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Accuracy versus Readability
by Brian S. Leon
Author of Havoc Rising
When I began to write, one of the things I felt I needed to do was write combat scenes as realistic as possible. I'm not saying I wanted to write a forty-five second close quarter combat scene the same way Tom Clancy does—as a painfully detailed 10-page sequence. I just wanted to convey the fact that most CQBs, and indeed most combat situations, resolve themselves very quickly in real life and that was how I wanted to portray them. In fact, most real-life gun battles are over so quickly and often so lopsided that they would make horrible fodder for film let alone books.
When I began to write the combat sequences for Havoc Rising, I tried to describe them as authentically as I could, running through the sequence of events in my head and on paper. What I discovered is that a straightforward description of the event is actually boring--even if it's a harrowing thirty seconds—and there's most always too much jargon to make the text read easily. The flow gets totally bogged down. Then there's the whole issue with a quick and dirty battle being uninteresting and, apparently, unbelievable. Thanks Hollywood. I was told I needed to be meaner to my hero and put him in more dire situations. My first reaction to that statement was bewilderment. Any close quarter combat situation is going to be dire. In fact, the longer it draws out, the more likely it will end badly for the attacking party. But I understood what was being said. Real life is one thing, but fiction, particularly Urban Fantasy, is something entirely different. After all, my hero is a 3200 year old warlord from the Trojan War, so what's the big deal with authentic accuracy?
The other thing I learned is that accurately writing things like communications via com-links REALLY slows things down. The actual sequence of communications between operators on a team is often highly redundant and flush with jargon. I had to cut my dialog greatly to keep things moving in these situations. Again, I had to sacrifice accuracy for the sake of readability. It completely makes sense though and I now know why most writers who include such things in their books write them they way they do.
So for those readers out there who are as anal as I am, please forgive me. Trust me when I tell you that writing things exactly as they happen often is more detrimental than the accuracy is beneficial. In the end, the story needs to read well or all the exact descriptions in the world won't save it. So when you read Havoc Rising, just remember that everything is written as accurately as I could make it while still moving things along at a good pace. It's a sacrifice I am willing to make and hopefully you'll agree.
Title: Havoc Rising
Author: Brian S. Leon
Publication Date: June 2015
Amazon ~ Barnes & Nobles ~ Kobo
Eternal life. Eternal battle.
Steve—Diomedes Tydides to his Trojan War buddies—just had a bad day on his charter fishing boat in San Diego, but when the goddess Athena calls on her faithful warrior for another secret mission, he's ready. The bomb that exploded inside the Metropolitan Museum of Art isn't the crime American authorities think it is. Someone also stole the Cup of Jamshid, and Diomedes knows its fortune-telling abilities won't be used for anything benign.
Though Diomedes recovers the Cup from a determined shaman holed up beneath Central Park, when he finds his allies slain and the Cup taken once more, he knows he's up against a truly powerful enemy. Over a millennium has passed since Diomedes last contended with Medea of Colchis, deranged wife of Jason the Argonaut, but neither her madness nor her devotion to Hecate, goddess of witchcraft, has waned, and she intends to use the Cup of Jamshid to release across the world a dark brand of chaos unseen in human history.
Immortal since the Trojan War, Diomedes must once again fight for mortals he understands less and less, against a divine evil he may never truly defeat.
Brian S. Leon is truly a jack-of-all-trades and a master of none. He began writing in order to do something with all the useless degrees, knowledge and skills--most of which have no practical application in civilized society--he accumulated over the years.
His varied interests include, most notably, mythology of all kinds and fishing, and he has spent time in jungles and museums all over the world studying and oceans and seas across the globe chasing fish, sometimes even catching them. He has also spent time in various locations around the world doing other things that may or may not have ever happened.
Inspired by stories of classical masters like Homer and Jules Verne, as well as modern writers like J.R.R. Tolkien, David Morrell and Jim Butcher, combined with an inordinate amount of free time, Mr. Leon finally decided to come up with tales of his own.
Brian currently resides in San Diego, California.
Website ~ Facebook ~ Twitter ~ Publisher Page
Posted by Mary Fan at 9:00 AM 1 comment:
Labels: Articles - On Writing
COVER REVEAL: Blood in the Water / Tash McAdam
Look everyone! Tash McAdam has a brand new novella coming out! I'm lucky enough to have an advance copy in my paws... review coming soon! Meanwhile, here's the cover:
There have always been warps—tears between realities—and they've always been a threat to humanity. Most people are blind to them. But Hallie's eyes are opening. Now that she's going to school at the Protectorate, she's learning there's more to life than fun and games.
The truth is, she's just become part of Earth's only shield against the monsters of the warps. Before, she didn't think she was anything special. Now, yanked from her relatively normal life, she realizes that she doesn't have a choice.
When the emergency alarm sounds, calling everyone in the school to arms, even the young and inexperienced are needed. As one of the warp weavers—capable of closing the warps and stopping the monsters—Hallie must now work to save lives. And she must do it in the most complicated situation she's ever experienced. Because there are sea serpents in the Thames, and Hallie has to close the doors that are letting them in.
The problem is, they're underwater, and they're hungry.
Now everyone is relying on her, and Hallie must find a way to do her job—with a brand new partner—before it's too late. Because if she fails she'll die, along with everyone who's depending on her.
Don't miss this prequel to Tash McAdam's new series, Warp Weavers, coming in 2016.
Barnes & Noble:
http://www.barnesandnoble.com/w/blood-in-the-water-tash-mcadam/1122099383?ean=9780981676838
Tash on Facebook:
https://www.facebook.com/TashMcAdam?fref=ts
Tash's website:
http://www.tashmcadam.com/
Posted by Mary Fan at 9:00 AM No comments:
The Anatomy of a Grammar Nerd
Posted by Mary Fan at 10:20 PM No comments:
Casting Choices
by Michael Meyerhofer
Author of The Dragonkin Trilogy
A while back, author Mary Fan introduced me to one of the best possible uses for a writer's time: speculating on who should play your book characters in a TV or film adaptation. This seems at first like a lighthearted pastime, the creative equivalent of junk food, but for me, it very quickly turned into something else. After all, these are my characters! They're part of me. They matter. They can't be played by just anybody, right?
Well, I had a hard time selecting my dream-choices for some of the roles (Rowen Locke, for example) but others came to me almost immediately. I'd absolutely love to see Ron Perlman play Fadarah. And I'd pay a small fortune to see Steve Buscemi play the Nightmare, or Patrick Stewart or Lance Henriksen play El'rash'lin. But literally the first choice that I thought of was Elizabeth Olsen for Silwren.
Silwren is a complex character—quiet, but roiling with inner turmoil—and if you've ever seen Martha Marcy May Marlene, you know that Elizabeth Olsen is one of those actresses who can speak volumes just by sitting there. Watching her, one gets the feeling that at any moment, she might burst into tears, laughter, or flames.
And that's how Silwren is. It's already well-established from Wytchfire that when Silwren loses her cool, people die. A lot of people. So her existence and sanity, plus the survival of her friends, depends on her maintaining rigid self-control that usually manifests as inaction. Then again, Silwren understands that eventually, that same kind of inaction will prove just as fatal—to her, to everyone.
So, yeah. If anybody has Elizabeth Olsen's number, let me know.
Title: Wytchfire (Bk 1)
Series: Dragonkin Trilogy
Author: Michael Meyerhofer
Genre: High Fantasy
Amazon | Barnes & Nobles | Kobo | iTunes
In a land haunted by the legacy of dead dragons, Rowen Locke has been many things: orphan, gravedigger,
mercenary. All he ever wanted was to become a Knight of Crane and wield a kingsteel sword against the kind of grown horrors his childhood knows all too well. But that dream crumbled—replaced by a new nightmare.
War is overrunning the realms, an unprecedented duel of desire and revenge, steel and sorcery. And for one disgraced man who would be a knight, in a world where no one is blameless, the time has come to decide which side he's on.
Title: Knightswrath (Bk 2)
Rowen Locke has achieved his dream of becoming a Knight of the Crane, and he now bears Knightswrath, the midnight duel that teaches Rowen a dangerous lesson and leaves him with a new companion of uncertain loyalties.
legendary sword of Fâyu Jinn. But the land remains torn, and though Rowen suffers doubts, he would see it healed. His knightly order is not what it seems, though, and allies remain thin. When Rowen and his friends seek an alliance with the forest-dwelling Sylvs, a tangle of events results in a
The sadistic Dhargots still threaten the kingdoms, but another menace lurks in the shadows, playing a game none can see. As Rowen struggles to prove his worth—to his allies and to himself—chaos raises its hand to strike. A price must be paid, and not even the wielder of Knightswrath will remain untouched.
Michael Meyerhofer grew up in Iowa where he learned to cope with the unbridled excitement of the Midwest byStar Trek, weight lifting, and collecting medieval weapons. He is also addicted to caffeine and the History Channel.
reading books and not getting his hopes up. Probably due to his father's influence, he developed a fondness for
His fourth poetry book, What To Do If You're Buried Alive, was recently published by Split Lip Press. He also serves as the Poetry Editor of Atticus Review. His poetry and prose have appeared in Asimov's Science Fiction Magazine, Brevity, Ploughshares, Hayden's Ferry Review, Rattle, and many other journals. He and his fiancee currently live in Fresno, California, in a little house beside a very large cactus.
Posted by Mary Fan at 9:00 AM 2 comments:
Labels: Articles - Other
So, you're writing a book. What's it about?
All righty, so you've decided to write a book. What's it about? What's it really about?
It's a question a beta reader asked on the first draft of my first book, Artificial Absolutes, and it's a tougher question than I thought it'd be. At first, I was like, "What do you mean? It's about a young woman in search of a killer. In space." Then, I thought about it some more and was like, "Well, actually it's about her saving the people she loves, so I guess it's about loyalty." But the beta pressed on, pointing out that a story about loyalty alone, while nice, wasn't very compelling.
And therein lay the problem with my first draft. It had a lot of plot, but it wasn't about anything.
Of course, there are plenty of books out there that could fit that description - some of which may even be pretty popular. But I can't think of any off the top of my head, because the books that stuck with me, the ones I remember despite years having passed since I last glanced at them, are the ones that went beyond the plot alone.
Brave New World is about conformity and complacency. The Girl with the Dragon Tattoo is about misogyny - and combating it. Harry Potter is about the triumph of good over evil, and about being something greater than yourself. And Artificial Absolutes, well, turned out, it was about more than spaceships and loyalty after all. I just didn't realize it at the time.
It's these greater "abouts" that really bring a story to life, that make a reader really care about the characters and what happens to them. And I think pretty much every writer who finishes a novel has one imbued in their words, whether they know it or not. Sometimes, it's neglected and buried, which is why a book may not feel like it's truly about anything. But a book written with passion is unavoidably a reflection of the author's soul. And writers write because they have something to say.
So what's Artificial Absolutes about? Took me a while to realize it, but ultimately, it's about control - specifically, the parent/child variety. There's a domineering father with two children - both of whom go through periods of obedience and rebellion, but neither of whom can ever shake his influence, even when he's no longer around to command them. And then there's a parallel with artificial intelligence - the programmer, who hopes a sentient machine will nonetheless obey. More than one programmer, actually, but to delve in further would be to spoil the damn thing.
In a more broader sense, it's about independence - breaking the boundaries put in place by society or the law or by one's own sense of "should" or "should not". It's about free will.
Though it's been years since I wrote Artificial Absolutes, these thoughts are occurring now because I'm plotting a new project, and I kept hitting walls. I knew I wanted to do a contemporary fantasy, and I knew what I wanted to happen, but somehow, all my plotting and brainstorming felt flat. Then I realized: The book wasn't about anything. Just a sequence of events and a few colorful characters... but what was the point of it all? What about it would stay after the last page is read?
I'm still working it out, and I know the "about" is in there, probably embedded by my subconscious. I just need to dig a little deeper, bring it to the surface, make it work.
I didn't run into this issue with the last few books I plotted, so for a moment I wondered if they were were actually about anything. And then I realized that, yeah, they are, even if I didn't realize it. The Flynn Nightsider books (and companion Firedragon novellas) are, again, about independence. Freedom, defiance of authority, self-reliance. The Fated Stars stories are about the classic theme of good versus evil, and about transcending one's fate.
So what about you? What's your story really about?
AUTHOR INTERVIEW: Thom Young
An interview with Thom Young, co-author of Fallen.
Hi! Welcome to Zigzag Timeline. Can you tell us about your background as an author?
I decided to really start writing books and trying to get my stories published about ten years ago, although I had written many things like poetry and short stories as a kid. I published a novella called Laredo Down on Kindle and did pretty good then after that I had several of my novels hit #1 Kindle Free in various categories. I use a publisher today out of Houston, TX that specializes in poetry chapbooks and has done some limited edition copies of my novels.
What got you into writing?
I don't think that I ever got into writing although as I mentioned I tried to get things published about ten years ago. Well as most writers know, things aren't that easy and soon my mailbox was filling up with rejection slips but I kept writing and a story of mine finally got accepted in a small literary magazine five years later. It was a big deal at the time and then things picked up from there with my work appearing in various publications like 3am Magazine, Word Riot, and the outstanding poetry broadside publisher 48th Street Press.
What was the first idea you had for your book, and how did the story grow from there?
I knew that I wanted to write a murder mystery and at that time I was really into movies that the viewer could interpret for themselves like a David Lynch film. I wanted to try that with a novella and that's how my story Laredo Down came together. At that time the Kindle didn't even exist but I held onto my story and published it myself five years later and the response was very positive. Basically, being a Texan I wanted to write a story about something taking place there and I tossed in Mexico as well so that's how it started.
Among your characters, who's your favorite? Could you please describe him/her?
With my new book Fallen (The Fallen Saga, Book 1) my favorite would be the main character Julie Anderson. She is the self loathing teenager that one might call a 'drama queen'. She smokes cigarettes and drinks too much coffee and thinks her life is horrible although it really is pretty good, well until she meets the fallen angel Nick Landers. Julie wears black and mainly ignores her parents the kind of thing you would think most teens that listen to The Smiths or The Cure would do.
What's your favorite scene from your novel? Could you please describe it?
I think when the main character Julie Anderson realizes that one of the fallen angels Tyler Garrett can shapeshift into a crow. That's something I always wanted to add in one of my books and trying a paranormal romance I thought you have to throw in some shape shifting. I didn't realize this was a big deal until I researched it and there were all these books on men turning into lions that were number one on Amazon and I thought really?
What's your favorite part of writing? Plotting? Describing scenes? Dialogue?
Most of my work is more dialogue based but I never really have a set plan although I have an idea that comes together as I start writing. I sometimes love writing the ending first that would probably be my favorite but most importantly to me is to know when to get away from writing.
How long does it take you to write a book? Do you have a writing process, or do you wing it?
I use to churn out stories and books like a factory and an editor once asked if I was more than one person because I submitted so much to him. Now I take my time and I rarely use a writing process although I kind of have an idea of what I want and go from there.
What is it about the genre you chose that appeals to you?
I have written in numerous genres like horror, comedy, western, and noir type things. On the new one Fallen I had the opportunity to work with a talented UK writer Emily Clarke. I had never done a paranormal romance and she was a big help for me because honestly I always thought that genre was hokey and now after writing one myself I have much respect for the authors that write paranormal romance because for me it was the most difficult one to write.
Are there any books or writers that have had particular influence on you?
I think as a writer you need to be an avid reader and there so many that I enjoy but my favorites are Charles Bukowski and Hesse. I also like Hubert Selby and John and Dan Fante.
Did you ever surprise yourself when you were writing your book? Characters who took on lives of their own? Plot elements that took unexpected turns?
I think so because my writing is never planned and for me it works like taking an idea and then seeing where it goes. Thanks for the interview.
ABOUT FALLEN
Fallen takes the reader into the world of fallen angels and their desire for earthly women and
forbidden love. Julie Anderson never wanted to leave her life and friends behind in Connecticut, but when her father gets a new job in Texas she discovers her destiny. When she meets the devilishly fallen angel, Nick Landers, her life begins to unravel. Julie finds that despite all her problems she can always count on her best friend Stephanie.They spend time talking about fashion, school gossip, and of course their crushes. Julie falls for the mysterious Nick Landers while Stephanie loves the cute new boy Tyler Garrett. Fallen is something you can get lost in but also relate to because above all it's about love.
Amazon: http://www.amazon.com/Fallen-The-Saga-Book-ebook/dp/B00XK2BQXU/ref=pd_rhf_ee_p_img_1
Goodreads: https://www.goodreads.com/book/show/25564873-fallen
Thom's author page: http://www.amazon.com/Thom-Young/e/B001KMM9D8/ref=ntt_dp_epwbk_0
Labels: Interviews - Author
From the Diary of a Jaded Juggler
by Pamela Crane
Author of The Admirer's Secret, A Fatal Affair, and A Secondhand Life
I became a professional juggler almost five years ago to the day. I didn't practice with oranges or flame-throwers. I bolted out of the gate juggling babies.
No, I'm not into child abuse. I'm metaphorically referring to the juggling act that took over my life since my first daughter was born. Three kids and a pregnancy later, I'm expecting my fourth child in almost as many years, and every morning I wake up wondering how the heck I'm going to finish my next book.
Pamela Crane
My life isn't average, you see. I'm a writer, and as fellow writers know, we are anything but normal. Always crafting a story, thinking of ways to market, conjuring characters… We're an eccentric bunch. But with pregnancy hormones, dirty diapers, meals to prepare, and constant cleaning, writing can easily slip into a past-time that becomes just that—the past.
The Admirer's Secret, my first romantic suspense book, was started BC—Before Children. So writing it came easily, and since writing it was a form of therapy after enduring a traumatic experience (for the juicy details pick up a copy of the book), the words couldn't come fast enough and the emotions poured on to the paper.
After that, writing went downhill as baby #2 arrived, then #3 on the heels of that one, and now I'm expecting baby #4. And yes, I've finally figured out what causes it and know not to drink the water anymore. On top of the kids, I am a full-time work-at-home editor, so kids + job = no sleep. Ever.
If you're a stay-at-home parent or career person or both (like me) who writes, the big dilemma becomes how and when to find time to write. You may know exactly what I'm talking about when I say that after a day of plugging my ears to the incessant whining of my four-year-old, and refereeing toddler wars between the other two (and often laughing at their hilarity as my two-year-old and eighteen-month-old squabble in unintelligible arguments over a broken toy), the last thing I feel after putting the kids to bed is motivated or inspired. But if I ever want to quit my other job and pursue my writing passion, the words have to come.
So how do I make them fall into place on paper?
First, you need support. And by support I mean a babysitter or spouse or family member or nanny willing to take the kids off you once in a while so that you can focus. For me, I can't craft meaningful prose without quiet alone time. My husband—a Godsend—gives me what we've coined "writing retreats." This involves me getting away for several consecutive days so that I can write. My second book, the novella A Fatal Affair, evolved completely from one such writing retreat.
Another method to avoid madness is giving yourself writing goals. For me I could never pump out 5,000 words in a day, but small goals worked. One chapter. One scene. Even one paragraph. Just something to keep me going each day or each week. Setting goals that you aren't allowed to break (just because you're the boss) can help keep your writing mojo going.
Lastly, write something, anything. Some writers blog. Some writers engage in poetry. Some writers dabble with words. Even if it's not your story, at least commit to writing regularly. As I was working on my third book, A Secondhand Life, much of the story came together from little notes I'd write in the middle of the night, or a dream I jotted down. It's sometimes during those insane moments of chasing a diaper-less one-year-old as she's peeing all over the floor, or prying chewed-up crayon pieces out of your toddler's mouth, when a thought will hit you. That's when you hit the pause button to grasp whatever that thought is and toss it in your notebook.
It's not easy being a parent, especially when you're a juggler with work deadlines and a house to keep "clean"—term used loosely. But when you're an aspiring writer on top of that, don't let your aspirations die simply for a lack of time and energy. Find a way to make it happen. It's not easy, and it's not going to produce your best prose at first, but the more you put your heart into it and find slivers of time here and there, the more you'll come out with something powerful and provocative and engaging.
Consider it therapy. Lord knows how much we jugglers need it.
A Secondhand Life synopsis:
In a freak collision when she was twelve, Mia Germaine faced death and the loss of her father. A heart transplant from a young murder victim saved her life, but not without a price. Twenty years later, chilling nightmares about an unresolved homicide begin to plague Mia. Compelled by these lost memories, she forms a complicated connection to the victim—the girl killed the night of Mia's accident—due to a scientific phenomenon called "organ memory."
Now suffocating beneath the weight of avenging a dead girl and catching a serial killer on the loose dubbed the "Triangle Terror," Mia must dodge her own demons while unimaginable truths torment her—along with a killer set on making her his next victim.
As Mia tries to determine if her dreams are clues or disturbing phantasms, uninvited specters lead her further into danger's path, costing her the one person who can save her from herself. More than a page-turning thriller, A Secondhand Life weaves a tale of second chances and reclaimed dreams as this taut, refreshing story ensnares and penetrates you.
Purchase link: http://www.amazon.com/gp/product/B00SU9NO9M/
Pamela Crane is a North Carolinian writer of the best-selling suspense novel The Admirer's Secret, A Fatal Affair, and A Secondhand Life. Along with being a wife and mom of three rug rats with another on the way, she is a wannabe psychologist, though most people just think she needs to see one.
She's a member of the ITW, ACFW, and EFA, and has been involved in the ECPA, Christy Awards, and Romance Writers of America. Along with delving into people's minds—or being the subject of their research—she enjoys being a literary reviewer and riding her proud Arabian horse, when he lets her. She has a passion for adventure, and her hopes are to keep earning enough from her writing to travel the world in search of more good story material. Grab a FREE BOOK on her website at www.pamelacrane.com.
BRAVE NEW GIRLS RELEASE!!!
BNG Friday: From idea to publication
AUTHOR INTERVIEW: William Darrah Whitaker
AUTHOR INTERVIEW: Christopher Slayton
BNG FRIDAY: Illustrations from the authors!
REVIEW: Play On / Michelle Smith


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With such constant scrutiny, you've got to have a pretty thick skin in the MLS business.
And if your goal is to consolidate — let's say the listings for the entire state of California — you'd better be even tougher.
Today's guest on Listing Bits faces across-the-board resistance daily as he works to convince real estate professionals that giving up a little local control is worth it in the long run.
Art Carter is the CEO of California Regional Multiple Listing Service (CRMLS) providing products and services to over 82,000 subscribers.
CRMLS works to connect real estate professionals throughout the state of California via access to the most data at the lowest cost possible.
Carter spent nine years working for the Pacific West Association of Realtors as it pushed the envelope on innovation and brought the association world to a new level before moving to CRMLS in 2005.
For the past 11 years he has been dedicated to making a difference in the daily lives of real estate professionals.
He is best-known for leading the data share revolution in Southern California.
Carter has been named one of Inman News' Most Influential Real Estate Leaders twice and he is a member of the Dr. Almon R. "Bud" Smith, RCE, AE Leadership Society in recognition of dedicated service and commitment to advancing the association management profession.
Listen in as he shares the progress CRMLS has made toward listings consolidation in California.
Connect with Art Carter via the CRMLS website or Twitter.


I understand this feeling because I fight the same instinct daily. If my work doesn't manifest in the way I envisioned it, then I want to toss it in the trash and indulge in a massive pity party, but I don't. Because after years of this, I finally learned that the challenge of remaining present and embracing the process (no matter how painful it is) improves not only my art but my whole existence. By turning the painting against the wall for a few days and giving us both a break, I come back with a new vision and attitude. I listen to what the painting wants to say, and I begin again.
I have noticed that the most difficult part of making art is rarely about the art. What comes up while making art can be a microcosm of what you are challenged by in your life. I have dried numerous tears of students whose impatience with painting turned out to be the sideways manifestation of other frustrations at home—lack of control over children and family, fears about an imminent career change or marital problems. To acknowledge our problems and funnel that energy into our art can be both therapeutic and create amazing results if we embrace it. But to get from a blank canvas to something we feel good about requires slowing down, going within, and observing both ourselves and the world around us. Being slow and intentional in our society is rarely honored. It's much easier to stay busy and avoid all this, but then we would miss out on the joys and challenges of personal growth.
So, to test your patience and yourself, pick up a brush or pencil and make some art. It doesn't matter what you paint; just begin on your own or in a class. Make marks, lay down color, and feel the joy of creating something out of nothing, and suddenly you will experience your whole life there. And if you feel like giving up, go look in the mirror and ask why. It's not always easy, but I guarantee that you will learn something. You will grow and you will like yourself more for trying.
Note: These images represent my process in creating a painting about my feelings on the encroachment of our wide-open spaces by developers. The chandeliers represent the opulence, waste, and disregard for what is truly important about nature. I began in charcoal, moved to acrylic, and finished in oil.


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Q: What next after Ubuntu? Arch Linux / FreeBSD / Gentoo I have been using Ubuntu, mainly as a production system for a very long time. Fedora Core and Mandrake before that. I am a developer, mostly working over networking core - L3/L4. I wish to graduate to a power user. Thought about shifting to Arch Linux, but then it would take a lot of time configuring system.
All you Linux power user, what suggestion you have, for someone who wish to learn Linux internals, more from operations point of view than development?

A: Well, FreeBSD won't really help you learn system internals for Linux.  I'm partial to Gentoo, and Slackware is another option.
For any option that will give you a really solid understanding of how the system is built, you're going to have to spend a fair bit of time configuring everything for the first time.  That's how you will learn.  Personally, I learned a lot more about Linux going through the default install to set up a desktop on Gentoo than I had in a couple of years of work with Fedora / CentOS; this was simply because I had to do everything for myself and research the parts to make informed decisions.  It doesn't hurt that portage is the best package manager out there IMO.
I would also point you to the docs for the Gentoo Handbook which walks you through a minimal install (can be performed from pretty much any livecd or an existing linux install even) so you set up many of the basic components and end up with a relatively barebones system from which you can start building your desktop.

A: Debian could be a good distro to look into, since Ubuntu is based on that it would still be fairly familiar. It will end up taking time to configure as well, but it uses apt, so it will be significantly less time than you would spend configuring a more stripped down system. Also, Arch does take time to configure and it handles packages a little differently, but I wouldn't completely brush it aside, as it's a very solid distro with an impressive community and tons of documentation.

A: FreeBSD, certainly!
Not to get you the best OS, of cource, but to bring you the new point of view at things you thought you already know.
They have a nice handbook, by the way: http://www.freebsd.org/doc/en/books/handbook/

A: I'll offer a slightly different suggestion. I see many people, once they get comfortable with a particular distribution, fall into a cycle of perpetual changeover. They install a new shiny distro, but they can't get their webcam to work. So they switch. Now the webcam works, but something else doesn't work, and they switch again. (Then they get a job and are restricted to RHEL...). You might get the impression that there's some sort of expert level-up progression of Ubuntu -> Arch -> Gentoo ( -> FreeBSD?), but that's not strictly necessary, and plenty of people get into a trap of learning how to merely use distributions instead of build or change them.
Rather than run around in circles, it pays to really get to know how a distribution that already does most of what you need works. You know Ubuntu well. What I will advocate is to dig into the Ubuntu community and documentation to find answers to the following questions:

*

*What are the core components of a minimal install?

*How do you configure installed packages?

*Where can you find the corresponding source to an installed binary package?

*What is the complete path source code takes to arrive on your computer as a binary?

*How do developers build binary packages?

*How can you rebuild a package from source?

*What steps should be taken to upgrade package source versions?

*What are the best practices for building and installing programs?

*Where is the documentation for building and configuring programs stored?

*Who reviews and approves changes to the distribution itself?

Finding the answers to these questions will be valuable no matter what distribution you decide to investigate. You may even already know the answer to some of these.
In the case of Ubuntu, many of answers will be similar to Debian. For example, best practices in packaging are codified in the Debian Policy Manual.

A: In addition to jldugger's answer, if you want to learn how things fit together, I'd recommend working your way through Linux from Scratch, which will teach you how to compile your own Linux install. It's sort of like doing a gentoo install by hand. It's not a distribution to use; it's something to do and then throw away once you've done the work. You can then continue using your Ubuntu install with a new found understanding.

A: I'm in a similar position as you are. I've used Ubuntu/Debian for years and can set up a server in no time. What I like about the Ubuntu/Debian community is the overwhelming amount of information that is available for these systems. But, there is more to Linux than Ubuntu/Debian and even though how much I like Ubuntu/Debian I'm always keen to look to other distros as well.
I was actually looking into Arch the other day myself and to me it comes across as a very solid and well maintained distro. In a way it reminds me of Debian but it's workings and approach are quite different. I might give Arch another, more intensive, try and really get a server up and running with it. Only then you can tell if you can actually work with a system.
On the other hand. Trying out different distros is fun but, it can also be very valuable to be very good with a single distro rather than knowing bits and pieces about many different ones.

A: If you really want to learn linux in general, short of building it entirely with LFS, I'd suggest going with slackware.  It's lack of almost any automation and plain vanilla software setups will force you two learn all the standard config files (which in my 12 years of *nix admin experience is the most useful and portable *nix knowledge you can posses) and how to resolve package dependencies.
p.s.  If you want slightly more automation, such as package dependency resolution, ArchLinux would be a very similar learning experience. (and you'd have the benefit of bleeding-edge software, in case you use this as your primary desktop)

A: Maybe check out Slackware. I've been running it for quite some time (have switched to Ubuntu and Mac now). It really helps to learn the real internals of Linux since it is pretty much a vanilla distro with not much on top but a very basic set of Tools.

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text:
Japan Society Allocates Over Half of Earthquake Relief Fund with 4th Round of Grants
Earthquake Tsunami, Fundraising, Japan Society Round-up Comments Off on Japan Society Allocates Over Half of Earthquake Relief Fund with 4th Round of Grants
Via Shannon Jowett, Director of Communications for Japan Society of New York:
Projects Support Orphan Care, Evacuee Services, Community Building, Child Welfare and More
New York, NY – Japan Society announced today an additional eight grants totaling $1.6 million from its Japan Earthquake Relief Fund(JERF). This latest announcement brings total allocations from the $12.5 million fund to $7.2 million distributed to 19 organizations representing 25 projects that directly serve people affected by the Great East Japan Earthquake on March 11, 2011.
"As we approach the one-year anniversary of the devastating earthquake and tsunami that struck Japan, we are pleased with the swift allocations and immediate use of the funds for people in need," said Motoatsu Sakurai, President of Japan Society. "Over half of the money we've received has now been allocated. Moving forward, we will continue to look for opportunities to fund effective projects, including those that serve rebuilding and economic recovery in the region."
The latest round of allocations supports six new grantees and two previous grantees. Projects range from orphan care, evacuee services and healthcare for people still living in temporary housing, to education workshops throughout Tohoku, promoting creative arts from the region, building a community center, and summer camps for children in Fukushima, which continues to cope with its nuclear crisis.
The organizations receiving grants are:
Ashinaga, which provides educational and emotional support to Japanese children who have lost one or both parents for any reason for the past 40 years, will use JERF funds for a range of programs that provide needed emotional support for children from Tohoku.
Association for the Corporate Support for the Arts conducts research, surveys and seminars to build partnerships between business and the arts. Their grant will support the "Hundred Festivals Revival Fund" to revitalize local festivals and folk entertainment in Tohoku, which play a vital role in bringing communities together and preserving local cultural heritage.
Japan Civil Network for Disaster Relief in East Japan (JCN), a network of 600 organizations that provide support to survivors of the 3-11 earthquake and tsunamis, will support evacuees from the Tohoku region, many of whom find themselves isolated, by aiding information sharing and networking among the approximately 200 organizations helping former Tohoku residents scattered from Hokkaido to Okinawa.
NPO Jibunmirai Club partners with Young Americans, an American nonprofit group, to bring Japanese and American youth together through popular musical workshops that instill respect, self-esteem, teamwork and the discovery of one's potential. Using their grant, and in partnership with local Japanese boards of education, workshops in Tohoku will reach over 3,000 students in 20 schools.
Studio for Cultural Exchange was founded to promote cultural exchange activities between Japan and the U.S. Their Voices from Japan: Despair and Hope from Disaster is its first collaborative project and includes traditional Japanese tanka poetry written by survivors of the earthquake and tsunami. Their JERF grant will help share the project in the U.S. and beyond.
Tumugiya is a newly established organization based in Ishinomaki, Miyagi Prefecture, that works to provide economic, social and community support in Tohoku. Their grant will support building "Oshika House" on the Oshika Peninsula, which will serve as a base for community organizations and enterprises in the village.
Two organizations received their second grants from the Japan Earthquake Relief Fund:
The Japan Primary Care Association continues the Primary Care for All Team (PCAT) project to undertake medical relief work in the region. The new grant supports PCAT teams—multidisciplinary healthcare teams headed by doctors—who provide medical care in temporary housing and to those in need in their homes.
Supporting Union for the Practical Use of Educational Resources, in partnership with Abukuma NS and the implementation committee of the Let's Protect the Kids in Fukushima Program, will again provide opportunities for children from Fukushima to participate in summer camps in 2012.
For a complete summary of organizations and projects supported by JERF to date, visit http://www.japansociety.org/earthquake. A video detailing work of grantees prior to this announcement can be found on Japan Society's YouTube page (Link: http://youtu.be/CJSExJxUzZE).
In a recent Reuters profile of Japan Society's relief work, Mr. Sakurai noted that it is "very evident in Japan this recovery process will continue for more than 10 years." In a video from December he discussed Japan Society's priorities and and projects supported by the fund in detail: "This is a very long term process. At the beginning obviously the immediate need was emergency relief: soup kitchens, shelters, etc. Into the future at the same time we started to prepare projects that have longer term implications related to job creation and economic recovery."
The Japan Earthquake Relief Fund, launched on March 12, 2011, has received $12,539,363.49 as of March 5, 2012 from over 22,000individuals, companies and foundations. Contributions have been received from all 50 states, and nearly 60 countries around the world. One hundred percent of the fund goes directly to support people affected by the disasters.
In March 2012, the Japan Center of International Exchange (JCIE) released a special report about U.S. giving to Japan in response to the disasters. It is estimated that Americans raised $630.2 million for the Tohoku region – the largest amount from any single country. Japan Society appears sixth on the list and is the only organization not traditionally focused on grant making or relief work. More information on this is available at http://www.jcie.org/311recovery/usgiving.html.
Those wishing to donate to the fund can go to www.japansociety.org/earthquake or mail a check to Japan Society, 333 East 47th Street, New York, New York 10017; Attn: Japan Earthquake Relief Fund. Checks should be made payable to "Japan Society" and indicate "Japan Earthquake Relief Fund" on the memo line of the check. For additional information, email japanrelief@japansociety.org.
From March 6-20, Japan Society presents One Year Later: Commemorating the One-Year Anniversary of the Great East Japan Earthquake & Tsunami, marking the anniversary of the disasters in Japan with a series of events to remember those lost, examine the progress of Japan's recovery, and explore prospects for the future. In addition to several panel discussions throughout March, Japan Society hosts a day of reflection on March 11, including a moment of silence presided by Ambassador Shigeyuki Hiroki at 2:46pm; a mini-exhibit of children's artwork from the Tohoku region; doll making for children living in the affected regions; documentary screenings, including recent Academy Award nominee The Tsunami and the Cherry Blossom; Memory: Things We Should Never Forget, a photographic exhibit illustrating the disaster's human tragedy and the optimism and resilience of local people struggling to rebuild; and art and craft making events for families to share with children in Japan.
Japan Society is an American nonprofit committed to deepening mutual understanding between the United States and Japan in a global context. Now in its second century, the Society serves audiences across the United States and abroad through innovative programs in arts and culture, public policy, business, language, and education. For more information, visit www.japansociety.org or call 212-832-1155.
Donate Japan Earthquake Relief Fund
View Japan Society's full Calendar of Events
Join Japan Society on Facebook
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Visit About Japan: A Teacher's Resource


when you ran over my heart as you sped off into the distance.
I couldn't see you leave but I felt the freeze you left behind.
and I feel the sting of betrayal in every step I take.
but you chose to run from your fear rather than face it.
rather than running from these issues and leaving them with me.
instead of no word beside the silence of you leaving.


first waiter - he came, thrown menu on the table said quickly that he'll come soon and dissapeard. We started ordering and suddenly he interrupted us and went somwhere again. After next 15min he let us finish the order. We supposed to get some bread but we've never get it despite we even asked for. Than, my friend get his pizza but I was still waiting for my seafood. We were very confused as he wanted to wait for me to eat together but at some point we got worry that pizza is already cold and than we asked again for at least bread for me. Finally, after around 15min after pizza, my seafood gratin came but it was cold and really bad tasting. The gratin had a soup consistence, and it was so much of it that I barely could see a few pieces of fish. We decided to not taking any second meal. When we've been asked if we liked the dinner we said no, and explained why but the waiter explained that "We serving this meal like that". I was extremely dissapointed and decided to write this opinion as I felt really bad treated and I dont wish anybody such a dinner.
I was looking for a suitable place for a big family dinner and I found it.The waiter was energetic and happy, how every waiter should be. The food was delicious, and more than enough. I can recommend this place for anyone. You must visit it if you are in the area!
During our holiday in Cesenatico we've tried this restaurant and we had an amazing dinner there!
Our waiter was kind and warm and the place nice and comfy.
Definitely our restaurant when we get back to the beach!
Been to Ristorante Pizzeria Capogiro? Share your experiences!


text:
Home | My Account | Search Catalog
Mission, History & Future
The Bloomfield Library strives to be the center of information and discovery for the Township. Our mission reflects the commitment we are making to the community.
The Bloomfield Public Library has been serving the community for over seventy years. It all began in 1902, when James Newbegin Jarvie, a prominent Bloomfield businessman, founded the Jarvie Memorial Library at Westminster Presbyterian Church, in memory of his parents. In 1923, he offered the library, it's collection and equipment to the town, along with $60,000. The library did a great deal of moving around until the Board of Trustees purchased the land at 90 Broad Street for $23,000. John F. Capen, a local architect, was commissioned to draw plans for the 17,000 square foot colonial brick building which finally opened to the public in March, 1927.
The library has undergone a great deal of renovation since then. By 1963, the need for more space had become obvious. The year began with intensive planning and a search for funds. Finally, on September 5, 1967, the newly built main library was opened to the public. The first floor of the original building was re-designated as the Children's Library. The lower level became meeting room and staff areas. The meeting room became a theatre in 1969 and continues to be the site of many live musical programs, films, lectures and children's programs sponsored by the library and other groups.
The library has always been recognized for its staff, whose friendly and cooperative spirit has been the hallmark of its dedicated service to the people of Bloomfield.
The Bloomfield Public Library's strategic plan serves as a blueprint to guide the library in its quest to provide exemplary services that enrich and improve the lives of the citizens of the Township of Bloomfield.
From 2016-2018, the library saw tremendous growth in registrations, circulation of materials, and program participation. These successes have reaffirmed our standing in the community and raised awareness of our role as an invaluable resource to the Township. It is upon this strong base that our Strategic Plan was built with an eye toward the future's ever-evolving environment, driven by innovations in technology and shifting demographics in the community we serve. This plan will also help us to respond to the growing needs and expectations of our patrons.
The Library took a comprehensive approach to the development of the Strategic Plan, including: assessment of the facilities and collections; a comprehensive questionnaire for both residents and staff; a Community Leaders/Stakeholders meeting, and a Library Open House for the community; all of which informed the final version of the Plan. Click to view the plan in full (PDF).
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text:
Why West Marin finds it difficult to heal
Lack of respect major factor
It has come to the attention of the Citizen that the Environmental Action Committee of Point Reyes Station is sending out emails to its supporters asking them to begin a letter-writing campaign to three newspapers outside of West Marin. The request is to include in the letters the following points, and to send copies to Cicely Muldoon and Jon Jarvis.
There's only one opportunity for a marine wilderness experience on the West Coast, and Congress was right to protect Drakes Estero for this purpose for all Americans to enjoy.
The closure of Drakes Bay Oyster Co. is absolutely fair – a deal is a deal.
I am grateful for having the oyster shack closed, it is one huge step closer to realizing wilderness protection and management for Drakes Estero.
The American taxpayers purchased the oyster company in 1972 and have waited over 40 years to enjoy a wilderness experience as long-planned and paid for.
Drakes Estero is the ecological heart of Point Reyes National Seashore and should be protected from zooming motor boats, invasive species, marine vomit, and plastic debris litter.
DBOC is a scofflaw company that has thumbed its nose at the California Coastal Act for nearly ten years. It does not belong in our marine wilderness area.
DBOC was given written notice of the impending closure in late 2004 and the public is not responsible for its business decisions or resulting consequences.
DBOC has operated 20+ months rent free on our public lands and reaped hundreds of thousands of dollars. What has it done with that money for its employees?
Wilderness is rare and valuable and must be protected from private commercialization.
Humboldt Bay is accepting proposals for new oyster leases and DBOC can operate there, but this operation is not appropriate in a national park wilderness area.
Meanwhile, some 25 families face an uncertain future, families with young children in local schools, families that will find it nearly impossible to find housing or jobs where they have lived and worked for some time. Thousands of people have been deprived of a valued local resource which was accessible to all, not merely the elite. It appears cruel at this time to state that, "I am grateful for having the oyster shack closed" without taking into consideration the families who have been directly impacted.
As for the other points, most have been disputed in the lengthy campaign to discredit and attack a local well-respected family. It should be pointed out once again that the attacks began with the NPS accusing the Lunny's of breaking Federal marine mammal protection laws (falsely) back in 2007, and led by the EAC, accusing our West Marin community of extreme right-wing interests, accusing the oyster farm of causing the marine vomit invasion (false), zooming motor boats (thousands of hours of filming and recording never proved this) and so on. An honest campaign would have gained respect, but instead falsehoods were utilized to further the quest, in the same manner our political campaigns are run.
The severe and often false accusations from NPS and environmental groups created and grew a grass-roots defense. This was a natural and logical response as it is difficult to continue turning the other cheek in response to attacks. This is what so many West Marin residents are angry over.
Having differing opinions on wilderness or sustainable non-polluting aquaculture is perfectly acceptable. The ugly methods used to further this dispute are not.
by Jane Gyorgy on August 19, 2014 • Permalink
Tagged Acting Assistant Inspector General, Alice Waters, alphabet ranches, Amy Trainer, ATKINS, Becker Report, Bill Bagley, Ca Coastal Com, California Coastal Commission, California Oysters, Cause of Action Complaint; Vigil, CCC, Chez Panisse, Cicely Muldoon, concealment, Congressional Hearings, Conrad L Wirth, controversy, corruption, David Press, deceit, deception, Dianne Feinstein, Director's Order #47, DOI, DOI IG, DOI Inspector General, DOI OIG, DOI Policy, DOI SIO, Don Neubacher, Dr. Ben Becker, Dr. Corey Goodman, Dr. Goodman, Dr. Sarah Allen, Drake, Drakes, Drakes Bay, Drakes Bay Oyster Company, Drakes Bay Oyster Farm, Drakes Bay Oyster Farm Closing, Drakes Bay Oyster Farm Drakes Estero, EAC, ENVIRON, Environmental Action Committee, environmental impact, Estero, falsification, Feinstein, Fight, fraud, Goodman, Hayes Street Grille, Hunger Strike, investigate, Jon Jarvis, Lunny, Lunnys, Machlis, major impact, Marin County, Marin County Agricultural Commissioner, Marin County Board Of Supervisors, Mary Kendall, moderate impact, Moregenweck, National Park Service, noise, NPS, NPS DEIS, NPS Management policy, NPS SIO, OIG, oyster, oyster boat, oyster boats, oyster farm, oyster farming, oyster tumbler, oysters, PEER, pneumatic drill, Point Reyes, Point Reyes National Seashore, PORE 004, PRAYER VIGIL, PRNS, Scientific and Scholarly Conduct, Scientific Integrity Officer, Secretary of the Interior Ken Salazar, Senator Feinstein, SOI, soundscape, Stacy Carlsen, Steve Kinsey, Stewart L Udall, TBOC, Tomales Bay Oyster Company, violation, VOLPE, West Marin
Posted by Jane Gyorgy on August 19, 2014
https://oysterzone.wordpress.com/2014/08/19/08-15-14-wm-citizen-why-west-marin-finds-it-difficult-to-heal/
Thomas James
I wondered why there was this sudden surge in letters to the Marin IJ, all making similar points.
Tom James
karenpavone
You've done an amazing job of covering the Lunny's story Jane. My hat's off to you! If you haven't already seen it, I'd like to share my blog post with you which highlights the closing ceremonies at Drake's Bay Oyster Company. You're mentioned therein. http://farministasfeast.com/2014/08/04/farewell-to-drakes-bay-oyster-company/
Your posting was excellent. Well done!


Is it ever "right" to accuse God of wrong? Is it ok for us to be angry with God?
We must answer these questions carefully and not be overly simplistic. Scripture tells us that God is never in the wrong, he never acts wickedly, he never sins, etc. Therefore, it IS sin to accuse God or be angry with him. There is no such thing as justified anger at God, for he never does anything wrong…he never does anything worthy of our wrath.
Yet…as soon as I say that, people begin to get upset because there are many times in their life they have "felt" wronged by God. Perhaps you have felt this way. Anger towards the Lord has festered in your heart. Are we just supposed to suppress that anger and put on a hypocritical face of love towards the Lord? No.
If we are angry with God, we should be honest about it. He knows anyway. Confess it, pray for comfort, and help… and eventually… repent. He is faithful and just to forgive. When we sin by being angry with the Lord, we don't sin again by hypocritically hiding that anger.
Ultimately, we need to see that our anger is pointed in the wrong direction. Typically when we are angry at the Lord, it IS because some injustice has taken place, but such injustice should make us angry at sin, death, and Satan! We should not be angry with the only solution to those problems! The Lord is the solution! He has promised to deal, in a real/final way, with sin, death, and Satan. When we are angered by injustices, let us not aim that anger at the only one who has promised to bring us the justice we desire.


Now you can truly immerse yourself into the world of Ratho Shenzi with The Ratho Shenzi Musical Companion, containing over an hour of original music specially composed by the author to complement and enhance the mood as you read the book. Let the haunting strains of the music transport you to a mysterious world of adventure. It's an interactive experience that soars to new heights as your imagination takes flight on every exciting page!


Imagine the sheer astonishment of Leonardo Da Vinci if he were suddenly alive and flying in a 747 at 35,000 feet above the ground. Can you see his mind-body – all his senses – become arrested in a state of complete Nirvana? Can you see him gasping at the recognition and acknowledgment of the fact that one of his wildest luminary visions is now a reality. The nature of humanity, however, suggests that the sublime bliss of this experience is likely to dissipate by more than half by the time he sets foot on his return flight. The emotional return on the experience will continue to diminish with each passing flight until one day he will get on the airplane, shut his window, shut his eyes, and hope for a new dream to entertain him during the hours that follow.
What happened to his awe? What happened to the ecstasy? This diminished return on experience is known as, hedonic adaptation (def. the tendency of humans to quickly return to a relatively stable level of happiness despite major positive or negative life events or changes). It so happens that being awestruck is the key to being our best selves, the key to our inspiration, and the key to liberating our inner genius. When in a state of utter surprise, we are attentive, we learn more, we think and perform better. These behaviors define what it means to be in an ecstatic state of mind (aka – a "flow state" or "the zone"). Unfortunately, the more exposed we become to the goings-on of the world around us, the less surprised or compelled we are by anything that happens, and the less affected we are by the sheer magnificence that engulfs being a living, breathing human being.
But how many of us today have the attention span of Charles Darwin? And how, in a world where the patience to pay attention to any one thing is so rapidly in decline, can we mindfully slow down and focus for long enough to become interested? Might this not explain why children seem less and less likely to sit through a full-length movie, but prefer instead to watch YouTube?
We know that our minds and moods are dictated by neurochemistry. After years of examination, science seems to have become fairly accurate in identifying scenarios that trigger the chemicals which cause us to feel, think, and act in the various ways that we do. So, if scientists can predict which chemical will be released during a given situation, then we should be able to – using a variety of methods – author our own neurochemical Nirvana. Timothy Leery obviously believed so. And his "trippy" method, though highly controversial and ultimately unsuccessful, is still very much in use today. MDMA, for instance, is being prescribed to PTSD and OCD patients on a regular basis, and in many of these cases is being reported to have, in one afternoon, the same effect of 10 years of psychotherapy. (And yes, I did just use 3 acronyms in one sentence.) Using drugs as tools or loopholes to alter our state of consciousness in search of ecstasy is no doubt a controversial topic. But perhaps, through a delicate and mindful combination of psychology, technology, and pharmacology, the future will allow us to engineer our own paradise, offering us the proverbial "red pill", a super-drug that has managed to dispense the bathwater and reprieve only the baby.
Pharmaceuticals, however, are nowhere near our only hope. Neurochemicals, after all, are stimulated naturally and require no drug whatsoever if the human in question is disciplined enough to seek the proper experience and dedicate himself to the time and patience necessary to become submerged in said experience. For some, such ecstasy may be rendered through a specific artistic endeavor, or by spanning time in some natural or designed heterotopia; outer vastness reflects inner vastness, after all. Others might meet their hedonistic needs through meditation or Yoga, or maybe through an extreme sport where the risk of danger or injury is present. Personally, I haven't found a high quite so exhilarating as that of leaping from the top of a tall cliff into a deep, glassy body of water. Though it is a very short rush, facing the fear of what I perceive in the moment (accurately or not) as falling to my death leaves me feeling completely alive.
No matter the method, bliss and sublime well-being are consciously achievable and are not limited to fleeting moments which lie outside of our control. The final frontier has been said to be outer space, but I would contend that perhaps there is a final-final frontier, one which consists of our own inner space. You don't need to be a "flow-junky" or a philosophical hedonist to aspire to have the key to your own happiness and your own gift of genius. As Brain Games host, Jason Silva, puts it, "Ask yourself: What makes me feel alive? What gives me the goosebumps? What makes me well up?" When you have the answer to these questions, make note of the surroundings – both those which lie without as well as those which lie within. Nail down the formula, and then, like a DJ with all the tools at your fingertips, tweak and tailor each component. Mix, match, and harmonize your own Nirvana.
The editors of the Paper Trail News have decided to add a Short Film section to our online news site. Our goal is to give filmmakers an opportunity to share their work and get some feedback from viewers. To see how this idea catches on, we are starting with our a short film we made, one that earned Matthew Thornton the Best Actor Award, Taylor Zamora the Best Supporting Actress Award, and Robert Thornton a nomination for Best Supporting Actor in the local CC7D Film Festival. The film presented here is the editor's cut, which is twice as long as the 8-minute version submitted to the festival.
Without time, there may be no depth. All too often, we waste time and effort by spending time and effort trying to save time and effort. Short cuts, loopholes, and corner-cutting may be useful in a pinch, but real progress cannot be achieved unless you are willing to "walk the path" in its entirety. Our sweeping mentality of always wishing to find a tool that will give us more and faster typically results only in superficial levels of quality and knowledge which deliver neither more nor fast. Worse yet, cramming with shortcuts to learn quickly a little about everything ultimately means that you'll only ever know a little about anything.
The frustrating truth is that there is no cure for time. Be it spent or wasted, nothing passes more steadily than the tick of the clock. All we have are the choices we make about how to pass with it. The good times move with the speed at which we wish the bad times could, and the bad times linger in ways that only good times should. In the end, our only real solution is mindful, steady work. Couple this with a specific objective, and we may rest assured that the amount of time it takes to complete any task will be exactly equal to the amount of time it should take to complete the task, no more, no less. Only with years of repetition does the length of time needed to complete our work begin to shorten, a frustrating fact of life that is otherwise known as patience.
Ever been so sure of an idea that you rushed through it on impulse, overlooked something small (or big), and proceeded to watch your idea come crashing to the ground? Worse yet, ever wanted to create something that you were afraid might not amount to much if seen by other people, so you decided never to begin? Or what about that time you knew exactly what you wanted to produce, took all the necessary steps, and then watched in surprise with everyone around you as your idea came full circle from concept to reality? If the answer is no, stop reading here and go to a library or a museum, or anyplace at all that might fill your soul with a whisper of a thrill or a spark of inspiration. If, on the other hand, the answer is yes to any or all of the preceding questions, then I have one more question for you: Have you ever wondered why your creative undertakings succeed or fail, and how you can ensure that your next idea will come to fruition?
Creativity exists in the narrow fracture between confidence and fear, a place where patience holds the reins and gives us the courage not only to forge ahead, but also the acute awareness of when to slow down. Mindful rousing and taming of your creative inner giant is developed through artistic patience – a skill requiring a conscious awareness of purpose, a self-reflection of habit, and the most recalcitrant element of all: time.
Confidence, though wildly desirable, has the nagging ability to produce a self-righteous voice in our heads: gas-pedal to the floor, eyes on the horizon, all the while neglecting the side and rearview mirrors. Anyone who has felt it is sure to be addicted to the high of feeling unbridled certainty. Unfortunately, what goes up must come down. Without the lows, after all, highs would be indistinguishable. Pure confidence, therefore, rarely produces our most creative selves.
Fear, on the other hand, produces nothing short of a well-armored fortress of excuses, telling us we should wait for ideas to strike, for resources to appear, and for acceptance by the masses. Worse yet, fear not only cripples creative impulse, but it also has the sneaky ability to transform in such a way that falsely spins our angst into the image of patience. Fright tricks us into telling ourselves, "It's okay… Take your time… Don't act too fast." Make no mistake; this is not real patience. It is the proliferation and paralysis of fear.
Unlike the extremes of confidence and fear, creative patience settles our minds in such a way that not only fuels confidence but also seeks and destroys fear; it pushes us forward without allowing us to act in haste. Ironically, it is the moments during which we feel the most sure that we might need to slow the cart, and the moments during which we feel the most fearful that we should forge ahead. More time and more tools do not equal more freedom, more productivity, or necessarily even better quality. In fact, real freedom is found in limitation, which means that with the correct mindset, having access to fewer resources and less time can often lead to both more and better results. Creative patience spurs us into taking the time to figure out why and how we should create something, and then, without rushing or skipping steps, creating it.
Don't wait to start until the ideas strike; strike until the ideas start. Don't wait until you have the tools to build; build with whatever tools you have. And above all – don't fall slave to trends of the majority. Go the other way. Be a misfit, make your own rules, and remember that creativity is a result of lifestyle and habits. So shape your thoughts and actions accordingly and make your ideas become reality.


On this course you work on your own project. It can be a dolls house that you want to electrify or renovate, a roombox kit that you keep meaning to assemble, or you can create something from scratch. Favourites are boxes themed to a special event or season: new baby, Christmas etc. and there will be time for furniture and decoration.
For more information, go to the Courses page.


text:
Kamrat 4 procent är ett begrepp inom svensk politik som ursprungligen åsyftade väljare (huvudsakligen socialdemokrater) som röstade på Vänsterpartiet Kommunisterna (nu Vänsterpartiet) för att partiet skulle uppnå minst fyra procent av rösterna i riksdagsvalet (vilket från och med år 1970 krävs för att erhålla mandat i Sveriges riksdag). Detta i sin tur för att vpk skulle kunna fortsätta som stödparti åt Socialdemokraterna och garantera en fortsatt arbetarmajoritet i riksdagen. Begreppet skapades av journalisten, tillika vpk-medlemmen, Carl Gunnar Edanius i en dikt med samma namn.

Namnet kommer av det socialistiska tilltalsordet "kamrat", vilket används både inom socialdemokratin och kommunismen.

Begreppet har med tiden degenererats och kan i idag användas för taktikröstande i största allmänhet, i syfte att ett litet parti ska komma över fyraprocentsspärren i riksdagsval. Synonymt används även ordet stödröstning. Numer använder dock statsvetenskapen i allt högre utsträckning begreppet taktikröstning eftersom "stödröstning" ju egentligen avser all slags röstning.

Utveckling av begreppet
Under regeringen Reinfeldt användes begreppet även om allmänborgerliga väljare eller moderater som stödde Alliansen och som kunde tänkas rösta på Centerpartiet, Folkpartiet (nu Liberalerna) eller Kristdemokraterna, för att behålla dem i riksdagen. Begreppet Broder 4 procent har ibland använts för moderater som stödröstat på Kristdemokraterna, då med anspelning på Kristdemokraternas frikyrkliga bakgrund, där broder är ett ord som används för en trosfrände, se exempelvis äldstebroder.

Efter valet 2002 hävdade dåvarande statsminister Göran Persson att många socialdemokrater, för att rädda kvar Miljöpartiet i riksdagen, blev Mulle 4 procent. Det sågs därför bland ledande socialdemokrater som ett svek när Miljöpartiet i samband med regeringsbildningen efter valet under en period samtalade med mittenpartierna om ett regeringssamarbete. Regeringsbildningen ledde emellertid till att regeringen Persson satt kvar med Miljöpartiets och Vänsterpartiets stöd.

Referenser

Externa länkar
 Skånskan om begreppets tillämpning på Alliansen
 BLT Sydöstran om Kamrat 4 procent

Politik i Sverige

redpajama_set_name: RedPajamaWikipedia


text:
For a New Year: An Invitation Regarding Law, Legal Education, and Imagining the Future, Part I
Modern law schools were invented before modern law practice emerged.
I mean that statement as the first part of an invitation, rather than as the first part of an argument. The invitation, below and in several posts to follow, is to participate in conversations about the future of legal education in ways that integrate rather than distinguish several threads of concern and revision that have emerged over the last decade.
Conversations about the future of legal education necessarily include conversations about the future of law practice, legal services, and law itself. Some of those start with the somewhat stale questions: What are US law professors doing, what should they be doing, and why? Those questions are still relevant and important, but they are no longer the only relevant questions, and they are not the only places to start. What about other legal educators, meaning those who teach and train in legal services worlds but who don't teach the professional practice of law or the delivery of traditional legal services? What about those who are involved deeply in the production and distribution of law, legal services, and legal information but who are not, themselves, lawyers? Why start with current teachers; why not start with current or future students, or current or future clients, or current or future institutions, or current or future sets of values? Expand the communities of interest and identities of potential participants not only beyond elite US law schools, and not only beyond the private law firms that constitute BigLaw, but also beyond the US and beyond North America.
The invitation goes out, in short, to a much broader audience than US law professors, and it is framed in broad but pragmatic terms. By design, it is an invitation to action, rather than an invitation to more scholarly or research-oriented dialogue. I am sending it out on my own in the hope that there are other people out there who, like me, have been chipping away at legal education innovation in small parts for a long time, anticipating – or just speculating – that small contributions might scale or build toward a more substantial new form and vision of law and legal education. That hasn't happened. Yet. My hope is that a group of people with similar tendencies to speculate might self-organize around shared interests.
This post consists largely of setting out some premises and background. Four posts to come advance the agenda. The theme is change, and how to move beyond local reforms to the possibility of larger-scale rethinking. Is it possible to reconceptualize an entirely new system of legal education, or set of systems, and then to set about enacting it? Why would one do that? What would the results look like? What would the process consist of?
Change management experts routinely talk about a standard set of steps associated with diagnosing the need for institutional change and building plans to guide transitions. Those begin with cultivating a sense of urgency; identifying the participants in developing a vision of the future (the coalition, in change management lingo); and shaping and documenting that vision. Communication and implementation follow.
I'll follow that template, though not always precisely in the standard sequence. For obvious reasons, none of this is easy. There is no reason to suppose that it is more complex in the context of legal education than it is in any other higher education context, not-for-profit context, or business context. But change management for legal education has its own distinctive challenges. First among those likely is this: The most salient feature of modern US legal education is its antiquity rather than its complexity. US law schools remain anchored in a conceptual framework that is close to 150 years old. Modern memory literally runs not to the contrary.
Start with urgency. This is a brief overview, mostly just to set the stage. A lot of lawyers and law professors and other participants in legal systems are already well-versed in these challenges and what they seem to add up to. A lot of lawyers and law professors have done the math differently or are persuaded that current challenges are less problematic. I doubt that I'll persuade them otherwise, and I'm not going to go to any lengths to defend every proposition that follows. This is neither a journal article nor a brief. But narrative flow suggests that I make the basic case. This post will put the matter generally. Later posts will get more specific.
Here's the general point. For several different, intersecting reasons — the economics of law practice, the economics of higher education, developments in information technology, international influences, changes to government institutions and practices, changes in the public sphere, changes in social structure (and/or revealed attributes of social structures), changes in the design of professional practice — many quarters of the legal profession share a deep sense that something critical is upon us, that something critical is upon us particularly as law schools and law teachers, and that something critical is emerging at scale, not just in local classrooms. What's the point of going to law school? What's the point of practicing law? What are we trying to teach?
Today, none of those questions has a universal, self-evident, comprehensive answer, at least no answer that's concrete and practical enough that it helps us understand whether our educational and training systems are set up well. The idea of a "new mission" or a "new vision" for law schools is plausibly in the air; lots of new things are happening, or at least lots of them appear to be happening. But the character and trajectory of reform is disputed and divided, and little of it is systemized either conceptually or operationally. Some parts of the legal profession are changing dramatically and quickly. Others are changing little or not at all.
US law schools, for example, aren't changing themselves much. There is a fair amount of institutional innovation at the level of the individual school and/or the individual teacher. Few of those innovations spill over to other schools; few of them spill over in ways that change the institution in essential ways. For example, clinical legal education in the US is now decades old, but clinical law faculty at many law schools and across US legal education as a whole are still marginalized culturally and organizationally. The history of legal education teaches that institutional change is slow and incremental at best. Innovation and experimentation are the exception rather than the norm.
Perhaps productive incrementalism is OK; perhaps it's enough. Looking forward, law school applications and enrollments may go up a bit or down a bit; employment patterns for new graduates may continue to diversify (best outcome) or stagnate (somewhat worse). The long-term value of a current law degree can be modeled in a way to make the out-of-pocket and opportunity cost of attendance reasonable relative to the expected benefits, at least using historical data. University administrations may become steadily more accepting of the need to underwrite the cost of law schools, or modestly less so. Overbuilt and truly marginal law schools will struggle and possibly close – some have already. But on the whole, law schools are "prestige" units to US universities in ways that are unlikely to change. Individual faculty members have long and mostly successful histories of adapting tried-and-true teaching and training strategies to organizational, technological, and cultural change.
I'll call that pattern "riding it out suboptimally," and that's probably the most optimistic forward-looking view of the matter.
Here's a less optimistic one. To borrow part of a line from Twelfth Night, even if law schools aren't changing themselves, law schools may have change thrust upon them. Many law schools operate today in a delicate post-2008 equilibrium, eking out an existence supported by a lull in enrollment declines that mollifies a patient provost but that doesn't account for continuing uncertainty and possible coming traumas in the private law firm market. Over the next decade, enrollments may take another large hit; the structures of private law practice are liable to undergo substantial revision. Technology may overtake labor markets (as well as other things) dramatically, compromising placement and career development options in other ways. Even absent such a revenue catastrophe, provosts and boards may lose their patience with imbalanced law school budgets. Systems that supply student finance may change or even disappear. Despite the prestige of law schools, to university administrators law schools are small and administratively burdensome; their graduates are often mismatched with relevant labor markets; and their alumni don't give much back. As securities lawyers learn to say, there can be no assurance that the past persistence of law schools will guarantee their future thriving, or the thriving of their graduates.
Urgency is suggested not only by these "external" pressures but also by "internal" ones; there are problems of substance but also problems of process. What if the incrementalist institutions of the profession are the problem, rather than the solution? The fact that people of good faith and good will are doing their jobs, in role, may lead precisely to the barriers that need to be evaluated critically. Ordinary law faculty governance is often consumed by rent-seeking, turf-protecting, tenure and promotion goals, and a culture of regulatory compliance that consists largely of "make the minimal changes to needed to satisfy the accreditors." The exercise of deans' authority, such as it may be, is always subject to short-term demands, such as budgets, bar passage, and placement rates. ABA and AALS reviews of legal education are intended, almost by design, to avoid re-thinking the foundations of the current system. Committed participants outside the current system — legal services providers and consumers, law firms, tech developers – often express "disruptive" dispositions in the interest of client service, but that attitude risks promoting educational innovation based on faddishness, trendiness, and capture of educational processes by rent-seekers. We face the Scylla of "Legal education rests on enduring, unchanging intellectual, analytical, and organizational foundations, which evolve and adapt organically via standard institutional practices" and the Charybdis of "Legal education needs to catch up with radically changing, technologically-determined (or globally-determined, or etc.) patterns of law practice and legal services."
Part II, tomorrow.