The document provides an agenda for an EWRT 30 class that includes a terms test, discussion of the short story "The Most Dangerous Game", a lecture on suspense, and guided writing on fiction. It then gives details on each item, including discussion questions about the short story's plot and characters, elements of how to build suspense through conflict, uncertainty, evoking emotions in readers, and pacing details in a story. Key scenes from "The Most Dangerous Game" are referenced that leave the reader in suspense.
This document provides an agenda and information for an English writing class. The agenda includes a discussion on labels, a lecture on eliminating passive voice and different writing genres, and a guided writing exercise using active voice across genres. The document then provides information on creating suspense, defines and discusses 7 different fiction genres, and gives students a guided writing exercise where they choose genres and words to include in a short story. It concludes with assigning reading and homework.
This document contains lecture notes on creating suspense in fiction writing. It discusses various techniques for building suspense such as beginning with a strong conflict, adding elements of uncertainty, making the reader root for characters, including compelling villains, escalating conflicts throughout the story, providing vivid sensory details, demonstrating the consequences of failure, using scene cuts to leave the reader hanging, and manipulating pacing to control intensity. Examples are provided from the short story "The Most Dangerous Game" to illustrate how it employs many of these suspense-creating techniques effectively. The lecture concludes with a guided writing exercise asking students to add suspense to their own stories using the strategies discussed.
This document summarizes Christopher Booker's theory of the seven basic plots in storytelling. It discusses each of the seven plots - overcoming the monster, rags to riches, the quest, voyage and return, comedy, tragedy, and rebirth. For each plot, it provides a synopsis and typical examples. It also discusses how all stories incorporate universal elements of a hero's journey from an initial state of lack to a final resolution or transformation. The document concludes with prompting students to identify which plot their own writing incorporates and to outline or write a scene for their story.
The document outlines an EWRT 30 class agenda that includes:
1. A terms test, discussion of "The Most Dangerous Game", and a lecture on suspense.
2. The lecture on suspense provides strategies for increasing uncertainty and tension in stories, such as starting with a strong conflict, adding uncertainty, making readers root for characters, including compelling villains and escalating conflicts.
3. Students are assigned a guided writing exercise to practice applying the suspense-building techniques to their own stories.
The document provides the agenda for an EWRT 30 class, which includes a terms test, discussion of the short story "The Most Dangerous Game", a lecture on suspense, and guided writing on fiction. The lecture on suspense outlines various techniques for building suspense in a story, such as creating an initial conflict, adding elements of uncertainty, making readers root for characters, including believable villains, escalating conflicts, using sensory details, establishing consequences, and employing scene cuts and pacing. Many of these techniques are exemplified in brief summaries and quotes from "The Most Dangerous Game".
The document provides the agenda and materials for an EWRT 30 class. It includes a discussion of the short story "The Most Dangerous Game" by Richard Connell, terms test #2, and a lecture on suspense. The story is about two hunters pitted against each other in a life-or-death hunting competition on a remote island. The lecture discusses how to build suspense through uncertainty, escalating conflicts, vivid details, and leaving the reader hanging at the end of scenes.
The document provides the agenda and materials for an EWRT 30 class. The agenda includes a project and test being due, discussing the short story "The Most Dangerous Game", and a lecture and guided writing on suspense. "The Most Dangerous Game" pits two hunters against each other in a life-or-death competition and is used to illustrate suspense. The lecture covers how to create suspense through uncertainty, escalating conflicts, developing characters the reader roots for, an intimidating villain, sensory details, and consequences of failure.
This document provides an agenda and lecture materials for an English writing class. It discusses the short story "The Most Dangerous Game" and how to create suspense in fiction writing. Some key points covered include:
- Starting the story with strong initial conflict but leaving room for escalation.
- Adding elements of uncertainty and allowing readers to root for characters.
- Developing believable, logical villains and evoking strong emotions through critical conflicts that get progressively worse.
- Using sensory details, scene cuts, pacing techniques, and showing characters' dread to build anticipation and suspense throughout the story.
This document provides an agenda and information for an English writing class. The agenda includes a discussion on labels, a lecture on eliminating passive voice and different writing genres, and a guided writing exercise using active voice across genres. The document then provides information on creating suspense, defines and discusses 7 different fiction genres, and gives students a guided writing exercise where they choose genres and words to include in a short story. It concludes with assigning reading and homework.
This document contains lecture notes on creating suspense in fiction writing. It discusses various techniques for building suspense such as beginning with a strong conflict, adding elements of uncertainty, making the reader root for characters, including compelling villains, escalating conflicts throughout the story, providing vivid sensory details, demonstrating the consequences of failure, using scene cuts to leave the reader hanging, and manipulating pacing to control intensity. Examples are provided from the short story "The Most Dangerous Game" to illustrate how it employs many of these suspense-creating techniques effectively. The lecture concludes with a guided writing exercise asking students to add suspense to their own stories using the strategies discussed.
This document summarizes Christopher Booker's theory of the seven basic plots in storytelling. It discusses each of the seven plots - overcoming the monster, rags to riches, the quest, voyage and return, comedy, tragedy, and rebirth. For each plot, it provides a synopsis and typical examples. It also discusses how all stories incorporate universal elements of a hero's journey from an initial state of lack to a final resolution or transformation. The document concludes with prompting students to identify which plot their own writing incorporates and to outline or write a scene for their story.
The document outlines an EWRT 30 class agenda that includes:
1. A terms test, discussion of "The Most Dangerous Game", and a lecture on suspense.
2. The lecture on suspense provides strategies for increasing uncertainty and tension in stories, such as starting with a strong conflict, adding uncertainty, making readers root for characters, including compelling villains and escalating conflicts.
3. Students are assigned a guided writing exercise to practice applying the suspense-building techniques to their own stories.
The document provides the agenda for an EWRT 30 class, which includes a terms test, discussion of the short story "The Most Dangerous Game", a lecture on suspense, and guided writing on fiction. The lecture on suspense outlines various techniques for building suspense in a story, such as creating an initial conflict, adding elements of uncertainty, making readers root for characters, including believable villains, escalating conflicts, using sensory details, establishing consequences, and employing scene cuts and pacing. Many of these techniques are exemplified in brief summaries and quotes from "The Most Dangerous Game".
The document provides the agenda and materials for an EWRT 30 class. It includes a discussion of the short story "The Most Dangerous Game" by Richard Connell, terms test #2, and a lecture on suspense. The story is about two hunters pitted against each other in a life-or-death hunting competition on a remote island. The lecture discusses how to build suspense through uncertainty, escalating conflicts, vivid details, and leaving the reader hanging at the end of scenes.
The document provides the agenda and materials for an EWRT 30 class. The agenda includes a project and test being due, discussing the short story "The Most Dangerous Game", and a lecture and guided writing on suspense. "The Most Dangerous Game" pits two hunters against each other in a life-or-death competition and is used to illustrate suspense. The lecture covers how to create suspense through uncertainty, escalating conflicts, developing characters the reader roots for, an intimidating villain, sensory details, and consequences of failure.
This document provides an agenda and lecture materials for an English writing class. It discusses the short story "The Most Dangerous Game" and how to create suspense in fiction writing. Some key points covered include:
- Starting the story with strong initial conflict but leaving room for escalation.
- Adding elements of uncertainty and allowing readers to root for characters.
- Developing believable, logical villains and evoking strong emotions through critical conflicts that get progressively worse.
- Using sensory details, scene cuts, pacing techniques, and showing characters' dread to build anticipation and suspense throughout the story.
This document provides an agenda and information for Class 13 of an EWRT 30 course. The agenda includes a discussion on "Labels", a lecture on eliminating the passive voice and writing in 7 genres, and a guided writing exercise using the active voice in genres. The document then provides information on creating suspense, discussion topics, strategies for eliminating the passive voice, definitions and examples of 7 fiction genres, and guided writing prompts for students to practice genres. It concludes with homework assignments.
This document summarizes Christopher Booker's theory of the seven basic plots. It discusses each of the seven plots - Overcoming the Monster, Rags to Riches, The Quest, Voyage and Return, Comedy, Tragedy, and Rebirth. For each plot, it provides examples from literature and film and outlines the typical plot points and character arcs. It concludes by discussing how all stories incorporate elements from these basic plots and can be understood through the lens of the universal plot of a hero moving from a state of lack to completion or fulfillment.
The document provides an overview of key elements of short stories, including setting, characters, plot, point of view, theme, irony, symbolism, flashback, and foreshadowing. It defines these elements and provides examples from short stories to illustrate how authors use each element in crafting their works.
The document provides an overview of key elements of short stories, including setting, characters, plot, point of view, and theme. It discusses how setting can be used to describe the location and atmosphere of a story. It also outlines different types of characters, such as round vs flat characters, and methods of characterization like direct and indirect characterization. The document then covers components of plot structure, including the introduction, rising action, climax, falling action, and resolution. It also discusses types of conflict that can drive the plot. Finally, it examines different points of view a story can be told from, such as first, second, and third person perspectives.
This document provides an agenda and terms for an EWRT 30 class. It discusses the short story "The Celebrated Jumping Frog of Calaveras County" and covers key elements of stories like plot, point of view, character, and setting. It also defines literary terms like exposition, conflict, suspense, and rising action. Additionally, it covers the concepts of tone and mood, providing examples from the story. Finally, it includes a guided writing exercise where students begin an adventure story by describing the start of their characters' journey into a mysterious forest.
The document outlines the agenda and topics for an EWRT 30 class. The class will cover terms related to characters and plot, including protagonist, antagonist, motivation, and chronological order. It will also discuss point of view and review short stories. The class will include a lecture on character and setting as basic elements of a story. Character types such as round, flat, dynamic and static will be defined. Methods of characterizing characters through description, reaction of others, words and actions will be covered.
This document provides an agenda and materials for an EWRT 30 class. It begins with an agenda that includes reviewing terms, discussing the short story "The Celebrated Jumping Frog of Calaveras County", and a lecture on setting and tone. It then defines several literary terms used in stories. It summarizes the plot of "The Celebrated Jumping Frog of Calaveras County" and analyzes its point of view, characters, and setting. Finally, it distinguishes between the concepts of tone and mood, providing examples from the short story.
The document provides an agenda and terms for EWRT 30 Class 9. It discusses the short story "The Celebrated Jumping Frog of Calaveras County" including plot, point of view, character, and setting. It also covers the concepts of tone, mood, protagonist, antagonist, conflict, climax, and more. The class will have a guided writing exercise developing an adventure story.
This document provides an overview and summary of key points from EWRT 30 Class 14. It discusses eliminating "to be" verbs in writing and the 7 main genres of fiction - mystery, romance, science fiction/fantasy, suspense/thriller, western, horror, and young adult. The document then summarizes Christopher Booker's theory of the 7 basic plots that all stories fall into - overcoming the monster, rags to riches, the quest, voyage and return, comedy, tragedy, and rebirth. Each plot is defined and its typical story elements and stages are outlined. The document emphasizes that while these plots can be categorized, ultimately all stories share universal elements of beginning in an undeveloped state, falling
This document contains the agenda and notes for an English writing class. It begins with an agenda that includes reviewing terms 18-25, discussing the short story "Chrysanthemums," and a lecture on fiction dialogue. It then defines terms 18-25, provides discussion questions on "Chrysanthemums," reviews fiction elements like plot points and point of view, and gives an overview of different types of narrators. The document concludes with the lecture on functions and techniques for writing good dialogue.
The document provides an agenda and terms for an English writing class. It discusses fiction elements like dialogue, point of view, and characterization. It analyzes John Steinbeck's short story "Chrysanthemums" focusing on its plot structure, limited third-person point of view, round and dynamic characters, and mood-setting rural valley setting. Good dialogue reflects a character's personality, moves the plot forward, reveals conflicts and feelings, and shows how characters view each other.
This document provides an agenda and information for an EWRT 30 class. It discusses terms related to drama, including drama, playwright, script, act, scene, prologue, antihero, guerrilla theater, and subject. It outlines a writer's workshop where students will share and provide feedback on fiction projects. Students are instructed to post excerpts, read assigned plays, and submit their project by the deadline. Key terms related to drama are also defined.
The document provides the agenda and notes from EWRT 30 Class 17. It includes:
- A reminder that Project #3 is due soon and introduces a writing exercise to create characters.
- Terms 10-18 are defined, including theme, complication, dialogue, and aside.
- A discussion on writing short plays in 10 minutes or less, providing tips on developing characters, plot, and theme within a short time constraint.
- Instructions for a guided writing exercise where students work in groups to develop potential short play ideas based on combining the characters they created.
This document summarizes a lecture on Christopher Booker's theory of the seven basic plots. It discusses each of the seven plots - Overcoming the Monster, Rags to Riches, The Quest, Voyage and Return, Comedy, Tragedy, and Rebirth. For each plot, it provides examples from literature and film and outlines the typical plot points. It emphasizes that while these seven plots are distinct, there is also significant overlap between them and they reflect universal storytelling elements of a hero transforming from an initial state of lack to a final state of fulfillment. The document concludes with guiding writing prompts for students to analyze which plots are in their stories and ways to potentially improve their stories.
This document provides an overview and summary of key points from an EWRT 30 class. It discusses strategies for eliminating "to be" verbs in writing, covers Christopher Booker's seven basic story plots (Overcoming the Monster, Rags to Riches, The Quest, Voyage and Return, Comedy, Tragedy, Rebirth), and provides plot outlines and examples for each. It also discusses the idea of a universal plot structure that underlies all storytelling. Students are assigned a guided writing exercise to analyze their own stories using these plot concepts.
3rd hour "The Most Dangerous Game" Analysisddenison76
This document analyzes key literary elements in the short story "The Most Dangerous Game" including figurative language, plot, conflict, characterization, mood, theme, syntax and tone. It provides examples from the story to illustrate these elements, such as the use of personification to describe Rainsford's emotions and the direct conflict created between Rainsford and General Zaroff. The analysis examines how these elements engage the reader by providing details, creating tension and resonating the story's meaning.
The document provides an agenda and learning goals for reviewing several short stories, including "The Interlopers" and "A Poison Tree". It includes discussions of identifying themes, figures of speech, summaries, conflicts, and ironies in the stories. Vocabulary words from "The Interlopers" are defined after reading. Questions are provided to analyze characters, points of view, and develop the theme in "The Interlopers". Students are asked to compare the messages and endings of "A Poison Tree" and "The Interlopers" as well as identify conflicts and ironies within the stories.
The Secrets Behind Every Successful Novelggaldorisi
The document provides an overview of a conference on writing successful novels. It discusses common steps that most successful writers follow, such as having a focused story with compelling characters, plot, and action. It then examines these elements in more detail, including how to develop characters, design plots using various structures, and ensure engaging action scenes. Examples are provided from well-known novels to illustrate these concepts. Overall, the document offers guidance on key ingredients of novels and how to approach writing a successful story.
This document provides an overview and outline of common plot structures and storytelling conventions. It discusses 7 common plot types - Overcoming the Monster, Rags to Riches, The Quest, Voyage and Return, Comedy, Tragedy, and Rebirth. For each plot type, it outlines the typical stages or steps in the story's progression. It also discusses the idea of a universal plot structure that underlies all stories. The document concludes by providing writing prompts and exercises for developing stories that incorporate these plot structures.
Pharmacotherapy of Chronic Obstructive Pulmonary Disease (COPD)Arvind Kumar
This document provides an overview of pharmacotherapy for chronic obstructive pulmonary disease (COPD). It discusses non-pharmacologic approaches like pulmonary rehabilitation and smoking cessation. Standard maintenance therapies include long-acting bronchodilators like tiotropium. Newer bronchodilators in development include once-daily long-acting beta-2 agonists. Anti-inflammatory treatments target mediators like leukotrienes, cytokines, proteases, and phosphodiesterase-4 inhibitors. Vaccines against influenza and pneumococcus are recommended to prevent exacerbations. Antibiotics are used to treat mild, moderate, and severe exacerbations based on risk factors.
The Getac V200 is a fully rugged, fanless convertible notebook with a 12.1-inch display and 5-year warranty. It can be used as both a notebook and tablet, and has a bright 1200-nit display that is readable even in direct sunlight. The V200 provides computing power and flexibility in a compact, rugged package weighing under 7 pounds. It has a Core i7 processor, solid battery life of up to 9 hours, and passes military-grade testing for shock, vibration, drops and environmental conditions.
This document summarizes a simulation study of gasoline HCCI combustion with direct injection. It investigated the effects of exhaust gas recirculation (EGR) and air-fuel ratio on combustion characteristics, pressures, and emissions using two combustion models. Increasing EGR decreased peak pressures and temperatures as well as NOx emissions exponentially, but also increased soot and delayed ignition timing. Lower air-fuel ratios below stoichiometric improved emissions when combined with EGR.
This document provides an agenda and information for Class 13 of an EWRT 30 course. The agenda includes a discussion on "Labels", a lecture on eliminating the passive voice and writing in 7 genres, and a guided writing exercise using the active voice in genres. The document then provides information on creating suspense, discussion topics, strategies for eliminating the passive voice, definitions and examples of 7 fiction genres, and guided writing prompts for students to practice genres. It concludes with homework assignments.
This document summarizes Christopher Booker's theory of the seven basic plots. It discusses each of the seven plots - Overcoming the Monster, Rags to Riches, The Quest, Voyage and Return, Comedy, Tragedy, and Rebirth. For each plot, it provides examples from literature and film and outlines the typical plot points and character arcs. It concludes by discussing how all stories incorporate elements from these basic plots and can be understood through the lens of the universal plot of a hero moving from a state of lack to completion or fulfillment.
The document provides an overview of key elements of short stories, including setting, characters, plot, point of view, theme, irony, symbolism, flashback, and foreshadowing. It defines these elements and provides examples from short stories to illustrate how authors use each element in crafting their works.
The document provides an overview of key elements of short stories, including setting, characters, plot, point of view, and theme. It discusses how setting can be used to describe the location and atmosphere of a story. It also outlines different types of characters, such as round vs flat characters, and methods of characterization like direct and indirect characterization. The document then covers components of plot structure, including the introduction, rising action, climax, falling action, and resolution. It also discusses types of conflict that can drive the plot. Finally, it examines different points of view a story can be told from, such as first, second, and third person perspectives.
This document provides an agenda and terms for an EWRT 30 class. It discusses the short story "The Celebrated Jumping Frog of Calaveras County" and covers key elements of stories like plot, point of view, character, and setting. It also defines literary terms like exposition, conflict, suspense, and rising action. Additionally, it covers the concepts of tone and mood, providing examples from the story. Finally, it includes a guided writing exercise where students begin an adventure story by describing the start of their characters' journey into a mysterious forest.
The document outlines the agenda and topics for an EWRT 30 class. The class will cover terms related to characters and plot, including protagonist, antagonist, motivation, and chronological order. It will also discuss point of view and review short stories. The class will include a lecture on character and setting as basic elements of a story. Character types such as round, flat, dynamic and static will be defined. Methods of characterizing characters through description, reaction of others, words and actions will be covered.
This document provides an agenda and materials for an EWRT 30 class. It begins with an agenda that includes reviewing terms, discussing the short story "The Celebrated Jumping Frog of Calaveras County", and a lecture on setting and tone. It then defines several literary terms used in stories. It summarizes the plot of "The Celebrated Jumping Frog of Calaveras County" and analyzes its point of view, characters, and setting. Finally, it distinguishes between the concepts of tone and mood, providing examples from the short story.
The document provides an agenda and terms for EWRT 30 Class 9. It discusses the short story "The Celebrated Jumping Frog of Calaveras County" including plot, point of view, character, and setting. It also covers the concepts of tone, mood, protagonist, antagonist, conflict, climax, and more. The class will have a guided writing exercise developing an adventure story.
This document provides an overview and summary of key points from EWRT 30 Class 14. It discusses eliminating "to be" verbs in writing and the 7 main genres of fiction - mystery, romance, science fiction/fantasy, suspense/thriller, western, horror, and young adult. The document then summarizes Christopher Booker's theory of the 7 basic plots that all stories fall into - overcoming the monster, rags to riches, the quest, voyage and return, comedy, tragedy, and rebirth. Each plot is defined and its typical story elements and stages are outlined. The document emphasizes that while these plots can be categorized, ultimately all stories share universal elements of beginning in an undeveloped state, falling
This document contains the agenda and notes for an English writing class. It begins with an agenda that includes reviewing terms 18-25, discussing the short story "Chrysanthemums," and a lecture on fiction dialogue. It then defines terms 18-25, provides discussion questions on "Chrysanthemums," reviews fiction elements like plot points and point of view, and gives an overview of different types of narrators. The document concludes with the lecture on functions and techniques for writing good dialogue.
The document provides an agenda and terms for an English writing class. It discusses fiction elements like dialogue, point of view, and characterization. It analyzes John Steinbeck's short story "Chrysanthemums" focusing on its plot structure, limited third-person point of view, round and dynamic characters, and mood-setting rural valley setting. Good dialogue reflects a character's personality, moves the plot forward, reveals conflicts and feelings, and shows how characters view each other.
This document provides an agenda and information for an EWRT 30 class. It discusses terms related to drama, including drama, playwright, script, act, scene, prologue, antihero, guerrilla theater, and subject. It outlines a writer's workshop where students will share and provide feedback on fiction projects. Students are instructed to post excerpts, read assigned plays, and submit their project by the deadline. Key terms related to drama are also defined.
The document provides the agenda and notes from EWRT 30 Class 17. It includes:
- A reminder that Project #3 is due soon and introduces a writing exercise to create characters.
- Terms 10-18 are defined, including theme, complication, dialogue, and aside.
- A discussion on writing short plays in 10 minutes or less, providing tips on developing characters, plot, and theme within a short time constraint.
- Instructions for a guided writing exercise where students work in groups to develop potential short play ideas based on combining the characters they created.
This document summarizes a lecture on Christopher Booker's theory of the seven basic plots. It discusses each of the seven plots - Overcoming the Monster, Rags to Riches, The Quest, Voyage and Return, Comedy, Tragedy, and Rebirth. For each plot, it provides examples from literature and film and outlines the typical plot points. It emphasizes that while these seven plots are distinct, there is also significant overlap between them and they reflect universal storytelling elements of a hero transforming from an initial state of lack to a final state of fulfillment. The document concludes with guiding writing prompts for students to analyze which plots are in their stories and ways to potentially improve their stories.
This document provides an overview and summary of key points from an EWRT 30 class. It discusses strategies for eliminating "to be" verbs in writing, covers Christopher Booker's seven basic story plots (Overcoming the Monster, Rags to Riches, The Quest, Voyage and Return, Comedy, Tragedy, Rebirth), and provides plot outlines and examples for each. It also discusses the idea of a universal plot structure that underlies all storytelling. Students are assigned a guided writing exercise to analyze their own stories using these plot concepts.
3rd hour "The Most Dangerous Game" Analysisddenison76
This document analyzes key literary elements in the short story "The Most Dangerous Game" including figurative language, plot, conflict, characterization, mood, theme, syntax and tone. It provides examples from the story to illustrate these elements, such as the use of personification to describe Rainsford's emotions and the direct conflict created between Rainsford and General Zaroff. The analysis examines how these elements engage the reader by providing details, creating tension and resonating the story's meaning.
The document provides an agenda and learning goals for reviewing several short stories, including "The Interlopers" and "A Poison Tree". It includes discussions of identifying themes, figures of speech, summaries, conflicts, and ironies in the stories. Vocabulary words from "The Interlopers" are defined after reading. Questions are provided to analyze characters, points of view, and develop the theme in "The Interlopers". Students are asked to compare the messages and endings of "A Poison Tree" and "The Interlopers" as well as identify conflicts and ironies within the stories.
The Secrets Behind Every Successful Novelggaldorisi
The document provides an overview of a conference on writing successful novels. It discusses common steps that most successful writers follow, such as having a focused story with compelling characters, plot, and action. It then examines these elements in more detail, including how to develop characters, design plots using various structures, and ensure engaging action scenes. Examples are provided from well-known novels to illustrate these concepts. Overall, the document offers guidance on key ingredients of novels and how to approach writing a successful story.
This document provides an overview and outline of common plot structures and storytelling conventions. It discusses 7 common plot types - Overcoming the Monster, Rags to Riches, The Quest, Voyage and Return, Comedy, Tragedy, and Rebirth. For each plot type, it outlines the typical stages or steps in the story's progression. It also discusses the idea of a universal plot structure that underlies all stories. The document concludes by providing writing prompts and exercises for developing stories that incorporate these plot structures.
Pharmacotherapy of Chronic Obstructive Pulmonary Disease (COPD)Arvind Kumar
This document provides an overview of pharmacotherapy for chronic obstructive pulmonary disease (COPD). It discusses non-pharmacologic approaches like pulmonary rehabilitation and smoking cessation. Standard maintenance therapies include long-acting bronchodilators like tiotropium. Newer bronchodilators in development include once-daily long-acting beta-2 agonists. Anti-inflammatory treatments target mediators like leukotrienes, cytokines, proteases, and phosphodiesterase-4 inhibitors. Vaccines against influenza and pneumococcus are recommended to prevent exacerbations. Antibiotics are used to treat mild, moderate, and severe exacerbations based on risk factors.
The Getac V200 is a fully rugged, fanless convertible notebook with a 12.1-inch display and 5-year warranty. It can be used as both a notebook and tablet, and has a bright 1200-nit display that is readable even in direct sunlight. The V200 provides computing power and flexibility in a compact, rugged package weighing under 7 pounds. It has a Core i7 processor, solid battery life of up to 9 hours, and passes military-grade testing for shock, vibration, drops and environmental conditions.
This document summarizes a simulation study of gasoline HCCI combustion with direct injection. It investigated the effects of exhaust gas recirculation (EGR) and air-fuel ratio on combustion characteristics, pressures, and emissions using two combustion models. Increasing EGR decreased peak pressures and temperatures as well as NOx emissions exponentially, but also increased soot and delayed ignition timing. Lower air-fuel ratios below stoichiometric improved emissions when combined with EGR.
The document appears to be demographic data listing age ranges and their corresponding percentages on a given date. It is copyrighted and contains no additional context or analysis.
Este documento presenta una serie de preguntas sobre comunidades virtuales y la Aldea Global. Las preguntas incluyen: la importancia de las comunidades virtuales y sus elementos interactuantes; experiencias en comunidades virtuales; nombres de comunidades virtuales; beneficios y perjuicios de comunidades virtuales; el origen del término "Aldea Global" y su significado; usos de la Aldea Global; y las diferencias y similitudes entre Comunidades Virtuales y Aldea Global.
This document discusses the classification and sources of macronutrients and micronutrients important for human nutrition. It outlines that nutrition consists of macronutrients like carbohydrates, proteins and fats that provide energy, and micronutrients like vitamins and minerals that are essential in smaller amounts. Common sources of carbohydrates include grains, potatoes and fruits, while proteins come from both animal sources like meat and eggs and plant sources like beans and nuts. The document also examines deficiency symptoms and functions of each macronutrient and micronutrient group.
Modernizing the CA Datacom Data – SQL Access Part ICA Technologies
This document provides an overview of steps to modernize access to CA Datacom data by implementing SQL access. It discusses adding SQL attributes to the database model, defining AUTHIDs for SQL schemas, and using a SQL column report to determine legacy tables' SQL accessibility. The summary describes how implementing SQL allows critical business data to be accessed by new applications while existing applications continue functioning.
This document provides instruction on the four main types of sentences in English: simple, compound, complex, and compound-complex. It defines each type and provides examples. Simple sentences contain one independent clause. Compound sentences join two independent clauses with coordinating conjunctions or semicolons. Complex sentences contain an independent clause and one or more dependent clauses. Compound-complex sentences contain at least two independent clauses and one or more dependent clauses. The document reviews identifying and writing each sentence type and provides guidance for a homework assignment to write examples of each.
This document provides information for the first class of EWRT 1A taught by Dr. Kim Palmore. The class will include reviewing the introduction, brainstorming activities, and introducing essay #1 on choosing survival supplies. Students will engage in a group activity to choose supplies from lists to argue for in a 750 word essay. The essay should have an introduction with a clear thesis, body paragraphs with topic sentences and examples supporting each supply choice, and a conclusion. Homework includes posting an outline with thesis and being prepared for an in-class essay exam in the next class.
This document provides an overview and instructions for a hybrid English composition course. It introduces the instructor and outlines the course format, which includes both in-person and online components. Students are instructed on how to access course materials and assignments through the Canvas online platform. Key policies like attendance, late work, and academic honesty are also summarized. The document concludes by directing students to familiarize themselves with the course website and syllabus in preparation for the next class.
This document provides an overview and instructions for a hybrid English composition course. It introduces the instructor and their contact information. It explains that the class will meet in-person once a week for 2 hours and 15 minutes, and students will complete the remaining coursework online through presentations on the course website. It outlines how the online platform Canvas will be used and provides instructions for navigating it. It lists the course requirements including essays, homework posts, and reading quizzes. It discusses policies around attendance, late work, academic integrity and conduct. Finally, it provides the course syllabus calendar.
This document provides an overview and instructions for Dr. Kim Palmore's hybrid EWRT 1A course. The key points are:
- The class meets once a week in person and requires additional online work to be completed independently through presentations on the course website.
- The website, Canvas, will be used for communication, submitting assignments, accessing course materials and viewing grades.
- Students are expected to actively participate in class discussions and regularly complete assignments by their deadlines. Formal writing assignments include essays that must be submitted electronically through Kaizena.
- The syllabus outlines course policies on attendance, late work, academic integrity and expected conduct. It also provides a tentative course calendar and information
This document provides information for the first class of EWRT 1A taught by Dr. Kim Palmore. It includes an agenda with topics like an introduction, brainstorming activity, and outlining an essay. Students will choose survival supplies for a hypothetical weeks-long trip into the woods and write an argument essay defending their choices. The document gives categories of supplies to pick from and instructs students to discuss their options in groups. It provides guidance on writing an outline, thesis, body paragraphs, and conclusion for the essay. The homework is to post an outline, bring a hard copy to class, and prepare to do an in-class writing exam.
This document provides an overview of the EWRT 1A course. It introduces the instructor, Dr. Kim Palmore, and outlines the course details and expectations. The class is a hybrid course that meets weekly for 2 hours and 15 minutes, with an additional 2 hours and 15 minutes of online work each week. Students will use the Canvas platform to access course materials, assignments, and submit homework. Students are expected to actively participate in class discussions and regularly complete reading and writing assignments on time, including essays, homework posts, and quizzes. Academic honesty is strictly enforced.
To highlight and comment on an essay using Kaizena:
1. Find the essay assignment and submission requirements
2. Highlight required sections of the essay using the specified colors
3. To add a comment, highlight text and type the comment in the box that appears, then click "Post to Highlight"
4. Use one consistent color for your own highlights so the instructor can use a different color for feedback
1) All essays and projects must be submitted electronically through Kaizena before the class period they are due.
2) Students will enter a group code to submit essays and can add files from Google Drive or their desktop in PDF format.
3) The professor will review highlighting and commenting on essays and students can leave written or voice comments on their submissions.
To establish a WordPress username for completing homework, students can visit https://signup.wordpress.com/signup/?user=1 and follow the steps to create a free username, or sign in through Facebook instead of using their own name; they should then email their instructor their username and use that account for all class work online, as having a username is mandatory for much of the coursework being done online.
Here is a 4 line quotation integrated into a sentence in my essay:
According to leading health expert Dr. Susan Smith, making healthy choices is about more than just weight loss or appearance. As she states:
"Health is about feeling your best both physically and mentally. It's finding energy and joy in everyday activities rather than feeling drained. Making small changes like adding more vegetables or taking a walk after dinner can lead to big improvements in overall well-being."
This quotation effectively captures Dr. Smith's perspective that health is about overall wellness, not just physical appearance or numbers on a scale. Focusing on small, sustainable lifestyle changes and how they can enhance quality of life is a motivating message.
This document provides an overview of the key information for a hybrid English composition course. It includes the instructor's contact information and a description of how the hybrid format will work with some weekly in-person meetings and additional online content. It outlines how the course website and learning management system Canvas will be used and provides details on course requirements, assignments, materials, and policies around attendance, late work, academic honesty, and conduct. The syllabus calendar gives a tentative weekly schedule and overview of topics. Students are instructed to review the information and policies, take a quiz on the first presentation, and complete tasks like exploring the website and setting up accounts before the next class.
This document provides an overview and analysis of themes, tensions, and theoretical approaches in Night by Elie Wiesel. It discusses major themes like death, God/religion, sanity/insanity, and family. It analyzes the internal and external tensions present in the work. It also explores how trauma theory and other theoretical lenses can provide insight into the text. Key events and passages are analyzed in depth, with questions provided about character perspectives and shifts in worldview over the course of the horrific events depicted in the Holocaust memoir.
This document outlines the schedule and assignments for a hybrid literature and composition class over 9 weeks. It includes in-class and online activities as well as assigned readings and homework for each week. The main topics covered are New Criticism, feminist criticism, psychoanalytic criticism, short stories, and trauma theory. Students are assigned two essays analyzing poems and short stories using different literary lenses. They also have online discussion posts and take an exam on the materials covered in the first few weeks.
1. This document provides the guidelines and requirements for Essay #3, which asks students to write a 3-5 page concept essay explaining and analyzing a concept of their choosing. Students must highlight and comment on specific sections of their essay, include at least 3 sources in a Works Cited page, and meet formatting and length requirements.
2. The essay should objectively explain the chosen concept for readers who may or may not be familiar with it already. Students are encouraged to reveal uncommon details about the concept and use examples and imagery to illustrate it clearly.
3. The document outlines learning outcomes, previously learned skills, best practices, and traps to avoid like choosing an inappropriate topic or failing to support arguments with evidence
Here are some potential connections between the prisoners in Night and Shawshank Redemption:
- Both groups are stripped of their freedom and individuality. In the camps, prisoners are reduced to numbers and forced into uniformity/submission. In Shawshank, the prisoners lose control over their lives and must obey the prison system.
- Survival requires adapting to a harsh, inhumane system not of one's own making. In the camps, prisoners must find ways to endure unthinkable cruelty and deprivation. In Shawshank, inmates navigate the prison's oppressive rules and power structures.
- Hope and humanity can persist even in the darkest of places. In Night, some prisoners retain aspects of dignity and compassion
The document provides an agenda and discussion points for analyzing the novella "Rita Hayworth and Shawshank Redemption" by Stephen King and the short story "The Metamorphosis" by Franz Kafka.
For "Rita Hayworth", there is a discussion of themes like hope, struggle, and imprisonment. Potential discussion questions are also listed. For "The Metamorphosis", summaries of each chapter are provided along with characters, potential theoretical approaches, and discussion questions. The agenda then outlines a group discussion for analyzing both works.
The agenda covers discussions of two novellas: Rita Hayworth and Shawshank Redemption and The Metamorphosis. For Shawshank, key themes of hope, struggle, and imprisonment will be analyzed. For The Metamorphosis, three chapter summaries are provided: Chapter 1 details Gregor waking up as a cockroach and his family's initial reaction. Chapter 2 explores Gregor's loneliness and his sister's compassion. Chapter 3 finds Gregor weakening as the family acclimates to his condition. Potential discussion questions are posed about characters and applying psychoanalytic theory.
This document provides an agenda and information for an online EWRT 1C class on Franz Kafka's novella "The Metamorphosis". The class will include reading the novella, an introduction to Kafka as the author, and discussing the historical and literary contexts. Kafka is introduced as an Austrian-Jewish writer from Prague in the late 19th/early 20th century. The novella is then analyzed including its use of third-person narration from the perspective of Gregor Samsa after he transforms into an insect. Students are assigned to read the novella and answer one of several discussion questions in 200-300 words for homework.
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
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Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
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Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
5. Basic Elements of a Story
1. PLOT - the story line; a unified, progressive pattern of action or events in a
story
2. POINT OF VIEW (POV) - the position from which the story is told
3. CHARACTER - Types: person portraying himself or another
1. Characterization: Methods
4. SETTING - the time and place of the action in a story
5. TONE - the attitude of the author toward his subject or toward the reader
6. MOOD - the feeling or state of mind that predominates in a story creating a
certain atmosphere
7. Suspense
Suspense is created by an uncertainty about
what happens next in your story. So–what does
happen next? The unexpected, of course. But
let’s think back to the basic plot outline to
understand how to create uncertainty.
The plot of a story is driven by conflict; without a
conflict creating tension, you simply don’t have a
story. Suspense is the reader’s worry about what
will happen because of that conflict.
9. Begin at the right place
Looking over the broad picture of your story, the need for
escalation requires that you start at a place of strong conflict,
but not so strong that the situation can’t get worse. You must
find a strong enough place to create suspense; yet, that exact
situation and time in the story must allow for a progression of
scenes in which things get worse. In other words, make sure
the sequence of scenes makes sense.
What is the initial conflict in “The Most
Dangerous Game”?
10. Hunting
We should have some good hunting up the Amazon. Great sport, hunting."
"The best sport in the world," agreed Rainsford.
"For the hunter," amended Whitney. "Not for the jaguar."
"Don't talk rot, Whitney," said Rainsford. "You're a big-game hunter, not a
philosopher. Who cares how a jaguar feels?"
"Perhaps the jaguar does," observed Whitney.
"Bah! They've no understanding."
"Even so, I rather think they understand one thing--fear. The fear of pain and
the fear of death."
"Nonsense," laughed Rainsford. "This hot weather is making you soft,
Whitney. Be a realist. The world is made up of two classes--the hunters and
the huntees. Luckily, you and I are hunters.
11. Add uncertainty
As you work with the plot and conflicts,
search for ways to bring in or to imply
uncertainly.
Which are scenes of
uncertainty in the story?
12. Uncertainty about the Island
"The place has a reputation--a bad one."
"Cannibals?" suggested Rainsford.
"Hardly. Even cannibals wouldn't live in
such a God-forsaken place. But it's gotten
into sailor lore, somehow. Didn't you notice
that the crew's nerves seemed a bit jumpy
today? [. . .] All I could get out of him was
`This place has an evil name among
seafaring men, sir.’
13. Let readers root for a
character or characters.
Give readers a person to root for. If we care for the
characters, we worry more. Good characterization
gives us cause to root for a character and his/her
eventual success over the conflict. If we know that a
woman has been abused, but come out of it and
successfully raised two lovely children, then we
worry more when she starts dating a man we
suspect of being an alcoholic.
14. Who do we root for in “The
Most Dangerous Game”?
Is he round or flat? Dynamic or
static?
How is he characterized?
What drives readers to root for
him?
15. Give the readers a great
villain
Make villains credible, logical, and believable,
but not likeable. Readers need to understand
why the antagonist is doing what he does, and
why he believes his actions are justified and
rational.
How is Zaroff drawn as a believable character?
16. "Life is for the strong, to be lived by the
strong, and, if needs be, taken by the strong.
The weak of the world were put here to give
the strong pleasure. I am strong. Why
should I not use my gift? If I wish to hunt,
why should I not? I hunt the scum of the
earth: sailors from tramp ships--lassars,
blacks, Chinese, whites, mongrels--a
thoroughbred horse or hound is worth more
than a score of them."
17. Evoke strong emotions
through a critical conflict
Make sure the conflict evokes strong emotions. This usually
means a conflict that matters in some important way. The
possibility of walking through a thicket with thorns is trivial in
comparison to a life and death situation. On that continuum of
what is at risk, push more towards the “life and death” end to
increase suspense.
What is the next conflict in “The Most
Dangerous Game”? Consider Rainsford
and Zaroff’s conversation over dinner.
18. "But you can't mean--" gasped Rainsford.
"And why not?”
"I can't believe you are serious, General
Zaroff. This is a grisly joke.”
"Why should I not be serious? I am speaking
of hunting.”
"Hunting? Great Guns, General Zaroff, what
you speak of is murder."
19. The conflict must change
In some way, as the story progresses, the
character’s situation(s) must change, usually by
building on the initial conflict. You must ask how
things can get worse. Would it be worse at a
different time? A different place? With different
characters? Or try it from a different stance: what
is the worse thing your character would ever have
to face? That is the ending scene and how can
you back up from there and soften the conflict?
20. The conflict escalates again
Rainsford is in fact confronted with the original
conflict that his friend poses: the unfairness to
the animal. Next he learns that Zaroff is
hunting men on his island. Finally, he learns
that he will be hunted.
"My dear fellow," said the general, "have I
not told you I always mean what I say about
hunting? This is really an inspiration. I
drink to a foeman worthy of my steel--at
last." The general raised his glass, but
Rainsford sat staring at him.
21. Details.
To evoke strong emotions, you
must include great details. This
means you must think about what
the setting is like in terms of
sounds, sights, smells, tastes, and
tactile possibilities. Use specific
sensory details to evoke the
situation and give the reader a
blow by blow of the action of the
story.
22. "I'll give him a trail to follow," muttered Rainsford, and he struck off from
the rude path he had been following into the trackless wilderness. He
executed a series of intricate loops; he doubled on his trail again and
again, recalling all the lore of the fox hunt, and all the dodges of the fox.
Night found him leg-weary, with hands and face lashed by the branches,
on a thickly wooded ridge.
An apprehensive night crawled slowly by like a wounded snake and
sleep did not visit Rainsford, although the silence of a dead world was
on the jungle. Toward morning when a dingy gray was varnishing the
sky, the cry of some startled bird focused Rainsford's attention in that
direction. Something was coming through the bush, coming slowly,
carefully, coming by the same winding way Rainsford had come. He
flattened himself down on the limb and, through a screen of leaves
almost as thick as tapestry, he watched. . . . That which was
approaching was a man.
23. Feel the Consequences.
Once you place the reader in the situation, then evoke
even stronger emotions by making sure the reader
understands the consequences of failure. This is the,
“So What?” question. If X fails to do Y–so what? Who
cares? You must provide enough details on the
consequences or hint at it broadly enough for the
reader to guess the consequences.
What are the consequences?
24. "You'll find this game worth playing," the
general said enthusiastically." Your brain
against mine. Your woodcraft against
mine. Your strength and stamina against
mine. Outdoor chess! And the stake is not
without value, eh?"
"And if I win--" began Rainsford huskily.
"I'll cheerfully acknowledge myself defeat
if I do not find you by midnight of the third
day," said General Zaroff. "My sloop will
place you on the mainland near a town.”
25. Scene cuts.
Try using scene cuts to leave X hanging while you
present a scene with Y that leaves Y hanging; then
come back to X, finish the first scene and transition
immediately into the second scene which–of course–
leaves X hanging again. Repeat as needed.
Where is the reader left hanging?
26. "Nerve, nerve, nerve!" he panted, as he dashed along. A blue
gap showed between the trees dead ahead. Ever nearer drew
the hounds. Rainsford forced himself on toward that gap. He
reached it. It was the shore of the sea. Across a cove he
could see the gloomy gray stone of the chateau. Twenty feet
below him the sea rumbled and hissed. Rainsford hesitated.
He heard the hounds. Then he leaped far out into the sea. . . .
When the general and his pack reached the place by the sea,
the Cossack stopped. For some minutes he stood regarding
the blue-green expanse of water. He shrugged his shoulders.
Then be sat down, took a drink of brandy from a silver flask,
lit a cigarette, and hummed a bit from Madame Butterfly.
27. Pacing
Much of building suspense is an issue
of pacing, which is merely taking the
long picture of your story and thinking
about how scenes blend with each
other. For example, you might follow
two fast-paced action scenes with a
scene of simple action but more
complex character interaction.
You can control pacing with sentence
structure. Long, flowing sentences can
slow down the action. Short sentences
build tension by propelling the reader
forward.
28. Rainsford held his breath. The general's eyes had
left the ground and were traveling inch by inch up the
tree. Rainsford froze there, every muscle tensed for
a spring. But the sharp eyes of the hunter stopped
before they reached the limb where Rainsford lay; a
smile spread over his brown face. Very deliberately he
blew a smoke ring into the air; then he turned his back
on the tree and walked carelessly away, back along
the trail he had come.
29. When the general, nursing his bruised shoulder, had
gone, Rainsford took up his flight again. It was flight
now, a desperate, hopeless flight, that carried him on for
some hours. Dusk came, then darkness, and still he
pressed on. The ground grew softer under his
moccasins; the vegetation grew ranker, denser;
insects bit him savagely.
Then, as he stepped forward, his foot sank into the ooze.
He tried to wrench it back, but the muck sucked viciously
at his foot as if it were a giant leech. With a violent
effort, he tore his feet loose. He knew where he was
now. Death Swamp and its quicksand.
30. Dialogue and internal monologues can also affect
pacing by changing the rhythm . Short interchanges
of dialogue between characters increase the
reading speed. Long speeches by a certain
character will slow it down. If you feel like the story
needs to pick up the pace, look for areas with too
much dialogue, internal monologue, or exposition.
Or vice versa, not enough.
31. "Rainsford!" screamed the general. "How in God's name did
you get here?”
"Swam," said Rainsford. "I found it quicker than walking
through the jungle.”
The general sucked in his breath and smiled. "I congratulate
you," he said. "You have won the game.”
Rainsford did not smile. "I am still a beast at bay," he said, in a
low, hoarse voice. "Get ready, General Zaroff.”
The general made one of his deepest bows. "I see," he said.
"Splendid! One of us is to furnish a repast for
the hounds. The other will sleep in this very excellent bed. On
guard, Rainsford." . . .
32. Use Dread and Anticipation
Keep in mind the difference in dread and
anticipation.
Dread: bad things have happened and even worse
things are possible.
Anticipation: something bad could happen unless. .
.
Dread builds on past conflict, while anticipation
builds on hope of avoiding conflict. Try to use both as
you build the suspense of your story.
33. One way to convey your character’s dread or anxiety is to
directly tell the reader:
He felt scared
She was afraid
I grew more frightened by the second.
He experienced the really horrible feeling of absolute
fear, an emotion that was indescribably debilitating.
These are ok; they tell the reader how your character is
feeling, but they don’t really invoke any emotion from
the reader. To make a scene more suspenseful, show the
character's fears instead of just telling them; this permits
the reader to feel the fear rather than just think about it.
34. The showing of behavior or feelings is no more complicated than telling
about it. Consider, for example, your visceral reactions to fear. Sharing
those corporeal responses will heighten your readers’ involvement in
your story.
A person may feel hot or cold, shiver or sweat. Palms get damp, the
mouth dry, the throat blocked.
People may experience an accelerated, pounding heartbeat, feeling it in
unusual places: in their ears, in their throat, or even in their fingers.
Breathing changes. It can become faster and shallower, though for some
people it may deepen and slow.
The skin can react in multiple ways: goose bumps may occur or the hairs
on the arms may stand up.
The stomach may tighten, clench, churn, or feel like it is filled with ice.
Pain drifts through the body; for example, the fillings of some people’s
teeth hurt.
Fear causes clenching of the jaw and hands, involuntary noises,
uncontrollable shaking.
35. “He struggled up to the surface and tried to cry out, but the wash from
the speeding yacht slapped him in the face and the salt water in his
open mouth made him gag and strangle.”
For a seemingly endless time he fought the sea. He began to count his
strokes; he could do possibly a hundred more and then--
“The general's left eyelid fluttered down in a wink.”
“Rainsford held his breath.”
“Rainsford froze there, every muscle tensed for a spring.”
“A smile spread over [Zaroff’s] brown face.”
“The pent-up air burst hotly from Rainsford's lungs. His first thought
made him feel sick and numb.”
37. 1. While on vacation and shopping in a department store, a middle-aged man comes
face to face with the guy who kidnapped his son ten years earlier.
1. At a Chinese restaurant, your character opens his fortune cookie and reads the
following message: "Your life is in danger. Say nothing to anyone. You must leave the
city immediately and never return. Repeat: say nothing.”
2. Your character has to tell his parents that he's getting a divorce. He knows his
parents will take his wife's side, and he is right...
3. Your character suspects her husband is having an affair and decides to spy on him.
What she discovers is not what she was expecting...
4. ·A man elbows your character in a crowd. After he is gone, she discovers her cell
phone is too. She calls her own number, and the man answers. She explains that the
cell phone has personal information on it and asks the man to send it back to her. He
hangs up. Instead of going to the police, your character decides to take matters into
her own hands...
38. 1. Begin at the right place: the need for escalation requires that
you start at a place of strong conflict.
2. Add uncertainty
3. Let readers root for a character or characters
4. Give the readers a great villain
5. Evoke strong emotions through a critical conflict.
6. Change the conflict.
7. Include great details.
8. Make sure readers feel the consequences.
9. Use dramatic scene cuts
10.Use pacing to control the intensity of the story.
11.Use dread: bad things have happened and even worse things
are possible.
12. Use anticipation: something bad could happen unless. . .
How to Create Suspense
39. Homework
Post #12: Post a long
paragraph or two that
demonstrate your
efforts at creating
suspense.
Reading: “Labels.”
This is the first three
pages
of a short story. Please
note
the style as you read.