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Posts tagged 'teen fiction blog'
Narrative Point Of View In My Teen Novels, by Carolyn Meyer
Once I've had a great idea, fallen in love with my characters and have a sense of the direction the story will take, the question becomes: whose story is it and how will I tell it?
Will I stick with one character's point of view or shift among characters? Will I use a first-person or a third-person narrator?
Recently I worked on a four-book series called Hotline with a contemporary setting and four main characters; each teen takes a turn as the central character of a book with the others in secondary roles. This was my first experience with handling multiple points of view, and it wasn't difficult as long as I remembered to keep my mental camera focused on one character at a time. Mostly I prefer a single point of view with the main character as the focus – frankly, it's easier.
Choosing first person (I) or third (he/she) is a separate issue. I sometimes struggle to find the emotional core of my story and to convey that to teen readers. When I wrote The True Adventures of Charley Darwin I was steeped in the novels of Jane Austen, popular in Darwin's time. Like Austen, I tried writing the story in third person, but my editor thought my narrator was "too distant" and would not connect well with teen readers. So I started over and let Charley tell his own story, as I have in most of my historical novels.
The most straightforward approach to first-person narration is the style of a memoir or autobiography. In Cleopatra Confesses I elected to write in first person: "I, the king's third daughter, called Cleopatra, sit alone in my quarters…." Present tense gives a sense of immediacy, but could just as well have been in past tense, by changing sit to sat. It could have been told in third person: "Cleopatra, the king's third daughter, sat in alone in her quarters…"
The perspective of the first-person narrator has to be considered. In the prologue for Cleopatra Confesses Cleopatra looks back, telling her story while she waits for the arrival of the enemy who will take her prisoner. In The Wild Queen Mary, queen of Scots, is also looking back and narrates her tale on the night before her execution. In Victoria Rebels Victoria begins by grumbling about the evils of her mother's friend, Sir John Conroy, as she prepares for her sister's wedding; she's not looking back, but peering ahead.
Another option is to construct the story as a diary. Writing Anastasia: the Last Grand Duchess, as part of the Royal Diaries series, was harder than I expected. There couldn't be long descriptions or even much dialogue – just short, crisp scenes. The writer of a memoir knows how her story ends because she has already lived it. The fictional diarist does not know what lies ahead and how her story will end – she has no idea throughout the story that she will be murdered but it was up to me as the author to move the plot inexorably toward that end.
Carolyn Meyer's author website: www.readcarolyn.com
Carolyn Meyer's bio page
My Fiction Writing Process, by Stephen Emond (graphic novelist)
I'm going to talk a little bit about what works for me when it comes to the process of writing. Everyone's different, and no doubt you will be too, but here's a little insight on how I work and how I came to use this process, and with any luck it can help you find your way as well.
I taught myself to write in gradual steps, by need, generally. My first 'writing' was my short comic strips. It doesn't sound like much but writing comic strips is a great boot camp – every strip has a beginning, middle and end, or set up, development and punch line. You're essentially telling a small story every day. By the time I was working on my Emo Boy comic book, I figured I'd read enough comics and watched enough TV. I knew the basic gist of how a story should look and feel. Some issues had one issue-long story and some issues had story several smaller stories. I'd generally set up the storyline, come up with some events and jokes, then wrap it all up, and if Emo Boy could learn a lesson by the end, all the better.
In 2008, I was working on two projects at once. One was Happyface, a full novel I was writing for Little Brown Books For Young Readers and the other was a screenplay for an Emo Boy movie for Vanguard Films. In 2008, I learned I knew absolutely nothing about storytelling.
The main complaint I kept hearing was: "Where's the structure?" This was coming from both companies. Having worked on short comic strips and comic books, my stories tended to feel too episodic. Emo Boy, the movie was having multiple adventures stemming from the comic book storylines. Happyface was jumping from month to month and place to place with little arc.
I've since become a strong outliner – I often spend as much time, if not more, outlining a book as I do actually writing it. I start in broad strokes and break it down piece by piece. It goes something like this:
Have an idea.
Give the idea a basic arc – a beginning, middle and end.
Flesh those pieces out into 3 acts – so the beginning, middle and end each have a beginning, middle and end.
Jot out ideas, scenes, character traits and lines of dialogue. Picture a video trailer for the book. Think up themes arising from big ideas. I ask myself: what is it about this story that excites me and makes me want to write about this in particular? How do I connect with the story? I take all those puzzle pieces and try to fit them together into some kind of loose outline.
From there, I start thinking in chapters.
For each chapter, I'll write a beginning, middle and end. I'll add more dialogue, locations and characters.
My editor says my first draft for a chapter is always very loose, like I'm racing to the end. It's closer to a comic or a screenplay: this person says this, that person says that, they both do this, the end. I'll go through it again to add more observation, detail and surroundings. I'll go through it again and add more mannerisms and movement, what the characters are thinking, sensory details like how something looks, smells or sounds. In final drafts, I pay attention to word choices, how sentences flow and the general feel of the text.
Things change a lot as I write. The outline will bend and sway, characters will reveal themselves to be far more important than I'd anticipated. So, even though I have a blueprint, I'm still discovering along the way. Some people prefer to start blind – they have a germ of an idea in mind and they start writing. I've tried this but I just stare at a blank page trying to think of something clever to say. It doesn't work for me – but we're all different. This is just my process.
In a more general day-to-day look at my writing process, I like to write outside of my home. I find I'm easily distracted at home, I have all my books there, my TV, video games and, worst of all, house chores. I also find that other places have better lighting. It makes me feel more awake. It could be a library, a cafe, a Panera Bread or a Barnes & Noble. I listen to music while I write – nothing with lyrics or too distracting – or sometime movie scores, and there are some indie bands that do instrumental music. I like jazz, anime soundtracks and, lately, I've added hip hop instrumentals into the mix.
Writing is hard. This is an issue for me and I know it is for a lot of people. Sometimes you know you want to write but you think, "I don't have any ideas. I don't know what to write." So you don't. It takes me a few minutes to get started. My head is racing, full of to-do lists, distractions, it's been a long day, my brain is fuzz and I just want to tune out, but once I sit and just stare at the blank screen or notebook paper my brain will, one by one, shut off all those distractions. I start to think, one thought leads to another and eventually I'll be lost in my own little world. Time slips away and I can easily sit there for an hour or two and not even feel it. I imagine it's what meditation is like.
Anyone can write: you need to find what works best for you. Find that process and put your trust in it, and you'll be piling up pages before you know it.
Stephen Emond's author website: www.stephenemond.com
Stephen Emond's bio page
Editors: Working With You To Make The Best Book Possible, by April Henry
My first book was published in 1999, so I've had a lot of experience working with editors. In fact, I've had five of them, plus an unknown number of copy editors and proofreaders. The amazing thing is that, in my experience, each editor has a different approach. What one editor is passionate about may not even be on another editor's radar screen.
My five editors
My first editor loved characters who were quirky, whacky or eccentric – and if she felt they weren't quirky, whacky or eccentric enough, she often asked for them to be enhanced. Sometimes her comments were cryptic. I still remember staring at one notation scribbled in a margin. It said, "Pump up the mystery!" I had no idea how to do that and I was too scared to call her. I've since learned that just as an email sometimes lacks the emotional nuance that would allow you to completely understand a message, so too can editorial letters and hand-written notes. A simple phone call can go a long way toward making things clear for both writer and editor.
My second editor was a legend in the business. She was in her 80s and everyone loved the idea that she was still working full-time. Dozens of famous authors had been edited by her over the course of her long career. I think she worked right up until she died. Her editing was much more broad-based and she wasn't nearly as much of a detail person as my first editor was.
My third editor was famous for being able to write an 11-page editorial letter for a 12-page picture book. He used brown stickies to mark changes he had pencilled in green on the manuscript. One draft I got back bristled with so many stickies it looked like a porcupine. For Christmas that year, I gave him a brand new green pencil, figuring he had used one up on my manuscript. One thing I learned from him was that sometimes when an editor asks for a specific change, he or she may be right that something is wrong. However, the writer can often make a different sort of fix than the editor requested and still come away with both parties happy.
My fourth editor writes thoughtful editorial letters that I dread. Why? Because she is skilled at finding flaws I haven't noticed. Flaws that require lots and lots of thought before I can fix them.
My fifth editor is both a big picture editor and someone who notices the smallest details. She's pointed out words I tend to overuse - words I wasn't aware of until she had checkmarked three or four uses of the same word in a single page. Once or twice, she has questioned the veracity of things I write, asking if it's really true or possible. I welcome that. So much fiction, especially mysteries and thrillers, is riddled with errors about police procedure, weapons or investigative techniques.
The process of editing
Editing used to take place on paper, and you, the editor and your agent would send bulky manuscripts back and forth. I still have some unused manuscript boxes in my basement. They fold up neatly and have a little tab you insert into a slot. It's probably the equivalent to holding onto a buggy whip. Now manuscripts get emailed as attachments, to be read by agents and editors on e-readers, and to be edited by line and copy editors on computers and then emailed to you with tracked changes. Many editors will still print out a paper copy and mark that up, at least to a degree, although I wonder if that will change as a generation who started on paper retires.
Line editors may make suggestions as to how to burnish the story and are big picture people. Copyeditors are more focused on the details. For example, they make sure that a character who has blue eyes on page 19 does not have gray eyes on page 319. They know the difference between flout and flaunt. They do a certain amount of fact-checking, making sure that, for example, you don't spell Cheez-Its incorrectly. Oddly, I have had the same freelance copyeditor work on several of my YA books even though they were put out by different publishers. In a further twist of fate, she grew up in Portland, where I base most of my stories.
Both main editors and copy editors have saved my bacon many times. It's hard to see your story clearly: you always need at least one more set of eyes.
How To Tell Good Literary Agents From Bad Literary Agents, by Amy Kathleen Ryan
In my previous post, I discussed why a novelist should have an agent. What follows is a step by step process for how to tell the good agents from the bad.
A good agent doesn't ask for money up front. Every book and magazine on being a writer will tell you this. Everything agents earn from you comes out of sales of your work. Most agents make about 15% on domestic sales and 20% on international sales. I've heard some agents are asking for a bit more but this is the basic guideline. Many good agents will also deduct some expenses from your take home pay, for example any travel, postage and long distance costs that were incurred during the sale of your manuscript. My agent does this and I'm okay with it. If someone asks for a "reading fee" or charges you for their editing services up front, I'd be very wary.
A good agent has a list of recent sales to reputable publishers and is capable of landing a decent advance. Most agents will list their clients on their website and you can check there for recent sales but the best way to determine an agent's negotiating prowess is to buy an inexpensive subscription to The Literary Marketplace, where almost every sale to a publisher is trumpeted with a little code key for how much money the author landed for his/her manuscript. If an agent has gotten a "Significant Deal" or a "Major Deal" for a client within the last few years, you know this agent is capable of successfully running a bidding war. This doesn't guarantee a bidding war for your work but at least you'll know it's a possibility.
A good agent gets good reviews from their clients. Before signing an agency contract, you can ask for references for your agent. I believe most agents are very willing to have current clients speak with prospective clients. You might want to ask things like how long it takes for the agent returns the author's phone calls and emails, how long the author had to wait for the agent to submit their first book, and how the author would describe the agent's communication style. I would caution you not to be too stringent with the way you evaluate these answers. A good agent will have a lot of clients and can get very busy, and might not always return calls/emails as promptly as you might wish. Also, I had to wait about six months for my agent to submit the first book I sold with her but I've never had to wait that long since. In other words, sometimes a good agent is worth waiting for. Only you can decide how long you're willing to spend waiting for your agent to get around to you.
But how do you get an agent in the first place? My next post will answer that question. Stay tuned!
Amy Kathleen Ryan's author website: www.amykathleenryan.com
Amy Kathleen Ryan's bio page
Month In Review with Steve Rossiter (April 2013)
Writing Teen Novels has reached the end of its fourth month of articles for 2013, from this year's line-up of novelists from the United States, the United Kingdom, Australia, Canada and New Zealand.
The purpose of these Month In Review articles is to:
- provide a handy list of links to the articles for the past month, then to
- relate some of the content of these articles to my own novel writing to help novel writers and other interested people discover the month's content and gain some insights into ways the month's content can be engaged with in a practical context.
Articles for April 2013
First Person Present Tense Narration In Teen Novels by Beth Revis
Teenage Characters And Responsibility In Teen Novels by Elizabeth Wein
Does A Novelist Need An Agent? by Amy Kathleen Ryan
Tools To Develop Productive Novel Writing Habits by April Henry
On Story Ideas And Developing A Novel by Stephen Emond (graphic novelist)
On The Inspiration For My Teen Novels by Laurie Faria Stolarz
On Joining A Writing Group Or Writing Alone by Paul Volponi
Plotting A Novel Versus Winging It by Diane Lee Wilson
The Process Of Writing My Novel 'My Brother's Shadow' by Monika Schroder
Plotting My Teen Historical Novels by Carolyn Meyer
Making Time To Write Your Novel by Lish McBride
Crafting Your Novel's Plot And Characters To Sustain Story Momentum Throughout The Middle by Sam Hawksmoor
Writing Novels About Teens For Teen Readers by Bernard Beckett
Using 5 Senses In Your Novel Writing by Pauline Francis
Using Characters And Setting To Situate Your Story In Another Culture by Kashmira Sheth
Creating Empathy For Your Characters (Secrets Of Narrative Drive) by Sarah Mussi
Characters And Story by Andy Briggs
Developing Characters For My Teen Novels by Kate Forsyth
This month's articles and writing my teen novel
April Henry wrote: Do you ever find yourself polishing the same paragraph over and over, moving a clause here, changing a verb there and not ever actually adding any new words?
Paul Volponi wrote: What gave me the glimmer of hope that I could actually write a novel? Well, while I was working on Rikers Island, I was surrounded by other teachers who were aspiring novelists. They would sit in the computer room before and between classes working on their stories. I turned to one of them one day and said something like, "That's amazing how you guys can write such big stories with all those characters and plot twists." The guy replied, "If I can write a few good paragraphs a day, it really adds up."
Elizabeth Wein wrote: One feature that I feel is characteristic of teen fiction is the divide between young people and adults. It can show up as a contrast – between the unfinished, dynamic character of a maturing teen and the more static character of adults who are stuck in their prescribed roles. Or it can show up as a simple lack of understanding between the adults and the teens in the novel. Where I find this divide most interesting, and probably most disturbing, is when it's part of a power play. This is the kind of conflict that I find myself most often describing in my own novels.
Bernard Beckett wrote: When writing a piece of fiction, we try to do something more than achieve an external description of the world. We want to engage with it in a way that feels like a depiction from the inside. We're digging, if you like, towards that which is essential. If you write about teenage characters for a teenage audience, you are backing yourself to be able to tell them something both fresh and authentic about their own experiences.
Different novelists approach their writing in different ways but it is typically a good idea not to stop and start, breaking off to research or edit, once you start drafting. Most novel writers find it much more productive to familiarise themself with their subject matter, and maybe the general design of their character development and plot, then to write a draft from beginning to end before going back over what they've written and revisiting their research to get the finer details right. It's often not until a writer has finished a full draft that they really understand in detail how they want their story to work, so the best time to spend hours painstakingly polishing the fine details is typically after you have a full draft. Otherwise changes which are necessary to make your story work better could result in having to change or cut large sections that you have rewritten and edited for many hours needlessly. As April wrote, "Don't let perfect be the enemy of good" when drafting.
As Paul pointed out, writing a little bit regularly adds up. If you 'wait until you are inspired' and write 3000 words in a day once per month it will take you two years to write a full draft of a 72,000 word novel. Keep in mind that this is just the first draft, which might be half, a third, a quarter, or less of the work you do before submitting a novel to an agent or publisher (or self-publishing). Then an agent or publisher might only be interested if you do a major rewrite. If you write 500 words a day every day while drafting you will complete the first draft of a 72,000 word novel in 144 days, which is a little under four months. Writing 750 words a day, five days a week, will get a 72,000 done in 96 writing days over 134 days, which is three and a half months. Writing regularly will also help you keep the story together in your head to maintain continuity in your story and consistency in how you're writing the story.
Many have speculated about what makes teen novels so popular with both teens and adults. One major factor is "the unfinished, dynamic character of a maturing teen and the more static character of adults who are stuck in their prescribed roles" that Elizabeth wrote about in her article. Adults don't have to get stuck in prescribed roles but many do. Many adults have lost touch with a sense of having an unfinished, dynamic personality – which is the nature of people throughout their whole life, whether they take full advantage of it or not – to a large degree and reading stories about teenagers can help adults rethink their own attitude to life and rediscover the possibilities still available to them.
Writing my own teen novel, set in 1939 Poland, it has been crucial to do in-depth research before drafting to avoid stopping and starting to do extra research while drafting or writing an under-informed draft which would require major cuts and rewriting later. I find that having an in-depth knowledge of my subject matter and resources at hand to double-check any details I might need to confirm along the way allows me to write with confidence, enjoy the writing process and be inspired by the real-life context of what I'm writing about. Even if you write fantasy novels, and can therefore make up a lot that other writers might need to make sure they get right, some initial research relevant to your story can go a long way to creating a rich, coherent foundation for your novel and tangible real-world details to draw readers into your story-world.
My novel-in-progress is set in a time and place where characters' plans are disrupted by the outbreak of war and they have to re-invent how they live their lives. As discussed, teenagers tend to do this naturally and many adults would benefit from being more open to re-invention. The 'unfinished, dynamic character of the maturing teens' in the novel should carry with it appeal for teenagers who identify with the characters' personalities, by 'telling them something both fresh and authentic about their own experiences', and for adults who remember their own teenage years and the sense of possibility and opportunity that they either still have or have let go of to some degree. The characters face extraordinary circumstances which will hopefully inspire readers to realise that, if the characters are capable of doing what they do in their difficult circumstances, then the reader is also capable of great things without the obstacles faced by the characters.
You can connect with Steve Rossiter on Facebook or on Google+.
Using Characters And Setting To Situate Your Story In Another Culture, by Kashmira Sheth
The most challenging part of writing a story set in another culture is making it feel authentic and relevant. It is like building a brand new house that perfectly blends with the century-old neighborhood. It should have the same weathered feel as the other homes. To write a story that feels realistic, the author should think of two critical parts, characters and setting.
Start a story with the main character and build her (or his) personality. Do it in such a way so that the readers can relate to and empathize with the protagonist. The character must have habits, likes and dislikes, and certain physical attributes. For example, she may like to wash her hands obsessively, he may hate the idea of his father's waking him up at four to help him on the farm, he may have a big mole on his hand or she may bite her nails. These kinds of details help us create an image of our character in readers' mind no matter where they are from.
Give your character's personality a strong sense of believability. A childhood adversity, such as money problems, may drive your character to start a lawn-cutting business while still in high school. A shocking event in his early life (eg. a sibling's accidental death) may cause him to have nightmares into adulthood. Life-changing events that shape him make his behavior believable, his motivations clear, and his journey plausible in the reader's mind.
A place with sensory details is also critical to a story. If the story is set in an unfamiliar place the setting is as important as your main character. Using all five senses brings the place alive and keeps the story grounded. When a writer can establish a character in a setting that seems unique and yet natural it adds depth to the story. To achieve this, the writer can use a familiar place (contemporary novels) or build it up from imagination (fantasy novels) or from extensive research (historical novels).
The last step is to bring the character and the setting together in an intertwined fashion. If your protagonist lives by the ocean, the tide may have some special significance to him. On the other hand, if he lives by the mountains, he maybe fond of hiking along a trail to clear his mind.
Another way we can do this is to let your character use dialogues as well as body language not only to convey his thoughts and feelings but to ground him in the place. These gestures must be culturally specific and relevant to the story though.
What if your protagonist, who lives by the ocean, opens a window, sees someone, and shivers? Is it because of the cool ocean breeze or because he sees his arch enemy walking up? This kind of reaction to a setting can serve dual purposes for your story and make readers want to keep on reading.
Once the setting and character are well established readers can identify with the protagonist easily. Then the details you provide from another culture, tradition or time become just as engrossing as the ones the reader is familiar with.
Kashmira Sheth's author website: www.kashmirasheth.com
Kashmira Sheth's bio page
The Process Of Writing My Novel 'My Brother's Shadow', by Monika Schroder
It has been said that there are those writers who plan and those who "fly by the seats of their pants." I am part of the second group and before I began working on my novel, My Brother's Shadow, I only had a rough idea of who Moritz, the main character, was and what would happen in the story. I encountered a surprise in the first few pages. Moritz was telling his story in first person and used the present tense. Hadn't I read in many books about writing that the first person, present tense point-of-view was difficult to write? My first two novels were told in the voice of third person omniscient narrators reflecting on past events, and I had no intention of changing from what I knew by writing in first person and in present tense.
I rewrote the beginning in past tense but couldn't force Moritz to tell his story in hindsight, so I stuck to the immediacy of present tense. The story is set in 1918 Berlin. I needed to convey a lot of background information. It seemed such a daunting task to introduce the reader to starvation and despair in Berlin as well as the anticipation of military defeat without the omniscient perspective of third person POV. In the first chapter I needed to set the stage, let Moritz introduce himself and his family, and find an intriguing ending to the chapter that would entice readers to go on. Moritz came to my rescue. As an apprentice in a print shop of a Berlin newspaper he could read the headlines of the paper he just helped print and thereby inform the readers of my novel of the state of affairs in Germany in October 1918. The newspaper became a vehicle to disseminate information about the setting without interrupting the flow of the narrative. In the first page of the novel, Moritz reads an official war report knowing that the government is not allowing the truth to come out. He also meets Herr Goldman, a journalist with the paper who takes a liking to Moritz and ultimately helps him to fulfil his dream to become a reporter. Moritz is able to tell the reader about the most pressing and newsworthy current events through his conversations with Herr Goldman. Apparently there was a way for me to write in first person, present tense and still give the reader a sense of the setting.
About half way in, the story took an unexpected turn and once again I had trouble letting myself deviate from my original plan. Moritz had met a girl who had completely flummoxed him with her wit. Granted, it was not so unlikely that a 16-year old boy would take an interest in a girl but I had not anticipated a romance.
I had never expected to write about young love. Now here was Rebecca, the smart daughter of a Jewish bookseller who attended the same political meetings as Moritz's mother and sister. After their first encounter on the train, it was clear that they had to meet again. Yet the book takes place in 1918, so they wouldn't go "all the way." I was able to braid his discovery of love together with the story of Moritz's relationship with his brother, who returns from the trenches a maimed and bitter veteran. Rebecca's presence even gave me the opportunity for a hopeful conclusion to leave readers satisfied after Moritz's intense final confrontation with his brother.
Writing My Brother's Shadow has taught me to trust the process along the way. A quote by E. L. Doctorow showed me that I am not alone with this approach: "Writing is like driving a car at night. You never see further than your headlights, but you can make the whole trip that way."
Monika Schroder's author website: www.monikaschroeder.com
Monika Schroder's bio page
On Joining A Writing Group Or Writing Alone, by Paul Volponi
Over the last 14 years, I've written 10 Young Adult novels. I wrote the first one, Rikers High (originally entitled Rikers), without even knowing I could write a novel. Before that, I'd written mostly sports articles. I attempted the novel because HBO was pondering the idea of taking a newspaper article I'd penned on teens attending high school in jail and turning into a movie. I knew they'd change things plenty, running with it in any direction they wished. So I wanted a novel to reflect my actual experiences, with my name on it.
What gave me the glimmer of hope that I could actually write a novel? Well, while I was working on Rikers Island, I was surrounded by other teachers who were aspiring novelists. They would sit in the computer room before and between classes working on their stories. I turned to one of them one day and said something like, "That's amazing how you guys can write such big stories with all those characters and plot twists." The guy replied, "If I can write a few good paragraphs a day, it really adds up."
That was probably the best writing advice I've ever received and my only real interaction with a writers' group. Living in New York City, I casually know several accomplished Young Adult novelists. A few of them meet regularly in a writers' group, bouncing ideas off of each other and showing pages of their new material. Do I think being part of a similar group could help a fledgling YA novelist? I absolutely do. It's fantastic to get feedback on your plot-lines, characters, dialogue and key scenes.
How come I don't do that? Lone wolf syndrome, I guess. I like to work early in the morning, then re-read and rewrite in the afternoon. I work every day without fail. At night, I spend time with my wife and daughter. I prefer not to go out to meet with other writers. I do, however, have several first-readers who look at my early versions of things – usually well before my editor ever sees it. It's a small readership of people whose opinions I respect.
Obviously, every writer is different. It may be very hard to even find good advice or a supportive group, let alone make meaningful connections with other YA novelists, but I do believe that getting feedback from somewhere can help a writer immensely and should be sought.
Paul Volponi's author website: www.paulvolponibooks.com
Paul Volponi's bio page
Beginning writers often ask me if they really need an agent, and my answer is this: "Unless you're really great at promoting yourself, and you're willing to spend hours learning contract law, and you're very good at negotiating for more money… you definitely need an agent." There are very few writers who represent themselves successfully. I've heard too many horror stories about writers who were willing to sign any contract thrown at them, with very little knowledge of the business, and ended up regretting it years later. Believe it: A bad contract can have financial implications for you that can last a lifetime. Unless a person has a lot of experience analyzing lots of publishing contracts they can, and probably will, miss the little things that can add up BIG TIME.
I look at some of the stuff my agent does for me and I am amazed and incredibly humbled and grateful that I found her. She is a brilliant negotiator. She's managed to get publishers to quadruple their initial offers mostly because, I say with humility, she believes in me as a writer. If she gets a whiff that my publisher is about to give my book short shrift as far as marketing goes, she's on the phone with them straight away convincing them of why they need to rethink their strategy. Somehow, she almost always gets what she wants. She is my champion. Compared to her gladiatorial level arbitration, I'd be Oliver Twist holding out my bowl of porridge and saying in a meek little voice, "Please sir, can I have some more?" I know in my heart of hearts that I could never do what she does, on my own behalf or on the behalf of anyone else. Few could.
Not only that but whenever I am out in the world hobnobbing with editors and they ask me who my agent is, I tell them and they often raise their eyebrows and say, "Oh! Well tell her to submit your work to me." That's because even if these editors don't know who I am, they do know who my agent is. They know she has a reputation for excellent taste and they assume by association that they're going to like my writing.
So yes, you need an agent – but you need a good one. My next article will be about how to find a good agent.


text:
Q: Conservation of linear momentum Are there any restrictions to conservation of momentum of a system, or is it applicable in all cases?

A: When you consider a closed system, ie. one that don't exchange matter and isn't acted on by external forces, the momentum is conserved: indeed, the Second Law of Newton states that
$$ \frac{d\textbf{p}}{dt} = \sum_i \textbf{F}_i$$
but, with no external force, this becomes
$$ \textbf{p} = \textbf{Constant}$$
However, when you consider a system that is acted on by external forces, or one whose mass changes, momentum isn't conserved anymore.

redpajama_set_name: RedPajamaStackExchange


One of us has to die. No, he says he wants to be trained on his own from now on. The novels were all well received. What're you gonna do with that when you kill it? Let's have a warm round of applause for Glimmer. Yeah, but I'm not very good at making friends.
You can expect a good read from this book! Spine creases, wear to binding and pages from reading. Loosen your corset and have a drink. As punishment, The Capitol has created the annual Hunger Games wherein children from 12 to 18 must go head-to-head until one person remains standing. On the eve of the Third Quarter Quell, they were 59 living tributes out of the 75 in total that have won. She will form a friendship and partnership with Katniss. Well, I bet my hat that was your sister. Normally this feast features something desirable to the tributes, like food, armor, medicine, etc.
Clove, the score of 10. How did they change you? Peeta, Annie, and Beetee voted against it while Johanna, Enobaria, Katniss, and Haymitch voted for it - though Katniss and Haymtich voted yes so President Coin would believe she had Katniss on her side. You root for your favorite, you cry when they get killed. Its something that nets us all together. Her father died while she was 11, which left her mum depressed and incapable of taking care of Katniss and her sister. Move on to the next fire.
List of Hunger Games 1st Hunger Games The 1st Hunger Games was held shortly after the destruction of , when the was put down by , signaling the start of the. I guess the odds aren't exactly in my favor. Guess, I'll see you tomorrow. Katniss has a harder time being part of the show. In mad of turn of events here on District 12.
Over one hundred thousand people, craning to get a glimpse this year's Tributes. Will Katniss have the heart to kill Peeta and vice versa, or will they both survive? May the odds be ever in your favor. Her struggles with her divided affections between two boys are realistically portrayed but not overwrought. Some are wonderful and nice while others are pure evil and filled with so much hate. I just can't afford to think like that.
Which would come in handy if in fact you are still alive. So you're here to make me look pretty. She, however, taught Katniss the art of healing with herbs. I should better wait for the arena. In fact I'm wearing them today. I'll be there the whole time. Katniss should be relieved, but now there are whispers of a rebellion against the Capitol — a rebellion that Katniss and Peeta may have helped create.
Johanna won her games by pretending to be weak and fragile, but in reality, Johanna was a cold hearted killer, and easily won her Games as the other tributes didn't see her as a threat, allowing her to wait until other serious threats had been dealt with and then mounting her own attack on the weakened survivors. Through her skill with a bow and her ability to track and snare rabbits and squirrels, her family has been able to survive. You know I'm not very happy with them either. You stay guard over till we get back. Search for books you want to read free by choosing a title. You're the first one I get so watch your back huh! This is your third year's game? Just like any by off my time came with.
I didn't touch your knife. You can find her online at suzannecollinsbooks. He made me look weak. She is an inspiration and motivation to the oppressed citizens of Panem. For the third Quarter Quell, or the 75th Hunger Games, the tributes were reaped from the pool of existing victors. Because she came here with me. You know how to hunt.
Damn, she just saved my life. Maybe acting to live save you both to one piece tomorrow. Katniss, despite being more skilled than Peeta, finds it difficult to play along. We would never know this treason again. And we planned to be. That was the year Haymitch Abernathy won. After the ceremonies, the tributes begin their training.
The book covers a vast range of themes that include inequality, effects of war, poverty, and hope among other things. In the first part, we are taken to the districts and witness their pain. He did you a favor. Cate's gonna be by the Curnocopia. The novels have all been developed into films, with the film adaptation of Mockingjay split into two parts. Katniss is extremely touched by this unheard of gesture as never before has a tribute received a gift from another district.


Jointly sponsored with the Centre de recherches mathematiques and the Centre de recherche sur les transports.
The questions surrounding distribution systems are of prime economic importance. The scale of these systems is increasing at a fast rate, because of the growth of international commerce and travel. The advent of e-commerce will only increase their scale, as well as change their nature; goods purchased over the internet must be delivered; also, they often get returned. Related to these questions is the rich field of network design problems, which arise in particular in transportation logistics and in telecommunications planning.
The theory of location is evolving, with questions such as competitive location or the location of non-punctual or structured objects being studied; in routing, the advent of better communication devices and increased computational power make real-time dynamic routing a possibility. These changes imply that new problems with different mathematical properties must be tackled and new algorithmic strategies devised.
This workshop will include a series of twenty surveys, covering both the more traditional and the newer subject areas, with additional contributions by conference participants. Areas covered include routing; location; economic aspects, pricing, e-commerce; fleet management; telecommunications; network design.


text:
Just Sold in Arlington: Jan. 28, 2021
ARLnow.com Sponsor January 28, 2021 at 5:30am
Despite the chilly temps, the Arlington real estate market remains hot.
This past week, 25 properties were reported sold across the county.
As of Jan. 24, there were 526 homes listed for sale in Arlington, according to Homesnap. This includes 365 condos, 133 detached homes and 28 townhomes.
"The median list price is $550,000 and the median sales price is $625,000," Homesnap reports. "There have been 148 new listings in the last 4 weeks and 159 sales."
Here's a look at a few of the properties sold in the past seven days:
4040 37th Street N. — 5 BD/5.5+ BA — $2,775,000
6400 28th Street N. — 5 BD/4.5 BA — $1,675,000
3816 N. Dittmar Road — 4 BD/3.5 BA — $1,260,000
1322 N. Danville Street — 3 BD/3.5 BA — $1,005,000
1411 Key Blvd #603 — 2 BD/2 BA — $830,000
1212 S. Columbus Street — 2 BD/2 BA — $700,000
3620 S. Taylor Street — 2 BD/2 BA — $589,900
1830 Columbia Pike #607 — 1 BD/1 BA — $245,000
In the market? See properties that have been Just Listed and Just Reduced.
Just Sold real estate
BREAKING: Large Power Outage Reported in ArlingtonMorning Notes

redpajama_set_name: RedPajamaCommonCrawl


text:
Security Versus Convenience
Zoom has become nearly synonymous with office meetings and socializing as people around the world have adapted to life at home amid the Coronavirus outbreak. That has put the roughly 9-year-old company in the spotlight more than ever before — for both the good and the bad, as an onslaught of security issues have come to light.
The biggest hurdle for Zoom moving forward, according to some security experts, isn't just fixing those issues. It's doing so in a way that enables Zoom to maintain the convenience that has made it so popular in the first place.
"There are different security measures that you can implement, but again it comes back to this pendulum of security versus usability," said Etay Maor, chief security officer at cyber threat protection firm IntSights. "Where do you feel comfortable and where do your users feel comfortable?"
Zoom's security troubles
The teleconferencing app has surged in popularity over the last month, as it's hosted 200 million chat participants throughout March, compared with its previous all-time high of 10 million as of December 2019.
That has made the platform a ripe target for internet trolls. A new form of harassment known as Zoom-bombing has emerged in recent weeks, which is when intruders infiltrate a Zoom meeting and bombard participants with offensive content. The FBI has said that it received two reports of such incidents occurring in Massachusetts schools.
But that's just one of the security woes that have troubled Zoom over the past month. The company was hit with a class-action lawsuit over accusations that it shared analytics data with Facebook without properly alerting users. Zoom also said that some calls were mistakenly routed through China as the company beefed up its server capacity in the country at the start of the outbreak.
The list of companies and organizations banning Zoom has continued to grow along with the security issues. Schools in New York City, the Taiwanese government, and Google have suspended usage of the popular video service. Singapore also recently told teachers not to use the service.
Enhancing Zoom's security while keeping the service as frictionless and accessible as it has been could be a particularly challenging balance for the company to strike. Joining a Zoom meeting can be as simple as clicking a link from your email or calendar invite. But adding layers of security often means implementing more steps for the user.
"There's always a trade-off between ease-of-use and usability," said Rob Davis, CEO of cybersecurity firm CRITICALSTART.
Two-factor authentication, for example, adds more security but also means the user needs to take that extra step of typing in the code sent to his or her phone. Enforcing tighter controls around how participants join a meeting could also make the process of adding colleagues or friends at the last-minute slightly longer.
Stronger end-to-end encryption could also make it harder to maintain high call quality, one of the characteristics that makes Zoom so appealing, according to Satya Gupta, chief technology officer at web application security company Virsec.
"I suspect that this is going to be a serious problem for Zoom to be able to solve because, you know, when you encrypt and decrypt, it introduces lag and latency into a call," Gupta said.
For its part, Zoom has been quick to react to the myriad of issues that have emerged. It outlined a 90-day plan to make Zoom a security- and privacy-first product. As part of that plan, it's committed to freezing the development of new features to focus on increasing security, publishing a transparency report with information about data requests, and bringing in outside experts to evaluate its security practices among other measures.
The company recently tapped Alex Stamos, Facebook's former security chief, as an external consultant to help it ramp up its security. It has also made security settings easier for users to access, and now requires additional password settings for users on basic, free accounts and accounts with a single licensed user.
Still, Zoom could be more transparent about the measures it's taking, which makes it easier for other security professionals to assess the company's approach to security, Davis said.
"That allows other people to more easily ascertain, 'Have you taken the right steps?' Davis said.
Zoom has said it will consult external security experts and form a council of chief information security officers from across the industry to discuss best practices when it comes to security.
But the experts seem to agree that trading some conveniences for security is worth it. And juggling the two, especially within 90 days, will be a challenge.
"It's a hard balancing act that has to be performed," said Maor. "It's not an easy task."Featured in Business Insider | April 11, 2020


text:
Q: Mongoose group by field and grouped result should be stored as groupname: object For the following Schema (pseudo code).
new mongoose.Schema({
      name: {type: String, unique: true},
      foo: {type: Number},
      bar: {type: Number, default: null},
}

Normal Result would be .find():
[{
    _id: x
    name: 'Name1'
    foo: 1
    bar: 222
}, {
    _id: y
    name: 'Name2'
    foo: 1
    bar: 333
}, {
    _id: z
    name: 'Name3'
    foo: 2
    bar: 444
}];

I want return results grouped by foo and the the key should be the variable/number of foo:
[{
    '1': [{
        name: 'Name1'
        bar: 222
    }, {
        name: 'Name2'
        bar: 333
    }],
    '2': [{
        name: 'Name3'
        bar: 444
    }]
}]

I was trying that with aggregate, but i were never able to replace _id with the the 'Number of Foo'.
Is this even possible with mongoose? Or do i need to edit the object within a Nodejs function?

A: You can try below aggregation:
db.col.aggregate([
    {
        $group: {
            _id: "$foo",
            obj: { $push: { name: "$name", bar: "$bar" } }
        }
    },
    {
        $replaceRoot: {
            newRoot: {
                $let: {
                    vars: { obj: [ { k: {$substr:["$_id", 0, -1 ]}, v: "$obj" } ] },
                    in: { $arrayToObject: "$$obj" }
                }
            }
        }
    }
])

Outputs:
{ "2" : [ { "name" : "Name3", "bar" : 444 } ] }
{ "1" : [ { "name" : "Name1", "bar" : 222 }, { "name" : "Name2", "bar" : 333 } ] }

$replaceRoot allows you to define new object on root level. To dynamically create keys you need $arrayToObject which takes an array of k-v pairs (defined using $let here). To convert int to string you can use a trick with $substr ({$substr:["$foo", 0, -1 ]}) or $toString operator in MongoDB v 4.0


text:
Q: discord.js - not sending messsage I'm trying to do an command for my discord bot but when I try to use it the bot do not show response.
normally the bot had to response : "resultat pour => def: ${defenseValue}, hp: ${hpValue} égal: ${resultat}". but nothing happen.
I think the error are at the starts of the code but I don't know why.
here the code :

    module.exports = {
    name : 'eHP',
    async run (client,message){
       if(message.content.startsWith("!eHP")) {
        // sépare le message en tableau pour chaque espace vide trouvé
        // exemple: "!eHP def 55 hp 42" <=> ["!eHP", "def", "55", "hp", "42"]
        const parts = message.content.trim().split(' ');

        // récupére la valeur de defense
        let defenseValue = parts[2];

        // récupére la valeur HP
        let hpValue = parts[4];

        // convertit les valeurs en nombre
        defenseValue = parseFloat(defenseValue);
        hpValue = parseFloat(hpValue);

        if(isNaN(defenseValue) || isNaN(hpValue)) {
            // une valeur n'a pas put être convertit en nombre
            // abandon du calcul
            if(isNaN(defenseValue)) {
                // ces la valeur de defense qui na pas put être convertit
                message.reply(`defense valeur doit être nombre, reçu: "${parts[2]}"`);
            } else {
                // ces la valeur de hp qui na pas put être convertit
                message.reply(`hp valeur doit être nombre, reçu: "${parts[4]}"`);
            }
        }

        // les valeurs on été recupéré depuis le message
        // elles on été convertit en nombre il faut appliqué le calcul
         const resultat = (((defenseValue * 3.5 ) + 1140) * hpValue) / 1000;

         // le calcul à été effectué il faut renvoyé un message avec le résultat
         message.reply(`resultat pour => def: ${defenseValue}, hp: ${hpValue} égal: ${resultat}`);
    }
    }
    // le bot à reçu une commande
    // il le reconnait car le message commence par: !eHP

    }

and my main files look like that :

    const Discord = require('discord.js'),
    client = new Discord.Client(
    {
      fetchAllMembers: true

    }),
    config = require('./config.json'),
    fs = require('fs')

    client.login(config.token)
    client.commands = new Discord.Collection()

    fs.readdir('./commands', (err,files) =>{
        if (err) throw err
        files.forEach(file=> {
            if (!file.endsWith('.js')) return
            const command = require(`./commands/${file}`)
            client.commands.set(command.name, command)
        })
    })

    client.on('message',message => {
        if(message.type !== 'DEFAULT' || message.author.bot) return

        const args = message.content.trim().split(/ +/g)
        const commandName = args.shift().toLowerCase()

        if (!commandName.startsWith(config.prefix)) return
        const command = client.commands.get(commandName.slice(config.prefix.length))

        if (!command) return
        command.run(message, args, client)
    })

A: Your functions looks correct.
In your main file, you need to import this file
// assuming you have a folder with all commands and the file name of your code is eHP.js
const ehpCommand = require('./commands/eHP.js')

A command handling system could maybe look like this
// add your commands
const commands = [
  ehpCommand,
];

const client = new Discord.Client();
client.on('message', msg => {
  let command = commands.find(e => e.name === msg.content.split(' ')[0]);
  if(command){
    command.run(client, msg);
  }
})
client.login(<your_token>);

After answer edit:
One thing i see here, you are using a Discord.Collection you set the commands with
bot.commands.set(...)

which is correct and probably a better approach than the one i provided, but now you can't use
commands.find(...)

since you don't have an array where commands are stored, you can access elements of a collection this way
command = messsage.content.split(' ')[0];
if(!client.commands.has(command) return;

client.commands.get(command).run(client,msg);

Another thing i saw in your code, your run method expects 2 parameters (client, message), but you pass 3 parameter into the function (message, args, client), you should keep an eye on the order and amount of parameters you pass to the function.
Since the order of your arguments is not correct, it would also make sense, why you don't get a response


Money has apparently not solved Kosovo's ongoing energy problems during the past decade. In these years, the two currently active coal-based power stations, "Kosovo A" and "Kosovo B", have soaked up millions of euros in investments that failed to renew and repair completely the outdated stations' equipment.
As a result, citizens must continually suffer from power cuts imposed by the Kosovo Energy Corporation (KEK). These blackouts happen without any warning whatsoever, even if, in theory, the power supply schedule depends on the level of revenues. As a consequence, rural areas suffer especially long power-cuts.
Currently nongovernmental organisations are committed to seeking new solutions, or at least to push state institutions towards finding them. The entirely innovative but promising idea is to launch a wide-ranging debate to discuss alternatives to improve the current energy situation.
According to GAP Institute, a Pristina-based think-tank, political governance first has to focus on finding a short-term solution. Kosovo's long-term energy strategy is to build a 2100 megawatts coal-based power plant that should start production in 2015.
"And what should we (Kosovars) do in the next seven years until the new power plant is completed? Energy is an issue that we have to deal with now," says Shpend Ahmeti, head of GAP institute.
The GAP institute has analysed the regional energy situation to discover electric energy consumption levels and losses in the network. GAP sees economic growth as top priority, and with the contribution of 30 local experts, is working to identify and eliminate obstacles to this growth. Ahmeti points out, "The private sector is considered the best booster of the domestic economy, but almost 80% of local entrepreneurs, in various surveys, have identified energy shortages as the main problem in business development, ahead of tax problems and corruption."
Thus, the institute believes that Kosovo, as an aspiring democratic society, needs a competition of ideas and a unity in policymaking strategies.
KEK, as a public enterprise, struggles to find a way to be self-sustainable, mainly because of low revenues. Kosovo and Albania are the only realities in the region that still confront the problem of collecting money for energy consumed.
Official records show that KEK receives payment for around 30% of its total power production; the rest consists of unpaid bills, losses in the system and illegal connections (stolen electricity).
Among other suggestions, GAP recommends created "Energy Police" units; because several KEK workers have been beaten while collecting bills. At the same time, lawsuits against illegal consumers have been stalled in the slow acting courts.
Currently, possible privatisation projects for the distribution system are being considered. The distribution sector causes an estimated 18% of the losses to KEK. For this to be changed, the conveyance and distribution sector need to undergo a radical modernisation that would require an estimated 500 million euro in new investments.
The Kosovo government's long-term strategy to end its energy supply problems is to build a coal-based power plant, the "Kosovo C" power plant. The power plant should be able to produce 2100 MGW (mega watts), the target capacity recommended by the Lignite Power Technical Assistance Project (LPTAP), a Ministry of Energy and Mining project supported by a World Bank grant.
The main priority of "Kosovo C" will be to satisfy the ever-growing local consumption, which will soon need an estimated 1000 MGW. The rest of the production will be exported regionally, a process that should help boost Kosovo's economy.
The LPTAP project is undergoing the long and complex process of preparing the tenders needed to provide Kosovo with a power producing plant associated with a new lignite mine, but also to rehabilitate certain units of an old plant (Kosovo A). The whole project should cost four billion euros. The LPTAP project also is writing completely new legislation, in accordance with the EU standards, since Kosovo will be implementing a project of such size for the first time.
A recent study by Kosovo's independent commission for mines and minerals estimates that Kosovo has among the world's richest reserves of lignite coal with an estimated 11,500 to 14,000 million tons.
As Kosovo's biggest capital project, the project has attracted interest from several foreign companies. Four of them have been short listed to participate in the future tender: EnBW/WGI (Germany/USA), CEZ/AES (Czech Republic/USA), ENEL/SENCAP (Italy/Greece-USA), and RWE (Germany).
"LPTAP is waiting to launch the second phase, when political decisions have to be made (by the Project Steering Committee) in order to announce the tender," says Lorik Haxhiu, project manager of the LPTAP project. He indicates that the second phase will also define the tender's structure to include selection criteria, location, final capacity and the pace of construction of "Kosovo C".
"Among the possible criteria to be included in the tender is to select the company that would bring best profits to our country and a guarantee that it would supply the local costumers with the best price considering the price of coal used as raw material for production, the size of the plant and its environmental impact," says Haxhiu who adds that the surplus production will be sold in the region.
However, the project's side effects are becoming an important issue. The "Kosovo C" power plant and the planned coal mine are planned for an inhabited area in the outskirts of Kosovo's capital Pristina. It will also transform agricultural land and use many natural water resources.
"'Kosovo C' will help solve air pollution problems, because possible conditions for the future investing company will include shutting down and cleaning of the outdated 'Kosovo A'."
Besides the dangerous particles released by "Kosovo A" and "Kosovo B" chimneys, and the constant risk of production waste, the coal excavation process would contaminate Pristina's air with constant waves of dust. Given this delicate situation, some question as to whether a new 2100 MGW plant would improve or contribute to further pollution.
Last May, a group of Kosovo experts, involved with the "Forum 2015" project, published a report pointing out the faults of the project to build the "Kosovo C" plant.
The report emphasises the lack of economic, social and environmental analyses. Public discussion practically did not happen during the initial years of the project, which violated the Aarhus Convention that grants public access to information and decision-making processes. "Forum 2015" raised its concern about the area's low water resources, which simultaneously must satisfy the needs of agriculture and the power plants. One of the report's top concerns is the lack of transparency on Kosovo's exact profits from the project, and how far the winning company will be allowed to exploit local coalmines. Another unresolved issue is the transparency around the company's future profits from exporting power to the region. The report asks, "Is this an international or national project?"
The magnitude of the "Kosovo C" project and the complexity of the energy sector have found Kosovo society legally and socially unprepared, considering that this society has no tradition or culture of debate.
Another institute insisting on a wide-ranging debate is the Kosovar Institute for Policy Research and Development (KIPRED). As an institute that analyses economic trends and provides macro economic recommendations, KIPRED has published its suggestions on the "Kosovo C" project for use at the highest levels of government.
Genc Krasniqi, from KIPRED poses a substantial question to everybody involved in advocacy for building the new energy facilities, "Even though we are discussing a project that will have a tremendous impact on our society, there is no public debate on what is Kosovo's public interest."
KIPRED recommends that the Kosovo Parliament ratify the Energy Charter Treaty, Kyoto Protocol, Aarhus Convention and EITI before making any restructuring or privatisation in the energy sector.
The public's involvement in presenting plans, challenges, problems and environmental impact, is essential, especially for citizens that could be hit by dislocation during and after the construction of the new power plant.
In regards to environmental threats, Krasniqi argues, "an appropriate debate, including everybody involved, would bring to the surface real dangers threatening Kosovo. For example, beside the pollution currently produced by the plants, there is also a constant use of generators during power cuts. We have estimated their impact on the environment as 700,000 cars with no filters."
The current government is pushing forward plans to privatise sectors of KEK, believing that such a move will increase the efficiency of the corporation. In January 2008, it also decided to freeze all KEK tenders and projects that supposedly violating regulations. The government also delayed all political decisions about the "Kosovo C" project. In comparison, the previous leadership was moving with fast-track steps towards implementing the project while ignoring implementation of international agreements.
As the largest private investment ever to be undertaken, experts warn that, legally, Kosovo has to move on with implementing current laws, adapting its legislation in compliance with the EU standards, and ensuring the rule of law.
The economical, social and environmental impact of the controversial power plant will all depend on offers that the project's steering committee will accept and allow to implement. However, this entire investment would have had a much smoother flow if Kosovo had a clear long-term strategy for developing the energy sector. In this case, it would have been much easier to redirect or more efficiently use the estimated 700 million euro soaked up since 1999 by the current power plant.
Until now, though, the present government gives no signs of change. Its 2008-2011 working plan can be easily described as "wishes" without any concrete programme that would develop the energy sector and provide costumers with 24 hours of electricity.
Clearly Kosovo's energy capacity will remain only a capacity, until the government, the parliament and the society compile, approve and start implementing a clear strategy for developing Kosovo's economic future, paving the way for foreign investments that would power a modern Kosovo.


text:
Global Financial Shocks and Foreign Asset Repatriation : Do Local Investors Play a Stabilizing Role?
Gustavo Adler, Marie-Louise Djigbenou, and Sebastian Sosa
We study the dynamic response of gross capital flows in emerging market economies to different global financial shocks, using a panel vector-autoregressive (PVAR) setting. Our focus lies primarily on the potentially stabilizing role played by domestic investors in offsetting the response of foreign investors to global shocks. We find evidence of such role, but its existence and magnitude depend on the nature of the shock. Local investors play a meaningful stabilizing role in the face of global uncertainty shocks, as well as shocks to long-term U.S. interest rates. However, while in the former case, sizeable asset repatriation largely offsets the retrenchment of non-residents, in the latter case the extent of the offsetting is much more limited. Meanwhile, residents and non-resident behave alike in response to short-term U.S. interest rate shocks, pulling capital away from emerging markets, although magnitudes are not economically significant. The results shed light on the potential impact of the Fed's QE tapering on emerging market economies.
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Global Financial Shocks and Foreign Asset Repatriation - Do Local Investors Play a Stabilizing Role?
Global Financial Shocks and Foreign Asset Repatriation: Do Local Investors Play a Stabilizing Role?


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John Steele Layman (born August 2, 1969) is an American comic book writer and letterer. Layman is most known for writing Chew, published by Image Comics.
Layman considers Star Trek: Deep Space Nine his favourite Star Trek series.
Once an editor for Wildstorm, a branch of DC Comics, Layman turned to writing comics full-time in 2002, mainly for Marvel Comics.
From 2007–2010 he worked as a writer for Cryptic Studios, a video game developer in Los Gatos, California.
Layman has written a number of creator-owned titles at Image Comics, such as the graphic novel Puffed,[dead link] and Chew, with artist Rob Guillory. Chew has gone on to achieve much success, being nominated for two Harvey Awards, two Eagle Awards, and winning an Eisner Award for Best New Series in 2010.
^ "John Layman talks merging sci-fi and horror in his wild new Image Comics series Outer Darkness | SYFY WIRE". Syfy. October 22, 2018. Retrieved January 13, 2019.
^ "Cryptic Studios announces the hire of John Layman". Cryptic Studios. Archived from the original on July 8, 2011. Retrieved April 13, 2019.
^ Phegley, Kiel (April 23, 2009). "John Layman Bites Back in 'Chew'". Comic Book Resources.
^ Layman, John (June 3, 2009). "FULL SCRIPT: Chew #1 by John Layman". Comic Book Resources.
^ Guillory, Rob (June 2, 2009). "Rob Guillory's 'Chew' Process". Comic Book Resources.
^ "Chew Wins Best New Series Eisner Award". Things From Another World. July 24, 2010. Retrieved April 25, 2013.


text:
Muzquizopteryx is een geslacht van pterosauriërs behorend tot de Pterodactyloidea, dat tijdens het late Krijt leefde in het gebied van het huidige Mexico. De enige benoemde soort is Muzquizopteryx coahuilensis.

Vondst en naamgeving
De soort is in 2006 benoemd en beschreven door Eberhard Frey, Marie-Céline Buchy, Wolfgang Stinnesbeck, Arturo González-González en Alfredo di Stefano. De geslachtsnaam is afgeleid van het district Múzquiz en het Klassiek Griekse πτέρυξ, pteryx, "vleugel". De soortaanduiding verwijst naar de deelstaat Coahuila.

Het fossiel, holotype UNAM IGM 8621, is in de jaren negentig door een arbeider, José Martínez Vásquez, gevonden in een kalksteengroeve in de El Rosario-lagen van het Coniacien. Het bestaat uit een plaat en een tegenplaat. De eigenaar van de groeve gaf het door aan een manager van de steenopslagplaats welke het weer overdeed aan een manager van een mijn, Jimmy Ground, die beide platen als ornament in een kantoormuur liet metselen. Het kreeg de bijnaam chango, "aap", wegens de lange armen. Nadat het belang ervan in 2002 door Arturo González-González en Alfredo di Stefano was ingezien en Ground kosteloos afstand deed van de stukken, is het bestudeerd door een Duits team van de Universiteit van Karlsruhe en de Universiteit van Heidelberg, gesponsord door Volkswagen. Het bestaat uit een bijna volledig skelet op een enkele plaat dat in gedeeltelijk verband ligt. De snuitpunt ontbreekt. Ook resten van de weke delen zijn bewaard gebleven, waaronder stukken van de vlieghuid en gemineraliseerde pezen langs beide zijden van beide onderarmen. Het maakt deel uit van de verzameling van de Universidad Nacional Autónoma de México. Het was in 2006 de meest complete pterosauriër die in Mexico was gevonden.

In 2012 werd een tweede specimen gemeld, MUDE CPC-494, van dezelfde vindplaats, maar uit een oudere laag die dateert uit het late Turonien, ongeveer negentig miljoen jaar oud. Het bestaat uit de bovenkant van een rechtervleugel, op een plaat en tegenplaat, van een dier dat ongeveer 81% van de lengte had van het holotype en vermoedelijk onvolwassen was. Ook dit exemplaar is weer door een arbeider gevonden die het aan een particuliere verzamelaar verkocht; tegenwoordig maakt het deel uit van de verzameling van het Museo del Desierto Saltillo. Hoewel in vorm vrijwel identiek aan het holotype is het wegens de hogere ouderdom toegewezen aan een Muzquizopteryx sp.

Beschrijving

Grootte en onderscheidende kenmerken
Muzquizopteryx heeft volgens de beschrijvers een vleugelspanwijdte van ongeveer twee meter.

Volgens de beschrijving verschilt Muzquizopteryx zich in vier kenmerken van de verwant Nyctosaurus. De hoogte van de oogkas is groter dan die van de fenestra nasoantorbitalis in plaat van even hoog te zijn. De oogkas heeft een rechthoekig in plaats van driehoekig profiel. Het kaakgewricht ligt midden onder de oogkas in plaats van onder de voorrand daarvan. De achterrand van de symfyse van de onderkaken ligt onder de achterrand van de fenestra nasoantorbitalis in plaats van onder de voorrand.

Skelet
De langwerpige schedel van Muzquizopteryx, met de rest van het skelet verbonden via een bij het holotype fragmentarische lijn van halswervels, is achteraan vrij hoog en bovenop bol door een grote eironde schedelopening, de fenestra nasoantorbitalis die een derde langer is dan de oogkas; de punten van de snuit en onderkaken ontbreken, maar worden wel als spits verondersteld wegens de mogelijke verwantschap met Nyctosaurus. De schedel loopt achteraan uit in een korte naar achteren stekende afgeronde kam die het bolle bovenprofiel voortzet; de lengte van de kam is iets minder dan de helft van de doorsnede van de oogkas. De kaken zijn tandeloos.  Het jukbeen heeft een opgaande tak onder een hoek van 60°, wat de rechthoekige oogkas veroorzaakt. Er is in de oogkas een scleraalring aanwezig bestaande uit elf veelhoekige beenplaatjes.

De bewaarde onderkaak is hoog, even hoog als het overeenkomende deel van de snuitbreuk. Het bovenprofiel ervan is recht onder de fenestra nasoantorbitalis en buigt dan naar beneden tot het kaakgewricht dat een hoek van 45° maakt met de lijn van de bovenkaak. De onderrand van de onderkaak is licht hol onder de fenestra nasoantorbitalis en sterk hol onder het kaakgewricht. Het retroarticulair uitsteeksel is bovenop hol en onderop bol.

De bewaarde halswervels zijn zo'n vijfmaal langer dan hoog. Er zijn ongeveer tien ruggenwervels. Bij het holotype worden de bovenkanten daarvan bedekt door een vezelachtige structuur die misschien spierweefsel of pezen vertegenwoordigt. De zijuitsteeksels van de rug zijn een derde langer dan de centra en viermaal langer dan breed. De voorste ruggenwervels zijn vergroeid tot een notarium. Over de zijuitsteeksels van de achterste vijf ruggenwervels ligt een verbeende pees. Het heiligbeen bestaat uit acht sacrale wervels. De achterste staartwervel vormt een afgeronde kegel.

Het schouderblad heeft een knik van 55° tussen schacht en schoudergewricht. Er is een groot waaiervormig borstbeen. Het borstbeen is een vierde breder dan lang. De achterrand is wat bol. De zijranden lopen evenwijdig. De voorkant vormt een V-vormige punt met een hoek van 135°. De cristospina is lang en beslaat twee derden van de totale lengte van het borstbeen. Aan de achterste basis van die punt bevindt zich een ovaal foramen. De basis is wat gezwollen en dient als contactpunt met de ravenbeksbeenderen.

De vleugels zijn zeer robuust en lang. Uitgebreide resten van verbeende pezen zijn in de vleugels aangetroffen. Het opperarmbeen heeft een lengte van eenentachtig millimeter en draagt een opvallende bijlvormige deltopectorale kam. De ellepijp is 112 millimeter lang en tweemaal breder dan het spaakbeen. Er is een zeer lang, vijfenzeventig millimeter, het propatagium ondersteunend, os pteroide dat, samen met de pezen, aantoont dat een dergelijke structuur tijdens de vlucht niet vooruit kan hebben gestoken, maar naar het lichaam gekeerd was. Dat wordt ook bewezen door een gericht dat haaks op de schacht staat. Het vierde middenhandsbeen is langer dan de onderarm en had bij het holotype een vermoedelijke lengte van ruim vijftien centimeter; bij MUDE CPC-494 is het 130,2 millimeter lang.

De achterpoten zijn vrij lang en robuust. Het dijbeen is een vijfde langer dan het opperarmbeen. Het scheenbeen is een derde langer dan het dijbeen. Het vijfde middenhandsbeen is robuust, tweemaal dikker dan de overige metatarsalia. Het derde middenvoetsbeen is een kwart langer dan het vierde.

Fylogenie
Muzquizopteryx is door de beschrijvers geplaatst in de Nyctosauridae en is dan de oudste en kleinste bekende vorm van die groep.

Een mogelijke positie in de evolutionaire stamboom, volgens een studie uit 2018, toont het volgende kladogram.

Levenswijze
De levenswijze van Muzquizopteryx was die van een viseter. Zijn leefgebied bestond uit een stelsel van zeestraten met eilanden ten noorden van Gondwana.

Literatuur
Frey E., Buchy M.-C., Stinnesbeck W., González-González A.H. & Di Stefano A., 2004, "A brick in a wall: the first nyctosaurid pterosaur from the Conacian of NE Mexico and its impact on the pterosaurian wing anatomy", 2nd WEAVP, Brno (Czech Republic), 19-24 July 2004, Abstract Book: 13
Stinnesbeck W., Ifrim C., Schmidt H., Rindfleisch A., Buchy M.-C., Frey E., González-González A. H., Vega F. J., Cavin L., Keller G., and Smith K. T., 2005, "A new lithographic limestone deposit in the Upper Cretaceous Austin Group at El Rosario, county of Múzquiz, Coahuila, northeastern Mexico", Revista Mexicana de Ciencias Geológicas, vol. 22, 3, p. 401-418
Frey, E., Buchy, M.-C., Stinnesbeck, W., Gonzalez, A. G., and Stefano, A. di, 2006, "Muzquizopteryx coahuilensis n.g., n. sp., a nyctosaurid pterosaur with soft tissue preservation from the Coniacian (Late Cretaceous) of northeast Mexico (Coahuila)", Oryctos, 6: 19-39
Eberhard Frey, Ross A. Elgin, Wolfgang Stinnesbeck, José Manuel Padilla-Gutiérrez, Christina Ifrim, Samuel Giersch, and Arturo H. González-González, 2012, "A new specimen of nyctosaurid pterosaur, cf. Muzquizopteryx sp. from the Late Cretaceous of northeast Mexico", Revista Mexicana de Ciencias Geológicas 29(1): 131-139

Pterosauriërs

redpajama_set_name: RedPajamaWikipedia


text:
Judge denies water to nuclear dump
By Ralph Vartabedian
Sept. 5, 2007 12 AM PT
Times Staff Writer
The Energy Department's controversial plan to build a nuclear waste dump in Nevada was trumped by Western water law Tuesday, when a federal judge rejected the agency's demand for 8 million gallons of water that state officials have refused to release.
Energy officials said they needed the water to drill test holes at Yucca Mountain, the site about 90 miles north of Las Vegas where the government wants to store about 70,000 metric tons of high-level nuclear waste from across the nation.
President Bush and Congress approved the site in 2002, but a series of legal and political setbacks has stalled the project -- and raised questions about when and if the dump will open.
In a stinging rebuke Tuesday, U.S. District Judge Roger L. Hunt denied an injunction sought by the Energy Department against Nevada, saying the department had made contradictory arguments that had no merit and were not supported by federal law.
"The validity of Western states' groundwater rights and the right to regulate water in the public interest is not a right to be taken lightly, nor is it a right that can cavalierly be ignored or violated by a federal agency," Hunt said in his 24-page opinion.
Hunt said Energy officials had acted with "arrogance" and possibly misled Bush when they said Yucca Mountain was suitable to store radioactive waste.
Energy spokesman Allen Benson said the department had just received the ruling and would have no immediate comment.
"It was a very strongly worded opinion," said Joseph R. Egan, a nuclear energy attorney representing Nevada. "The judge has very strongly telegraphed that DOE has no case whatsoever."
Without access to millions of gallons of state-controlled water, the Energy Department's only option may be to truck in water over long distances, placing another burden on the project and starting another activity that state officials could block.
The water fight between federal and state officials has been raging since the project's outset, when the state engineer first denied water permits to build at Yucca Mountain. The engineer recently denied permits for significantly more water as the federal government increased the number of holes it said it needed from about 15 to more than 80.
Hunt said agency officials had waffled on why they needed to drill so many holes.
Nevada officials contend the government's increased drilling was part of the "site characterization" -- a step crucial to assessing whether radioactive waste can be stored safely there.
If so, the federal government is in trouble. All site characterization was supposed to have been completed in 2002, when Energy officials said Yucca had met its criteria as a suitable site.
If the drilling program is essential to understanding the site and eventually getting a license, then "it would appear that the DOE misled Congress and the president," Hunt said.
Energy officials deny that the drilling is part of site characterization, but Hunt wrote: "Its own documents contradict that argument."
Robert R. Loux, executive director of the Nevada Agency for Nuclear Projects, said the ruling was important because it prevented federal officials from collecting data that would be crucial to any future license application to build the dump.
Loux said the Energy Department ultimately would need sweeping exemptions from federal environmental, health, water and transportation laws to move forward with the dump.
Energy officials said they would file an application to build the dump next year.
ralph.vartabedian@latimes.com
Ralph Vartabedian
Ralph Vartabedian is a former national correspondent at the Los Angeles Times. He joined the newspaper in 1981 and has covered many technical subjects, including aerospace, auto safety, nuclear weapons and high speed rail. He has won two Loeb awards and was a Pulitzer finalist, among many other career recognitions.


text:
Wed. 19. January 2022 International
Poor oral health may increase risk of severe COVID-19 for cardiac patients
Tue. 18. January 2022 International
Report on America's oral health highlights long-running issues and provides some solutions
Ivoclar starts new year with fresh visual branding
Mon. 17. January 2022 International
Over 10,000 dental implants placed using Yomi robotic system
New minimum wage for Saudi dentists from April
Home About Articles Products Education Videos Photos Events ePaper
Home About Articles Products Videos Photos Events
Event LMT LAB DAY Chicago 2022
24 - 26 February, 2022
Online Event ICOI Winter Implant Symposium 2022
Online Event World Oral Health Day 2022
Event Expodental Madrid 2022
The TwinLight® approach to peri- implantitis
Bacterial reduction and biostimulation of the bone with Nd:YAG laser. (Photographs: Dr Ilay Maden PhD, Dr Zafer Kazak, UK)
By Dr Ilay Maden PhD, Dr Zafer Kazak, UK
Thu. 2. June 2016
As the number of dental implants being placed increases, reported cases of peri-implantitis are becoming more frequent. The available data suggest that one in five implant patients will develop periimplantitis, an irreversible inflammatory condition characterised by bone loss around the site of an implant, while four in five will exhibit peri-implant mucositis, an early stage of the disease in which the inflammatory reaction is still reversible.[1]
With peri-implant mucositis, the inflammation is limited to the peri-implant mucosa, while with peri implantitis the infection also spreads to the peri-implant bone. Both conditions include the presence of bacterial plaque and calculus, oedema and redness of tissues, and involve bleeding on probing. In the majority of cases, classical treatment methods for peri-implantitis are inadequate due to a number of complicating factors, including resistant bacterial strains, difficult debridement procedures and the presence of biofilm on the implant surface.[2]
The most prevalent reason for the development of peri-implantitis appears to be poor occlusal load distribution, with either primary contacts or cantilever bridges in implant-supported prostheses. Good oral hygiene on the patient's part is mandatory, however, the position and design of prostheses that are difficult to manage may limit the effectiveness of mechanical cleaning. Once the underlying reason has been determined and recurrence is prevented, laser therapy can help to treat peri-implantitis.
embedImagecenter("Imagecenter_1_2321",2321, "large");
The TwinLight® peri-implantitis treatment
A new laser treatment called TwinLight® from Fotona is proving to be one of the most effective methods for fighting peri-implantitis, successfully meeting the objectives of controlling infection by surface decontamination and halting the disease's progression. TwinLight® is a minimally invasive technique combining dentistry's two gold-standard laser wavelengths (Er:YAG and Nd:YAG) in a synergistic process designed to improve peri-implantitis treatment success rates and shorten healing time.
With TwinLight®, the Er:YAG laser is used in a non-surgical procedure to remove microbial composition and in a surgical procedure to treat the damaged alveolar bone around the implant. Using Er:YAG, it is possible to clean the granulation tissues, both on the bone and implant surfaces, and thoroughly decontaminate the site. Removal of granulation tissue from the alveolar bone and connective tissue with Er:YAG laser is highly effective. The erbium laser targets the water content to remove the granulation tissue selectively, due to its long pulse duration and lower peak power, while ablating the microorganisms on the surface of the bone.
The bactericidal effect of Er:YAG on the surgical site is effective against lipopolysaccharides, and the implant surface is completely cleaned without chemicals. The subsequent Nd:YAG treatment step promotes faster healing by bacterial reduction and biostimulation of the bone tissue. The same principles apply also with more severe treatments that require surgical therapy.
The TwinLight® procedure
The TwinLight® procedure is performed according to the following five steps:
Step 1: Removal of the soft-granulation tissue with Er:YAG in LP mode (Fig. 1).
Step 2: Removal of the bacterial biofilm on the implant surfaces with Er:YAG in MSP mode (Fig. 2).
Step 3: Ablation of the infected bone with Er:YAG in QSP mode (Fig. 3a).
Step 4: Bacterial reduction of the bone with Nd:YAG in MSP mode (Fig. 3b).
Step 5: Biostimulation with Nd:YAG in VLP mode (Fig. 4).
For treatment of peri-implant mucositis, only step 2 is performed.
Because the Er:YAG wavelength is used with an optimal modality, there is no danger of thermal damage to the highly fragile surrounding bone and no significant alterations of the implant surface, as is frequently the case with other lasers.[3,4] The effect of the laser energy on the implant surface is dependent on the amount of energy density, power and pulse duration. The parameters should be chosen cautiously—lowering the settings may make the procedure slower but safer for re osseointegration. Non-surgical use of Er:YAG is also possible if the problem is not extensive.
In the accompanying clinical case, a removable prosthetic with two ball attachments was planned. Due to the patient's request, the implants were immediately loaded, which most probably is the reason for the resorption seen around the implant on the right lower jaw (Fig. 5). The site was directly accessed to clean the granulation tissue and disinfect the implant surface with Er:YAG laser, while bacterial reduction and biostimulation were executed with Nd:YAG laser (Fig. 6). The defect was augmented with synthetic bone substitute.
After 3 years of follow up with very good healing (Fig. 7), the patient demanded a fixed prosthetic, which was delivered with an additional placement of implants in both jaws. X–rays taken 5 years after the peri-implantitis treatment can be seen in Fig. 8. Two more implants were placed distally when the patient could afford more treatments after one year.
There are a number of advantages of using lasers in this type of case. One of them is that there is no mechanical, chemical or any other means of trauma while removing the granulation tissue around the implant—neither to the implant nor to the bone tissue. In addition to being safe, both wavelengths are known to promote healing by bacterial reduction and biostimulation of the tissue. Shorter pulses are used on the surface of the implant to avoid thermal effects, but with lower energies, so as to not have a too high peak power and thereby damage the surface. With short pulses and higher peak power (higher energy), we can create bleeding spots on the bone to improve healing of the augmentation material.
The penetration of Nd:YAG through bone helps the achievement of bacterial reduction and biostimulation. Care should be taken to avoid contacting the implant surface with Nd:YAG because the absorption in titanium is high and could cause a rise in temperature. It is also important to use a fast, sweeping motion with high suction to avoid heat accumulation on one spot. Too much bleeding would block the penetration of the Nd:YAG laser. Nd:YAG can also be used on the incision line, vestibular, the oral side of the surgical site and extra-orally after suturing, and every second day for faster and better healing, with less pain and swelling.
Editorial note: A list of references is available from the publisher. This article was published in laser - internationalmagazine of laser dentistry No. 01/2015.
The Gut Stops Here: Caring for Patients with Gastroparesis
Valerie Nieto RDH, MS
Predictable strategies for immediate and delayed implant placement
Dr. Matthew J. Fien
Neodent Discovery - Streamlining immediately loaded restorations using EasyGuide and EasyPack
Dr. Raymond Corey


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