The document discusses the key elements that make up a story, including characters, plot, conflict, theme, and more. It explains that stories have a basic structure of a beginning, middle, and end, but are comprised of deeper elements like characters, setting, plot points including exposition, rising action, climax, falling action, and resolution. Additional elements covered are conflict, theme, narration perspective, tone, and style. The document provides definitions and explanations of each element to breakdown the anatomy of what constitutes a full story.
Your will submit an outline of your term paper.· Your submission.docxransayo
Your will submit an outline of your term paper.
· Your submission must include an introduction, body, and conclusion sections in outline format.
· Each section of your outline should include topic sentences and paragraph transitions that help tie your major points together.
· Your outline must follow current APA style formatting.
· Refer to the writing resources below to get started.
Writing Resources:
· Outline Template
· Four Components for Effective Outlines
https://owl.purdue.edu/owl/general_writing/the_writing_process/developing_an_outline/index.html
https://owl.purdue.edu/owl/general_writing/the_writing_process/developing_an_outline/index.html
Outline Template
I. Introduction
a. Introduce the topic with background information and define terminology
II. Body Paragraph 1 – Technical aspects of your topic
a. Topic Sentence:_________________________________________________
i. Supporting detail 1:________________________________________
ii. Supporting detail 2:________________________________________
iii. Supporting detail 3:________________________________________
III. Body Paragraph 2 – Description of public policy debates surrounding your topic
a. Transition:_____________________________________________________
b. Topic Sentence:_________________________________________________
i. Supporting detail 1:________________________________________
ii. Supporting detail 2:________________________________________
iii. Supporting detail 3:________________________________________
IV. Body Paragraph 3 -Arguments
a. Transition:_____________________________________________________
b. Topic Sentence:_________________________________________________
i. Supporting detail 1:________________________________________
ii. Supporting detail 2:________________________________________
iii. Supporting detail 3:________________________________________
V. Body Paragraph 4 - Arguments
a. Transition:_____________________________________________________
b. Topic Sentence:_________________________________________________
i. Supporting detail 1:________________________________________
ii. Supporting detail 2:________________________________________
iii. Supporting detail 3:________________________________________
VI. Opinion and Conclusion
a. Transition:_____________________________________________________
b. Statement of Opinion:_____ _______________________________________
VII. References – In APA format
· A title page.
· The body of the paper, which includes 4–6 pages of professionally written text
· At least three references from textbooks, websites and articles that provide adequate justification and support your claim
· Subheadings (technical aspects, public policy, and personal opinion/conclusion)
· Appropriate in-text citations throughout paper
· A reference list with only the sources used in the body of the paper (All sources should be less than 5 years old unless recent research is not available, and at least one reference must be a peer-reviewed a.
142Instead of repetition, you need to have di!erent ways .docxmoggdede
142
Instead of repetition, you need to have di!erent ways for your hero and the
associated characters to take on each complication, to build tension. If the
activities you identi#ed for your “Hows” in Chapter 6 are all di!erent, you
can simply present the struggle needed to overcome each challenge. On the
other hand, if those activities are similar, but necessary, you may need to work
hard to #nd ways to identify signi#cant di!erences between the challenges. If
you fail to make the hero’s sequence of actions clear and distinct, the tension
will not build, and the audience will lose interest in wanting to know how
the story will #nish.
Note that repeating an activity is very di!erent than repeating the reason
why the hero has to act. You should repeat the reasons to act many times
through the story, usually with the sense of urgency, which you will develop
in Chapter 12, and sometimes with other factors derived from the work you
did developing the “Whys.”
If you #nd that one part of your visual story is having to explain what just
happened, you need to reverse it to set up the situation in such a way that
the resulting action is an obvious consequence. For example, you don’t say
the factory needs to close and then explain that it costs three times as much
to produce there than in another location. You introduce the other location
and its costs; then say you cannot compete, and the factory needs to close.
We have shown a number of di!erent ways to turn your content into a story,
and on the following pages you will see how in the City University Hospital
example Tom selects two di!erent basic plots to create two stories for his
audience. This example will build to show how one visual can be used with
two slightly di!erent stories to provide a consistent message to an audience
that has two groups with di!erent reasons for each group to act.
Putting All the Parts Together
At the start of this chapter, we talked about plot structure. On the basic
three-act structure, we showed the red line of increasing tension to the climax.
As you shape your visual story, ask yourself, “How can I build tension by
making things harder for my hero?” Look for ways to bring out the key
challenges and activities you identi#ed when you looked at the “How” and
“What If ” to drive the story deeper into situations where commitment to act
is required. To keep the attention of your audience, the story needs to build
towards more and more con$ict, e!ort, or struggle.
Unless you are a master storyteller, the use of $ashbacks and a mixed up
timeline will break the sequence of events and fail to raise the tension.
When your audience has to guess why something has happened (or has not
happened), even for just a moment, they will start to disengage. Con#dence
that the outcome of your visual story is believable is increased with a strong
sequence of cause and e!ect in the story.
Repeat the reason to act, not the action.
R ...
Power of Storyboards - Paul Hong | SDXD July 2019 EventJamesVinh
A lot has been said about storytelling as a design technique. Stories can inspire. They can help a team understand context and intent. They can help everyone think from the perspective of your customers and users.
But what does that mean? Sit around the campfire terrifying each other with graphic descriptions of table-based web layouts or steal the show with a gripping tale of survival trapped for weeks in a vestibule by Norman doors? Um, no. It’s a lot more practical than that.
Part talk, part hands-on workshop, we’ll explore storyboards as a storytelling device for design. You’ll learn how to devise a storyboard to inspire a team and get them aligned to a common vision. You’ll also learn how you can leverage storyboards as part of your standard approach to product design. All UX designers should have storyboarding as part of their toolkit. By the way, you don’t have to be an artist to make effective storyboards. If you can google images, and copy and paste, you can build storyboards!
//About the speaker//
Paul Hong
Paul is Director of Design Strategy at ServiceNow, where he leads product design for the company’s ITOM, CMDB, & ITAM products (quite the alphabet soup; suffice it to say we help customers manage all aspects of their IT, software, and cloud infrastructure).
A long time resident of San Diego, Paul is former president of SDXD Meetup, was a founding board member of Design Forward Alliance, and has an unhealthy addiction to all forms of gummy candy (and IPAs).
Your will submit an outline of your term paper.· Your submission.docxransayo
Your will submit an outline of your term paper.
· Your submission must include an introduction, body, and conclusion sections in outline format.
· Each section of your outline should include topic sentences and paragraph transitions that help tie your major points together.
· Your outline must follow current APA style formatting.
· Refer to the writing resources below to get started.
Writing Resources:
· Outline Template
· Four Components for Effective Outlines
https://owl.purdue.edu/owl/general_writing/the_writing_process/developing_an_outline/index.html
https://owl.purdue.edu/owl/general_writing/the_writing_process/developing_an_outline/index.html
Outline Template
I. Introduction
a. Introduce the topic with background information and define terminology
II. Body Paragraph 1 – Technical aspects of your topic
a. Topic Sentence:_________________________________________________
i. Supporting detail 1:________________________________________
ii. Supporting detail 2:________________________________________
iii. Supporting detail 3:________________________________________
III. Body Paragraph 2 – Description of public policy debates surrounding your topic
a. Transition:_____________________________________________________
b. Topic Sentence:_________________________________________________
i. Supporting detail 1:________________________________________
ii. Supporting detail 2:________________________________________
iii. Supporting detail 3:________________________________________
IV. Body Paragraph 3 -Arguments
a. Transition:_____________________________________________________
b. Topic Sentence:_________________________________________________
i. Supporting detail 1:________________________________________
ii. Supporting detail 2:________________________________________
iii. Supporting detail 3:________________________________________
V. Body Paragraph 4 - Arguments
a. Transition:_____________________________________________________
b. Topic Sentence:_________________________________________________
i. Supporting detail 1:________________________________________
ii. Supporting detail 2:________________________________________
iii. Supporting detail 3:________________________________________
VI. Opinion and Conclusion
a. Transition:_____________________________________________________
b. Statement of Opinion:_____ _______________________________________
VII. References – In APA format
· A title page.
· The body of the paper, which includes 4–6 pages of professionally written text
· At least three references from textbooks, websites and articles that provide adequate justification and support your claim
· Subheadings (technical aspects, public policy, and personal opinion/conclusion)
· Appropriate in-text citations throughout paper
· A reference list with only the sources used in the body of the paper (All sources should be less than 5 years old unless recent research is not available, and at least one reference must be a peer-reviewed a.
142Instead of repetition, you need to have di!erent ways .docxmoggdede
142
Instead of repetition, you need to have di!erent ways for your hero and the
associated characters to take on each complication, to build tension. If the
activities you identi#ed for your “Hows” in Chapter 6 are all di!erent, you
can simply present the struggle needed to overcome each challenge. On the
other hand, if those activities are similar, but necessary, you may need to work
hard to #nd ways to identify signi#cant di!erences between the challenges. If
you fail to make the hero’s sequence of actions clear and distinct, the tension
will not build, and the audience will lose interest in wanting to know how
the story will #nish.
Note that repeating an activity is very di!erent than repeating the reason
why the hero has to act. You should repeat the reasons to act many times
through the story, usually with the sense of urgency, which you will develop
in Chapter 12, and sometimes with other factors derived from the work you
did developing the “Whys.”
If you #nd that one part of your visual story is having to explain what just
happened, you need to reverse it to set up the situation in such a way that
the resulting action is an obvious consequence. For example, you don’t say
the factory needs to close and then explain that it costs three times as much
to produce there than in another location. You introduce the other location
and its costs; then say you cannot compete, and the factory needs to close.
We have shown a number of di!erent ways to turn your content into a story,
and on the following pages you will see how in the City University Hospital
example Tom selects two di!erent basic plots to create two stories for his
audience. This example will build to show how one visual can be used with
two slightly di!erent stories to provide a consistent message to an audience
that has two groups with di!erent reasons for each group to act.
Putting All the Parts Together
At the start of this chapter, we talked about plot structure. On the basic
three-act structure, we showed the red line of increasing tension to the climax.
As you shape your visual story, ask yourself, “How can I build tension by
making things harder for my hero?” Look for ways to bring out the key
challenges and activities you identi#ed when you looked at the “How” and
“What If ” to drive the story deeper into situations where commitment to act
is required. To keep the attention of your audience, the story needs to build
towards more and more con$ict, e!ort, or struggle.
Unless you are a master storyteller, the use of $ashbacks and a mixed up
timeline will break the sequence of events and fail to raise the tension.
When your audience has to guess why something has happened (or has not
happened), even for just a moment, they will start to disengage. Con#dence
that the outcome of your visual story is believable is increased with a strong
sequence of cause and e!ect in the story.
Repeat the reason to act, not the action.
R ...
Power of Storyboards - Paul Hong | SDXD July 2019 EventJamesVinh
A lot has been said about storytelling as a design technique. Stories can inspire. They can help a team understand context and intent. They can help everyone think from the perspective of your customers and users.
But what does that mean? Sit around the campfire terrifying each other with graphic descriptions of table-based web layouts or steal the show with a gripping tale of survival trapped for weeks in a vestibule by Norman doors? Um, no. It’s a lot more practical than that.
Part talk, part hands-on workshop, we’ll explore storyboards as a storytelling device for design. You’ll learn how to devise a storyboard to inspire a team and get them aligned to a common vision. You’ll also learn how you can leverage storyboards as part of your standard approach to product design. All UX designers should have storyboarding as part of their toolkit. By the way, you don’t have to be an artist to make effective storyboards. If you can google images, and copy and paste, you can build storyboards!
//About the speaker//
Paul Hong
Paul is Director of Design Strategy at ServiceNow, where he leads product design for the company’s ITOM, CMDB, & ITAM products (quite the alphabet soup; suffice it to say we help customers manage all aspects of their IT, software, and cloud infrastructure).
A long time resident of San Diego, Paul is former president of SDXD Meetup, was a founding board member of Design Forward Alliance, and has an unhealthy addiction to all forms of gummy candy (and IPAs).
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
The French Revolution Class 9 Study Material pdf free download
Anatomy of a story.pptx
1. T h e A n a t o m y
Of A Story
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Breaking down a story to its elements
2. INTRODUCTION
What is a story?
What is it made up of?
A story always has the same structure:
beginning, middle , end. But is that all?
There are certain elements that make up a story ; always and
without fail. Otherwise, there is no story at all, at least not a
good story worth telling, let alone reading.
CREAT
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3. The Elements of a Story Explained
01
Basic elements
of a story
02
The elements of
a plot
03
Advanced elements
of a story
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5. Details can describe:
• Time of day
• Time of year
• Time in History
• Scenery
• Weather
• Location
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6. person
thing
animal
anything personified
one main character
or many
secondary characters
- not always
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7. The events that happen in a story
In a plot you typically find
introduction
rising action
climax,
falling action
resolution.
Plot is often represented
as an arc.
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8. Every story must have
a conflict a challenge or problem
No conflict -> no purpose or trajectory.
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12. an inciting incident
pushes the plot into motion
events are building
protagonist takes action
storyline more complex
a sense of tension
Rising
Action
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13. turning point
in the plot of a story
a “climax”– the central struggle
protagonist faces the main challenge
lead to the outcome or goal of the story
the most emotional part of the storyline
involves the most action
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Climax
14. During this stage
the action winds down
loose ends get tied up
events are resolved
results of the
protagonists’ actions
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15. Conclusion
goal resolved
conflict ends
(could be positive, negative or
neutral)
This is the end of the story
5. Denouement
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17. : “Who” is telling the story?
• 1st person (“I”)
• 3rd person (“he/she/it”)
• Limited (one character’s
perspective)
• multiple (many characters’
perspectives)
• omniscient (all knowing narrator)
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18. The overall emotional “tone”
feeling of the story.
happy, funny, sad, depressed?
Tone can be portrayed in multiple ways
word and grammar choices
choice of theme
imagery and description
symbolism
the sounds of the words in combination
(i.e. rhyme, rhythm, musicality)
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19. This is how things are said
• Word choices,
• sentence structure
• dialogue
• metaphor
• simile
• hyperbole
Style contributes
significantly to tone
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