doing this type of analysis for both the formal and dramatic elements of this prototype did help me to see how these are applied to and are present in a game. I don’t think I will explicitly do and write this type of analysis for every prototype I make as it will most likely only be helpful to do this to larger and more complete games to get a better understanding of game design, however this small amount has helped me to understand these elements a bit better.

[awesomeforever]

[ad_1] Growth in a business is essential. How much growth, depends on your vision for your business.... Many business owners often confuse growth with expansion. Expansion is moving into new product lines, new services and new areas. Growth is increasing your capacity to continue with the products and services you have. Growth may require expansion, but expansion is not necessarily needed for growth. Growth is necessary, at the very least, to ensure that your business maintains a healthy profit margin. Expenses typically rise each year and, as such, your business needs to grow, otherwise it will 'fade' away. This is why having a business plan and regularly reviewing your businesses performance is so important! Understanding the businesses financial bottom line and how the target markets are evolving is paramount to ongoing business success and growth. Be Honest With Yourself... Sometimes, the largest obstacle any small business owner can have, is themselves. Far too often, we as business owners fall prey to own success and we ignore the change indicators in our market. A wise business owner will ensure that they can independently evaluate their business - a business mentor is great for this kind of oversight. Be brutal in your assessment - really extrapolate the possible changes in your market and determine how you can refine your business strategies to capitalize on the changes. In one of my 'previous business lives', I ran a retail franchise store. We were a very niche business and when we first opened the stores, we did really well. However, as the market evolved it became more of a consumer market (not niche) and our Franchise did not change it's strategies to take this into consideration. That franchise no longer exists - it was placed in receivership. Growth Strategies There are several strategies for growth that may be applied by a business owner. Sell More Of The Same Thing This is possibly one of the most popular strategies for business growth - do more of what you're already doing. This could be a valid approach, particularly if the business or market is relatively young. One of the biggest things to consider here, is whether there is 'room' to do more of the same thing. If your business delivers services, can your existing staffing levels handle more work and if not, can more people be employed quickly enough to deliver the work? Does your market allow for enough growth in the sale of more of the same? Sometimes, the market is near saturation and selling more of the same thing is not going to provide enough growth for a business. Consider moving into other target markets with the same product or service. Often this will require a rethink of Unique Selling Proposition, but it can reap big rewards. If the business doesn't have sufficient person power to sell more, consider options like licensing and franchising to increase the reach. One very simple method to immediately add more sales people to the business is to offer an Affiliate or Referral program, where the business will pay a commission or referral fee to people who bring in new business. Raise Prices Raising the prices of your products and services may result in growth. This approach needs to be implemented carefully, and the results monitored regularly. Raising prices will, generally, result in a higher profit per sale - and as such higher profit overall. In some cases, raising prices will result in an increase in sales as well. This tends to occur when the price of a product or service is so low that it gives the perception of a low value / poor quality or appeals to a target market that is not willing to spend money. When the price is increased, the target audience feels that the quality is much better and will more readily invest. By increasing the price and increasing sales, growth occurs naturally. I experienced exactly this in my retail store - we had priced a product at less than $10, which we thought was an 'irresistible price'.

Unfortunately, our customers did not and the product was not moving. After overhearing several customers discuss that they believed something must be wrong with the product for it to be so cheap, we increased the price to $14.95 and sold out in a week! Perceived Value. Diversify Diversification is a valid and very smart business growth strategy. Add more products or services to your business portfolio. Depending on your business plan, the products or services may be related to your existing product range or, it may be appropriate to start a new 'arm' to your business. Diversification, as a business growth strategy, provides a major benefit as the risk of market downturns is spread over a wider base. By adding more related products and services to its portfolio, a business can also capitalize on return business from existing customers. In Conclusion These are three very broad ways to grow your business - and which one(s) to use will depend on your business plan. [ad_2] Source by Charly Leetham