text:
How to Apply for YIEDP NYSC Business Loan with Heritage Banks
This is a comprehensive approach to applying for the YIEDP NYSC Business Loan with Heritage Banks of Nigeria, plus other NYSC Empowerment schemes.
In recognition of our commitment to SME and Youth development, Heritage Bank has been adopted by the Central Bank of Nigeria (CBN) as the sole pilot bank for the Youth Innovative Entrepreneurship Development Programme (YIEDP).
The programme is aimed at harnessing the latent entrepreneurial spirit among the teeming youths by providing timely and affordable loans to implement their business ideas. This further provides a sustainable mechanism to stimulate employment, contribute to the Nation's non-oil GDP, and address the challenge of youth restiveness.
The following categories of youth (aged 18-35) are eligible for for YIEDP NYSC Business Loan:
Serving youth corps members
Non-NYSC (not more than 5 years post NYSC)
Qualified Business Sectors:
Agro – Allied
Food Processing / Preservation
Manufacturing / Cottage Industry
Education & Financial Inclusion
The details below are relevant for all eligible youth:
Eligible youth can apply for the loan through this portal http://www.yiedp-hbng.com/ using his/her NYSC State Code.
Applications can be made as an Individual or as a group (of 3-5 applicants with similar business interest)
A single applicant can access up to a facility limit N3m while group project jointly owned by 3-5 qualified beneficiaries can access up to a facility limit of N10m.
Applicants can also track application status via the same portal.
Security: Graduate entrepreneurs will use their tertiary institution(s) certificate(s) and their NYSC discharge certificate. Serving Corp members will pledge their NYSC discharge certificate and their tertiary institution(s) certificates(s). Also, legal ownership of assets financed by the Bank and 3rd party guarantors will be requested as additional collateral from all entrepreneurs.
The application portal will be open for a limited period. However, you can refine your business ideas before the submission of your business proposal at the bank request.
Please refer to the FAQ for further clarification http://www.yiedp-hbng.com/ies/faqs.aspx
How to Apply for this Loan
Click here to start applying, or visit the link below:
www.yieldp.hbng.com
What you need to know about the Youth Entrepreneurship Development Programme
The Youth Entrepreneurship Development Programme (YEDP) was launched on 15th March, 2016 to enhance the deployment of the ingenuity and resourcefulness of Nigerian youths for maximum economic development.
This was in recognition of the fact that there was no better segment of the Nigerian population than the youths to propel us to our much-needed economic recovery and diversification.
In the third quarter of 2015, the National Bureau of Statistics (NBS) indicated that of the 36.3 million youths representing 48% of the nation's labour force, 13.6 million or 37.7% of them were either unemployed or underemployed.
This situation could not be allowed to fester given that many of our youths had very bright ideas and big dreams but are constrained by scarce seed funding.
The YEDP aims to fix the triple-barreled constraints of insufficiency, high cost and inadequate term of capital usually faced by youth entrepreneurs and startups.
It offers credit of up to N3 million to eligible youth or N10 million for groups of 3 – 5 youths, Interest rate is 9% per annum. Tenor broadly depends on project complexity and cash flow but is between 1 year for working capital loan and 3 years for term loan. The collateral requirements are quite simple: academic and NYSC certificates, third party guarantees and other movable assets.
Target beneficiaries are members of the National Youth Service Corps (NYSC), non-NYSC (but not more than five years post-NYSC), those who possess a verifiable tertiary institution certificate, and artisans with First School Leaving Certificate or a technical certificate or accredited proficiency certificate from the National Board for Technical Education (NBTE), whichever is applicable. Beneficiaries can be encouraged to migrate to other CBN interventions to obtain more funding if they utilize the YEDP facility properly.
The Guidelines for the programme indicate that activities eligible for financing include startups and expansion projects in agricultural value chains (fish farming, poultry, snail farming, etc.), cottage Industry, creative industry (tourism, arts and crafts) and Information and Communications Technology (ICT) among others
More details about all the available NYSC Business Loans, Agric Loans etc. visit the official CBN Portal
NYSC Foundation Scheme
NYSC Foundation is a Non-Governmental, Non-Political, Non-Profit and Private Sector-driven Organization, founded by former corps members who felt there is need to provide support for the continued healthy existence of NYSC Scheme and by extension, giving back to the Society.
This Foundation is duly registered with all the relevant regulatory organs of government, including the Corporate Affairs Commission (CAC) (RC.11,883), the Economic and Financial Crimes Commission (EFCC), (Special Control Unit), in accordance with the provisions of Money Laundering (Prohibition) Act, 2011, and also with the Federal Ministry of Youth Development, its supervisory agency.
The core aims and objectives of the Foundation are to mobilize resources to support NYSC activities and programs as well as to empower ex-corps members who have potential for entrepreneurship.
This Foundation facilitates the actualization of the following desired end-states:
Fostering of healthy integration amongst ex-corps members for the purpose of advancing the course of National Unity.
Accommodating and representing a multiplicity of interests, ranging from unity generation amongst serving/ex-corps, non-corps membership and family circles;
Developing and generating team work and team spirit across the board;
Designing and developing models to assist growth and development through the NYSC and NYSC Foundation's expansionist programs, including youth employment schemes' generation;
Building capacity for small-holder business generation (Entrepreneurial development),
More information: https://nyscfoundation.org.ng/about-us/
Supporting New from a National daily
This is in the case of not believing the authenticity of the information above. You can go through the publication by one of the Nigeria's most trusted Newspaper. YIEDP NYSC Business Loan is for both serving corps member, and those that have served since last five years.
This was published by Olaleye Aluko of Punch, Abuja:
The Central Bank of Nigeria has said it will offer loans to National Youth Service Corps members to start small and medium scale enterprises, which they will repay in seven years.
The CBN Governor, Dr Godwin Emefiele, who stated this in Abuja while receiving the NYSC Director-General, Brig. Gen. Shuaibu Ibrahim, in his office, noted that the loan was conceived out of the need to reduce unemployment rate in the country.
Emefiele added that the NYSC members should attend the bank's entrepreneurship training centres "to acquire skills in various vocational areas for economic survival at the end of their national service instead of waiting for white-collar jobs."
According to a release by the NYSC on Thursday, Emefiele added that upon completion of their training, the loans would be given to corps members to provide support for acquiring working tools and rent of business offices or workshops.
Additional Opportunities on the YIEDP NYSC Business Loan
The statement added, "The Central Bank of Nigeria has expressed willingness to provide further opportunities of self-employment for corps members through its skill acquisition training. The CBN governor explained that upon completion of training, beneficiaries would get the cumulative value which represents a loan that would be repaid within seven years with a two-year moratorium.
"He recalled that an earlier programme, the Youth Entrepreneurship Development Programme was launched by the bank in 2016 and served as a springboard for the empowerment of corps members and other youths for self-employment and wealth creation.
"Emefiele assured the NYSC DG that the CBN National Microfinance Bank would also support interested corps members in business financing. He advocated the patronage of the Nigerian textile industry, which he described, as the largest employer of labour in the country in the 1990s."
The NYSC DG noted that the visit was to enhance more "robust collaboration with the bank in the area of empowerment of corps entrepreneurs."
Ibrahim requested the CBN's support for the provision of more zonal skills acquisition centres and modern equipment for the NYSC farms located in various parts of the country.
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00011 \textcolor{preprocessor}{}\textcolor{preprocessor}{#if HRYKY\_USE\_BOOST\_EXCLUSION}
00012 \textcolor{preprocessor}{}\textcolor{preprocessor}{#   include <boost/thread.hpp>}
00013 \textcolor{preprocessor}{#else}
00014 \textcolor{preprocessor}{}\textcolor{preprocessor}{#   include <mutex>}
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00016 \textcolor{preprocessor}{}\textcolor{preprocessor}{#include "\hyperlink{exclusion__waitable__lock_8h}{hryky/exclusion/exclusion_waitable_lock.h}"}
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redpajama_set_name: RedPajamaGithub


Back in February we visited Diagon Alley at Universal Studios for Savanna's birthday. Adam and I had so much fun with the girls that we decided to start saving for a surprise trip to Hogwarts & Hogsmeade at Islands of Adventure which is Universal Studios' second park. Now for $105 you can visit one park, either or. For about $155 you can visit both in one day and take the Hogwarts Express between the two parks. One day we hope to do that but for now, swinging one park for a family of four is insanity as it is. Fun insanity, but insanity none the less. The Hogwarts & Hogsmeade section of the park is much smaller with less to do than Diagon Alley. Well, there are three rides, one in the castle, and two rollercoasters, but smaller as far as stores and shops and things to see.
Zonko's really was part of Honeyduke's. There were no jokes or cool things inside like there is at Weasleys' Wizard Weezes at Diagon Alley. But the storefronts were still really well done. So naturally I took hundreds of photos.
The snow topped roofs almost made my mind believe it was less than 90 degrees out.
The girls know we let them get one reasonable souvenir when we do a theme park. Savanna had her heart set on a treat from Honeyduke's. It was either an acid pop or a chocolate frog.
Scarlette picked out a candy quill that writes in blue if you dip the end of the stick in water.
Savanna ended up choosing the chocolate frog (she got Salazaar Slytherin as her card) and I picked cotton candy. Sometimes I just crave cotton candy. Maybe it's the wax.
We ate lunch at The Three Broomsticks. Adam ordered the smoked chicken, I chose the Cornish pasties, Savanna picked the fish and chips while Scarlette went the mac 'n cheese route. I also splurged on a pumpkin fizz, which tastes like Pumpkin Juice but with added ginger ale or Sprite or something. Very refreshing.
But beware, the pasties were like the size of a silver dollar and only three of them. I pretty much finished off everyone else's food like a dern buzzard.
The Three Broomsticks filled our bellies in the end and we all enjoyed the flavor of the foods. I particularly enjoyed the decor.
Universal knocked it out of the park with Hogwarts. The castle inspires awe and the ride within thrills and delights and brought hiccuping tears to my eyes. Yeah, I'm a nerd freak. I boo hoo'd all through the castle: from the moving and talking art to the floating candles and entrance to Dumbledore's office. Tears of ecstasy.
I cried while I watched this too.
Not sure if you can see the bawling little Mandrake in there behind the glare of the window. He didn't make me cry. He made me laugh. Then cry. Just kidding. His squeals were pretty funny.
And our wands worked in this park too! Unfortunately a lot of the spell hot spots were non-functioning (you can see the white and red sign in the window propped on the cake- it basically says the area is jinxed and the spell won't work). I didn't have the heart to tell Scarlette so she tried anyway.
All in all, the day brimmed over with magic and wonder. And we will be looking forward to our next Wizarding World experience.
This place looks so amazing! I think hubby and I need to take a major vacation and hit ALL three parks! (Three, right?) I think I'd die. And go broke.
Adam is good natured about it because he knows how much the stories mean to me and in fact, he is a huge fan of the movies and watches the marathons every time they come on. The girls are always concerned/fascinated when I cry over movies and theme parks and things like that.
It really is amazing. The people who visualize and construct these places are so very talented. I hope you do come one day and I will totally buy tickets and go with you and we can happy boo hoo together.
Oh it is just as magical as I remember it being!! My heart aches looking at these pictures because I want to go back soo bad. I am soo glad you and your family had such a blast though. What a bummer about the spells not working though! I am excited to see there is new merchandise added to some of the stores such as the cotton candy and candy pens as that wasn't there when I went a few years ago.. unless I some how missed it? I believe it is new so we will stick with that! Hopefully some day soon I will have a chance to save up and go to all of the parks!
Thank you! It was a beautiful day! I noticed that they keep adding new stuff too. I enjoy that though. In the bakery case there were pumpkin cakes, pumpkin pasties and cauldron cakes. I wanted to try them all. We hope to save up again and hit them both in the same day too eventually. But not for a good long while. Then a pumpkin cake will be mine. Have you had a chance to go to Diagon Alley?
Ahh, the Mandrake, and the owl post and the Butterbeer and everything! Someday for me, someday...too lovely.
The Mandrake really tickled my funny bone for some reason. I hope you can make it there too one day. It really is worth it. Magically magnificent. And if you do go, the frozen Butterbeer is the best. Mmm MMm mMMMMMmm!
Oh my gosh, this looks like so much fun! Your pictures are beautiful, Julie. Once again I am wracked - WRACKED, I tell you - with jealousy. I've never been, but no one's blaming you for crying. I'm a crier when I get emotionally overloaded in any direction, and I think being in Harry Potter's world would get me bawling!
Thank you, lovely! LOL! Don't be jealous! Get yer biscuits down here and come visit!! I will go with you. It will be a hardship to go again, but... >sigh<.... I will do it just for you. I am a crier when emotionally invested too. A great movie, book, experience or when I am angry, frustrated, stressed or moved by something. The tears. They flow sometimes.
Side note: Stranger Things Chapter 5 is on deck.
You jest, but just wait until I show up on your doorstep with enough clothes for the next month and a keg of Butterbeer under one arm, just you wait!
Another side note: When you finish it, you'll have to let me know what you thought about it. My husband and I just finished watching it with my parents - it was really super cool watching it with them; they were WAY into it.
Your pictures are beautiful! It amazes me what designers can do to make a theme park look amazing and so realistic.
Thanks, friend! Me too. I am in complete awe at how they can make these stories come alive. So talented!


text:
Differentiating children with and without language impairment based on grammaticality
Sarita L. Eisenberg, Ling Yu Guo
Communication Sciences and Disorders
Purpose: This study compared the diagnostic accuracy of a general grammaticality measure (i.e., percentage grammatical utterance; PGU) to 2 less comprehensive measures of grammaticality-a measure that excluded utterances without a subject and/or main verb (i.e., percentage sentence point; PSP) and a measure that looked only at verb tense errors (i.e., percentage verb tense usage; PVT)-in differentiating children with and without language impairment. Method: Two groups of 3-year-olds, 17 with language impairment and 17 with typical language, participated in a picture description task. PGU, PSP, and PVT were computed. Receiver operating characteristic curve analyses were conducted to determine the best cutoff value for each measure.Results: All 3 measures demonstrated a sensitivity of 100%. PGU showed a specificity of 88%, and both PSP and PVT showed a specificity of 82%. In addition, PGU showed a larger positive likelihood ratio than the other 2 measures. Conclusion: PGU, PSP, and PVT were all sensitive to language impairment. However, PGU was less likely than PSP and PVT to misclassify children with typical language. The resultant diagnostic accuracy makes PGU an appropriate measure to use to screen for language impairment.
Language, Speech, and Hearing Services in Schools
https://doi.org/10.1044/0161-1461(2001/023)
Language sampling
10.1044/0161-1461(2001/023)
Dive into the research topics of 'Differentiating children with and without language impairment based on grammaticality'. Together they form a unique fingerprint.
Language Impairment Arts & Humanities 100%
Grammaticality Arts & Humanities 95%
Primary Spontaneous Pneumothorax Medicine & Life Sciences 82%
Diagnostic Accuracy Arts & Humanities 60%
Verb Tense Arts & Humanities 52%
Specificity Arts & Humanities 34%
Utterance Arts & Humanities 30%
Eisenberg, S. L., & Guo, L. Y. (2013). Differentiating children with and without language impairment based on grammaticality. Language, Speech, and Hearing Services in Schools, 44(1), 20-31. https://doi.org/10.1044/0161-1461(2001/023)
Eisenberg, Sarita L. ; Guo, Ling Yu. / Differentiating children with and without language impairment based on grammaticality. In: Language, Speech, and Hearing Services in Schools. 2013 ; Vol. 44, No. 1. pp. 20-31.
@article{80731f05540c4f60b108bc8fd72d37a8,
title = "Differentiating children with and without language impairment based on grammaticality",
abstract = "Purpose: This study compared the diagnostic accuracy of a general grammaticality measure (i.e., percentage grammatical utterance; PGU) to 2 less comprehensive measures of grammaticality-a measure that excluded utterances without a subject and/or main verb (i.e., percentage sentence point; PSP) and a measure that looked only at verb tense errors (i.e., percentage verb tense usage; PVT)-in differentiating children with and without language impairment. Method: Two groups of 3-year-olds, 17 with language impairment and 17 with typical language, participated in a picture description task. PGU, PSP, and PVT were computed. Receiver operating characteristic curve analyses were conducted to determine the best cutoff value for each measure.Results: All 3 measures demonstrated a sensitivity of 100%. PGU showed a specificity of 88%, and both PSP and PVT showed a specificity of 82%. In addition, PGU showed a larger positive likelihood ratio than the other 2 measures. Conclusion: PGU, PSP, and PVT were all sensitive to language impairment. However, PGU was less likely than PSP and PVT to misclassify children with typical language. The resultant diagnostic accuracy makes PGU an appropriate measure to use to screen for language impairment.",
keywords = "Assessment, Children, Language disorders, Language sampling, Syntax",
author = "Eisenberg, {Sarita L.} and Guo, {Ling Yu}",
doi = "10.1044/0161-1461(2001/023)",
journal = "Language, Speech, and Hearing Services in Schools",
publisher = "American Speech-Language-Hearing Association (ASHA)",
Eisenberg, SL & Guo, LY 2013, 'Differentiating children with and without language impairment based on grammaticality', Language, Speech, and Hearing Services in Schools, vol. 44, no. 1, pp. 20-31. https://doi.org/10.1044/0161-1461(2001/023)
Differentiating children with and without language impairment based on grammaticality. / Eisenberg, Sarita L.; Guo, Ling Yu.
In: Language, Speech, and Hearing Services in Schools, Vol. 44, No. 1, 01.01.2013, p. 20-31.
T1 - Differentiating children with and without language impairment based on grammaticality
AU - Eisenberg, Sarita L.
AU - Guo, Ling Yu
N2 - Purpose: This study compared the diagnostic accuracy of a general grammaticality measure (i.e., percentage grammatical utterance; PGU) to 2 less comprehensive measures of grammaticality-a measure that excluded utterances without a subject and/or main verb (i.e., percentage sentence point; PSP) and a measure that looked only at verb tense errors (i.e., percentage verb tense usage; PVT)-in differentiating children with and without language impairment. Method: Two groups of 3-year-olds, 17 with language impairment and 17 with typical language, participated in a picture description task. PGU, PSP, and PVT were computed. Receiver operating characteristic curve analyses were conducted to determine the best cutoff value for each measure.Results: All 3 measures demonstrated a sensitivity of 100%. PGU showed a specificity of 88%, and both PSP and PVT showed a specificity of 82%. In addition, PGU showed a larger positive likelihood ratio than the other 2 measures. Conclusion: PGU, PSP, and PVT were all sensitive to language impairment. However, PGU was less likely than PSP and PVT to misclassify children with typical language. The resultant diagnostic accuracy makes PGU an appropriate measure to use to screen for language impairment.
AB - Purpose: This study compared the diagnostic accuracy of a general grammaticality measure (i.e., percentage grammatical utterance; PGU) to 2 less comprehensive measures of grammaticality-a measure that excluded utterances without a subject and/or main verb (i.e., percentage sentence point; PSP) and a measure that looked only at verb tense errors (i.e., percentage verb tense usage; PVT)-in differentiating children with and without language impairment. Method: Two groups of 3-year-olds, 17 with language impairment and 17 with typical language, participated in a picture description task. PGU, PSP, and PVT were computed. Receiver operating characteristic curve analyses were conducted to determine the best cutoff value for each measure.Results: All 3 measures demonstrated a sensitivity of 100%. PGU showed a specificity of 88%, and both PSP and PVT showed a specificity of 82%. In addition, PGU showed a larger positive likelihood ratio than the other 2 measures. Conclusion: PGU, PSP, and PVT were all sensitive to language impairment. However, PGU was less likely than PSP and PVT to misclassify children with typical language. The resultant diagnostic accuracy makes PGU an appropriate measure to use to screen for language impairment.
KW - Children
KW - Language disorders
KW - Language sampling
KW - Syntax
U2 - 10.1044/0161-1461(2001/023)
DO - 10.1044/0161-1461(2001/023)
JO - Language, Speech, and Hearing Services in Schools
JF - Language, Speech, and Hearing Services in Schools
Eisenberg SL, Guo LY. Differentiating children with and without language impairment based on grammaticality. Language, Speech, and Hearing Services in Schools. 2013 Jan 1;44(1):20-31. https://doi.org/10.1044/0161-1461(2001/023)

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How to implement JPA composite key properly? Throws an error I'm working on a simple store project in spring. First, I implemented Item to Order mapping as another entity called Position. It had a sequentially generated id before, but to my knowledge composite key (order_id, item_id) was a better solution. I've read a lot of internet articles regarding this topic, but I'm in a dead-end right now. The application launches correctly and generates all the tables correctly, but after inserting throws an error.
2020-07-02 11:38:01.864 ERROR 4676 --- [nio-8080-exec-5] o.a.c.c.C.[.[.[/].[dispatcherServlet]    : Servlet.service() for servlet [dispatcherServlet] in context with path [] threw exception [Request processing failed; nested exception is org.springframework.orm.jpa.JpaSystemException: Could not set field value [2] value by reflection : [class com.wave.greenboxrest.model.PositionId.itemId] setter of com.wave.greenboxrest.model.PositionId.itemId; nested exception is org.hibernate.PropertyAccessException: Could not set field value [2] value by reflection : [class com.wave.greenboxrest.model.PositionId.itemId] setter of com.wave.greenboxrest.model.PositionId.itemId] with root cause

And another one: java.lang.NullPointerException: null
I tried to make sure there are getters and setters on every field but it seems that's not the reason.
OrderController::createOrder method, after inserting the error occurs.
@PostMapping("/create")
    public void createOrder(@RequestBody OrderCreateDto orderDto){
        Set<Position> positions = new HashSet<>();
        Order order = new Order();
        for(PositionCreateDto positionDto: orderDto.positions){
            Position position =
                    new Position(itemRepository.findById(positionDto.itemId).get(), positionDto.weight);
            position.setOrder(order);
            positions.add(position);
        }
        order.setPersonName(orderDto.personName);
        order.setAddress(orderDto.address);
        order.setPhoneNumber(orderDto.phoneNumber);
        order.setPositions(positions);
        orderRepository.saveAndFlush(order);
    }

@Entity(name = "positions")
public class Position {

    @EmbeddedId
    private PositionId id;

    @JsonIgnore
    @NotNull
    @ManyToOne(cascade = CascadeType.ALL)
    @JoinColumn(name = "order_id")
    @MapsId("orderId")
    private Order order;

    @NotNull
    @OneToOne(cascade = CascadeType.ALL)
    @MapsId("itemId")
    private Item item;

    @NotEmpty
    private Double weight;

    public Position() {
    }

    public Position(@NotNull Item item, @NotEmpty Double weight) {
        this.item = item;
        this.weight = weight;
    }

    public PositionId getId() {
        return id;
    }

    public void setId(PositionId id) {
        this.id = id;
    }

    public void setOrder(Order order) {
        this.order = order;
    }

    public Order getOrder() {
        return order;
    }

    public Item getItem() {
        return item;
    }

    public void setItem(Item item) {
        this.item = item;
    }

    public Double getWeight() {
        return weight;
    }

    public void setWeight(Double weight) {
        this.weight = weight;
    }

    @JsonProperty("subtotal")
    public Double calculateSubtotal(){
        return item.getPrice() * weight;
    }

}

@Embeddable
public class PositionId implements Serializable {

    private Long orderId;

    private Long itemId;

    public PositionId(){
    }

    public PositionId(Long orderId, Long itemId) {
        this.orderId = orderId;
        this.itemId = itemId;
    }

    @Override
    public boolean equals(Object o) {
        if (this == o) return true;
        if (o == null || getClass() != o.getClass()) return false;
        PositionId that = (PositionId) o;
        return orderId.equals(that.orderId) &&
                itemId.equals(that.itemId);
    }

    @Override
    public int hashCode() {
        return Objects.hash(orderId, itemId);
    }

    public Long getOrderId() {
        return orderId;
    }

    public void setOrderId(Long orderId) {
        this.orderId = orderId;
    }

    public Long getItemId() {
        return itemId;
    }

    public void setItemId(Long itemId) {
        this.itemId = itemId;
    }
}

Could anyone guide me how to get through the error? Also is the createOrder method implemented correctly?

A: Finally, I've solved the issue! The trick was to instantiate PositionId when creating a Position.
public Position(Order order, Item item, Double weight) {
        this.order = order;
        this.item = item;
        this.weight = weight;
        this.id = new PositionId(order.getId(), item.getId());
}

I was almost sure, that it is being done for me under the hood. Apparently I was wrong.

A: It seems that hibernate could not map itemId column,so I guess that the itemId column will be "item_id", so try to modify your PositionId class to be like that
@Embeddable
public class PositionId implements Serializable {
@Column(name = "order_id")
private Long ordered;

@Column(name = "item_id")
private Long itemId;

public PositionId(){
}

public PositionId(Long orderId, Long itemId) {
    this.orderId = orderId;
    this.itemId = itemId;
}

@Override
public boolean equals(Object o) {
    if (this == o) return true;
    if (o == null || getClass() != o.getClass()) return false;
    PositionId that = (PositionId) o;
    return orderId.equals(that.orderId) &&
            itemId.equals(that.itemId);
}

@Override
public int hashCode() {
    return Objects.hash(orderId, itemId);
}

public Long getOrderId() {
    return orderId;
}

public void setOrderId(Long orderId) {
    this.orderId = orderId;
}

public Long getItemId() {
    return itemId;
}

public void setItemId(Long itemId) {
    this.itemId = itemId;
}
}

redpajama_set_name: RedPajamaStackExchange


text:
So You Want to Start a Series
Now that we've discussed the nature of serial poetry, some of you folks may want to try your hand at it. Understand that you don't necessarily have to be a poet to do this: crowdfunding and other collaborative practices mean that there are prompt calls where you can get someone else to do the writing for you. Look on my Serial Poetry page and you'll see that a couple of my small series were inspired by a single person: The Clockwork War by LiveJournal user viva_la_topknot and Glimpses of Minoa by LiveJournal user browngirl. Both of those also feature marginalized topics: disabled soldiers and an ancient culture. One person can make a difference. On that note, consider whether you want to make the major decisions alone or with an audience. You could probably have fun going through these steps with a discussion and poll for each stage, if you have lively readers already.
I'll offer some suggestions for designing a good poetic series. You can take them or leave them; the only writing rule I've found essential to success is Thou Shalt Not Bore Thy Reader. As in cooking from a recipe, it is prudent to read through all the steps and make sure you have everything you need before starting. Then work through in order, although there are some places where you can safely skip around. Write down your decisions as you make them. This kind of thoughtful planning makes a series more coherent. You can, of course, just jump in without planning if you prefer to work by the seat of your pants.
I'm also going to borrow another major tool from Understanding Comics by Scott McCloud. This deals with the Six Steps of Creation. They are: 1) Idea/Purpose, 2) Form, 3) Idiom, 4) Structure, 5) Craft, and 6) Surface. In the book, McCloud describes how people often start at the end -- the surface. Don't do that; the results usually suck. I have no idea why that seems to be such a popular choice. Starting at or near the beginning produces much better material.
Based on this week's host topic, we've already chosen a form: serial poetry. That's a good starting point. You might decide that this, itself, will be a key part of your purpose -- to explore what serial poetry can do. There's plenty of room because not a lot has been done with it yet, compared to other literary forms. You might further refine the selection of form by pinpointing a specific type of poetry -- sonnet cycle, ballad, free verse, etc. -- instead of mixing and matching forms within a series. You could even invent a new poetic form for your series. So far, this is basically pre-planning.
I recommend that your first major step be 1) Idea/Purpose. What is your series about? What message do you want to convey with it? Writing without purpose tends to ring hollow, so find something you care deeply about and put it in the center. As mentioned above, 2) Form is a legitimate option for this, rather than a specific subject, but it still helps to have a clear focal topic. Whatever it is, make sure that you have something important to say. The more passionate you are about your work and its content, and the more meaningful your core concepts are, the more deeply you can move your audience.
For a series, you need concepts big enough to support that kind of size, something that won't resolve in just a page or two. Flip through some of my series and you'll see ideas from me and my audience that touch on intense issues: love, sacrifice, survival, community, faith, history, politics, family, slavery, freedom, technology, discrimination, redemption, rivalry, service, ingenuity, fear, practicality, vision, sentience, morality, adoption, alchemy, etc. Those are themes. A thesis is what your work says about its theme, for example, "Perseverance means you keep trying to make the world a better place, even when it lies in ruins around you," as in my series Path of the Paladins. There are lots of places where you can find ideas for your writing. You might also browse a list of popular themes or social issues.
Next, consider some of the questions we covered in the foundation article earlier. Do you want to write your whole series and then post it, or post it as you write it? Do you want to write it as a unit and then subdivide it, or write it in discrete segments? Do you want an open-ended or closed storyline? Do you prefer cliffhangers or conclusive episodes? How much continuity do you want? You don't have to answer all of these questions, but each one you do answer will help decide later aspects to match it. For instance, if you choose an open-ended plot, you will need some kind of plot device that will continue generating challenges indefinitely. These are issues of 3) Idiom and 4) Structure -- the literary school, genre, and compositional framing of the work. Such big fundamental questions are easier to handle at the beginning of a series than to figure out and work in later.
After laying the foundation, move on to the components from our previous infrastructure discussion. Here are the main elements of literature: character, setting, plot, and flavor; who, where, what, and how. They deal with aspects of 4) Structure and 5) Craft. This is where your choices will be strongly influenced by the fact that you are designing a poetic series, not a stand-alone poem. You need to build with components that will catch and hold attention. You can develop these in any order; I'm presenting the one I use most often. If you know your personal linchpin in literature -- if you're more attracting to places, for instance -- then do that first. You can build a series based on any one of these, but if you take time to develop all of them carefully, the result will be a lot sturdier and more interesting.
You need to create at least one character, the protagonist, for your series. If you wish, you can have a party of main characters, or some supporting characters, or a villain, or whomever else you want to add. The crucial factor is this: Choose characters that people will want to spend time with. In a series, you're basically moving in with these characters or going on a road trip with them. So if they're all boring, unsympathetic, annoying, and/or unbelievable then your readers will leave. Do your best to create compelling and plausible characters. Supporting characters may be simpler, but main characters should be detailed. Each one should have a goal, resources, strengths and weaknesses. This touches on plot, too, because each character's goal needs an obstacle -- which can be another character, the environment, or a situation -- keeping it out of easy reach. Not all characters have to be likable but they should all be entertaining; with villains, "love to hate" or "redeemable rascal" are worthy ideals. Build your characters from the ground up: their role in the story, the traits they need to fulfill it, then surface details such as name, physical appearance, dress mode, etc.
You must provide a place for the action to happen -- a house, a road, a nation, a starship, whatever. The type of setting you choose influences what kind of stories can happen there; for instance, a road tends to involve traveling along it. Then you must distinguish your setting from all the others of that type: for example, each house has a specific arrangement of rooms with furniture and colors, often saying much about the residents. Describe the setting in ways that enrich the story. The key is this: Develop settings that people will enjoy exploring. When you begin the series, introduce the setting generally with just a few concrete details. Leave shadowy corners, closed drawers, or beckoning horizons that make your readers want to peek into them. Understand that a location can be gratifying either because it is familiar or because it is alien. Focus on details that people can relate to (the smell of rain, a warm bed) or that seem exotic (obscure foods, a foreign language). Do your homework to get the facts right.
You have to lay out a plot for your series. Choose one that suits your interests, based on whatever elements you've already established. I find that the best plots flow from the unique confluence of characters and setting. Everyone has some kind of trouble they're bound to get into no matter how they try to avoid it; and all cultures come with flaws that aggravate their people. The vital point is: Pick a plot that will compel people to "strike the bell and bide the danger." Drag your readers into the action and make them curious about what happens next. In serial poetry, what you need to start is a challenge that can resolve in the first poem, which sets up some kind of ongoing action. Think of some things that could happen, or need to happen, and jot those down as points to aim for later in the series. There are different ways to plan the sequence of events; pick whatever works for you. Make sure the plot has good structure. Because you're launching a series: start, don't finish. Avoid painting yourself into a corner. Leave room to grow.
Create some poetry! You need at least one poem to start, and a second to make this a series rather than a single poem. If you're new at this, you might want to read about how to write a poem. If you're outlining a series that you want someone else to write, now's the time to post prompts. Put together all the other stuff you've built up and tell the beginning of the tale. Get the character(s) moving in pursuit of a goal. Mention concrete details of the setting. Incorporate some poetic techniques to add charm and linguistic intensity. Don't worry too much about making everything perfect; just do your best. This deals with 5) Craft and 6) Surface. These aspects of the creative process are always in development. Writing a poetic series is an excellent way to practice them.
Go back and revise the poetry. If you're writing poems yourself, it helps to have a first reader or beta reader to give you feedback before publishing your work. If you're providing prompts for someone else to write, then you take on the role of first reader, helping polish poems when you see the prompter copies. If you're sponsoring poems, then you're serving as editor, deciding what's worth buying -- especially important in a big series with a wider fanbase, and you never know when that will happen. In any case: spellcheck, proofread, analyze the continuity, and otherwise look for flaws. Fix them. This further refines the 6) Surface. You want it to look shiny and appealing.
Release the poetry. In today's world, cyberspace is the most effective way to reach a lot of people quickly. You don't have to go through a magazine or book editor, and you can get feedback from your audience. (If you want to go the paper route, though, you can. A little of my serial poetry started that way, like Queen Choufa and the Rebel Drones, visible on my Serial Poetry page.) So the popular venues include blogs, social networks, forums, personal websites, and poetry archive sites. I publish my poems on my LiveJournal and Dreamwidth blogs, which echo links to my Facebook personal page; and the Serial Poetry guide page is on my personal website. Ideally, you want a venue that is legible and easy to navigate, with features for organization (such as tags) and feedback (polls, comments, like buttons, etc.). If this poetic serial is crowdfunded, put up a tip jar for it. Even if it's sponsored up front, this lets other fans chip in for stuff they like. You may encourage people to respond by including questions, posting a poll, or whatever. Audience feedback is useful for developing later poems in the series and for improving your craft as a poet and/or patron. The presentation of work to the public is, again, part of 6) Surface.
Once you have a few installments published, it helps to create a landing page for your poetic series, with a project summary and a list of poems. Continue creating poems, incorporating new ideas as the series progresses. A good series tends to take on a life of its own, so don't try to push it around too much. Let it find its own way.
What do you think is the most exciting thing about launching a poetic series?
What would you like to see more of in serial poetry?
Companion Poem: "Starfather"
In the spirit of launching a new series, I've posted "Starfather" for the first time. It came out of the March 6, 2012 Poetry Fishbowl. It was inspired by a prompt from LJ user lilfluff about the willing sacrifices of adoptive parents.
This is a science fiction series, whereas a majority of mine are fantasy. I'd like to diversify a bit more, but what turns into a series depends equally on what I write and what my audience picks. "Starfather" takes place in my main science fiction universe. The primary cultural background is Egyptian, based on the main character's home colony. From there, things get more hectic.
Aarne-Thompson Folktales Types and Motif Index -- for you overachievers, a massive collection framed in obscure scholarly terms, but an absolute gold mine of character, plot, and item tropes; the link goes to a summary page with simpler thumbnail phrases that are easier to use
The Basic Plots in Literature
The Big List of RPG Plots
Building a Fantasy World
Character Archetypes -- a list
Death Quaker's Big List of WoD Archetypes
The Fiction Writer's Silent Partner -- a book
How to Answer Worldbuilding Questions
How to Write Poetry
Jill's List of Character Archetypes
List of Science Fiction Themes
Places or Settings
Plot Generator
Story Plot Generator
Tobias' 20 Plots
TV Tropes -- a massive list of character types, plot twists, and other motifs with observations about what is overdone or offensive and how to subvert things
This article was originally posted to the Poetree community on 10/27/12.
Photo used under Creative Commons from jurvetson


text:
Homechevron_rightKeralachevron_rightGovt committed to...
date_range 28 Sep 2015 11:45 AM GMT
Govt committed to solving plantation crisis, says Chandy
Thrissur: Chief Minister Oommen Chandy has said that State government is committed to resolving the crisis in the plantation sector by creating a win-win situation for both workers and managements.
He was talking to the media at Kerala Agriculture University at Mannuthy here on Monday.
"The government is concerned of the crisis as it's a sector that helps us earn foreign revenue. A Cabinet sub-committee has been formed to hold talks with the workers," the Chief Minister said.
He said that the crisis will hopefully resolved by the scheduled meeting of the Plantation Labour Committee meeting convened by the government on Tuesday.
Chandy had assured the plantation workers that the state government would not take any decision which will destroy the sector.
"Government will not take any decision which will destroy the plantation sector. All issues are expected to be resolved at the Plantation Labour Committee meeting convened by the government on September 29," he told reporters at Kottayam.
"Only if everyone is positive, we can find a solution to the problems," Chandy said after meeting representatives of women tea plantation workers.