Building Performance Management through Employee Participation Essay - 1

Building Performance Management through Employee Participation - Essay Example To ensure the employees are motivated and committed to achieving organizational goals and consequently success or effectiveness, performance management is crucial. Most people use the terms performance management and performance appraisal interchangeably but performance appraisal is just part of performance management aimed at ensuring that employees perform their jobs up to the expected standards. Since performance management involves ensuring the right employee behavior, employees’ participation in the process is key to effectiveness. Failure to involve employees in making decisions in issues that affect them may lead to negative results as illustrated in the Jewelers Mutual Insurance Company (JMI). These include poor job attitudes, reduced motivation, and reduced effort on the job (Mathis and Jackson 354). Employee participation is considered crucial in â€Å"determining whether specific performance management methods, procedures and requirements will be accepted and that they work effectively to support performance improvement† (OPM.gov). Employee dissatisfaction is as a result of not engaging employees in the process. Employees have different personalities and thus different opinions and perceptions. As such, seeking their opinion in issues that affect them ensures acceptability and commitment (Roberts 89). Consider JMI which a performance management in place but employees were dissatisfied with the way goal-directed behavior was being encouraged. If the organization had involved the employees in deciding on the goals to be accomplished and the expected performance standards, the employees would have been comfortable with the process since they are already aware of what is expected of them. Besides, Roberts asserts that if the employees are involved in setting standards and performance measures, they cannot perceive the process to be unfair (93). As such employee participation in the process leads to increased reliability, fairness and validi ty. He also asserts that since employees’ gain ownership of the process, they are committed to ensuring its success (89). Employee participation in designing the rating form makes it acceptable to the ratees hence minimizing conflicts between management and employees. After engaging employees in the performance management process, JMI was able to get commitment and support from employees and improved performance. This was through improvements to the system, that is, their views were incorporated during the redesigning process thus creating a system acceptable to all and which linked performance management to other human resource activities. This case is thus a good example of how employee participation enhances greater support for the system. The experience of JMI is also a lesson to other organizations on how performance management systems can be improved. One of the ways to improve the system is through continuous feedback. Some organizations hold review meetings annually t hus do not give employees frequent feedback. This is detrimental to the organization since an employee is unable to understand whether he or she is accomplishing what he/she set out to accomplish or make amendments and move in the right direction. As a result, the performance may not improve. For Roberts, job satisfaction and performance can be enhanced by use of a â€Å"specific, timely and behavioral feedback by a credible source† (93). Frequent feedback also allows redefining of goals and

Timed Efficient Stream Loss-Tolerant Authentication (TESLA)

Timed Efficient Stream Loss-Tolerant Authentication (TESLA) When considered as a security solution for ADS-B, asymmetric-key encryption has two major drawbacks. The first issue is that current asymmetric-key schemes have no compact encryption implementations, and would result in an increase of the transmitted ADS-B message length. The second problem is that unique encrypted ADS-B messages would be required for each recipient. To maintain a fully-connected network of n nodes would necessitate (n2 à ¢Ã‹â€ Ã¢â‚¬â„¢ n) unique broadcasts rather than n in the current system [15], which obviously does not scale well as the size of the network increases. As a possible answer to these two drawbacks, Costin et al. [3] have suggested what they term a lightweight PKI solution. In the lightweight PKI approach, node A transmits its digital signature over n messages, so that after every n messages, the surrounding nodes have received As digital signature. The recipients keep the messages until the entire digital signature has been transmitted and they can authenticate the buffered messages. The authors suggest that the PKI key distribution necessary for this scheme could be done during an aircrafts scheduled maintenance cycle [13]. A security scheme called Timed Efficient Stream Loss-Tolerant Authentication (TESLA) is a variation on traditional asymmetric cryptography that has been proposed for use on broadcast networks [19], [20]. With TESLA, senders retroactively publish their keys which are then used by receivers to authenticate the broadcast messages. A broadcasting node produces an encrypted message authentication code (MAC) which is included with every message. After a designated time interval or number of messages, the key to decrypt the senders MAC is published. Listening receivers who have buffered the senders previous messages can then decrypt the messages that were broadcast. When applied to ADS-B, this technique imposes a time delay on the broadcast due to the need to buffer messages, but it provides integrity and continuity of messages sent over the network. TESLA is an adaption of the TESLA protocol designed for use on wireless sensor networks. The TESLA protocol requires nodes in the network to be loosely time synchronized, with each node having an upper bound on the maximum clock synchronization error. As discussed earlier, asymmetric encryption schemes have high computation and communication overhead, which limit their usefulness as security approaches on the bandwidth-constrained ADS-B network. The TESLA protocol overcomes this problem by employing asymmetric-key encryption through a delayed disclosure of symmetric keys, which results in an efficient broadcast authentication scheme. When one considers the bandwidth and interference limitations on the ADS-B frequency channel, the TESLA design adaptations identify this protocol as a viable scheme for providing security in ADS-B. However, there are two obstacles to applying TESLA to ADS-B. The primary issue is that, while sufficiently good time synchronization could be provided via GPS, it would require modification to the protocol to accommodate the GPS timestamp field. The second problem is that in order for TESLA to be used for verifying the identity of a network node, it needs to be reinitialized which leaves it susceptible to memory- based DoS attacks. In spite of these drawbacks, TESLA is a promising security scheme for integrating into ADS-B. B. Aircraft Address Message Authentication Code The cryptographic solutions PKI and TESLA both have shortcomings in that they require modifications to the current ADS-B protocol. The Aircraft Address Message Authentication Code (AA-MAC) security solution utilizes a standard hash algorithm such as MD5 or SHA and a secret authentication key to perform message integrity [21]. The AA-MAC message source integrity scheme would require a slight modification to the existing protocol in that it would replace the current Aircraft Address (AA) field with the MAC, but the ADS-B message is otherwise unchanged. The AA-MAC approach proposes a different aircraft identification strategy, assigning a unique identifier to each aircraft that is good for the duration of a particular flight. As with PKI cryptographic approaches, the distribution of the secret key presents challenges for AA-MAC. Since MAC requires just one key which is used to uniquely identify a sender on the network, the simplest approach would be to distribute the secret key only whe n an aircraft intends to enter the air traffic control system and ADS-B network. The purpose here is to demonstrate a compatible security scheme that will mitigate threats posed by message injection and modification attacks, which are among the most critical vulnerabilities in the current ADS-B implementation. While AA-MAC does not provide data integrity, it is highly compatible with the existing 1090ES protocol and can be implemented at low cost relative to other security proposals, offering a feasible partial security solution for ADS-B. 4.1.2. Non-Cryptographic Schemes As we have seen, cryptographic security schemes are difficult to implement in a way that are not compatible with the existing infrastructure, primarily due to the problem of key distribution and management. Non-cryptographic approaches to network security avoid the challenge of key management and instead involve either some form of fingerprinting on the physical layer, or a frequency modulation scheme such as spread spectrum. A. Fingerprinting Schemes such as fingerprinting encompass various methods for authentication and identification, either based on hardware or software imperfections or characteristics of the frequency channel which are hard to replicate. Identifying signatures for legitimate nodes on the network provides data useful for the implementation of systems to detect network intrusions [22]. Software-Based Fingerprinting schemes attempt to isolate distinct characteristics of the software operating on network equipment. The development teams for different network equipment manufacturers often take widely varied paths when implementing software on a given device. These differences can be cataloged and later exploited to tell apart dissimilar network devices, and can be used to verify their continuity up to a certain degree. Hardware-Based Fingerprinting approaches seek to identify and catalog unique network hardware differences. Some of these differences can be used for radiometric fingerprinting, which takes advantage of differences in the modulation of a radio signal to catalog unique device signatures. Clock skew is another identifiable hardware feature that can be used to establish uniqueness between wireless devices. Since no two clocks are perfectly synchronized, time difference can be used to create signatures and enable identification. A third category of fingerprinting is Channel/Location-Based Fingerprinting. This fingerprinting method tries to exploit natural characteristics of the communications channel. Various approaches utilizing received signal strength (RSS), channel impulse response (CIR) and the carrier phase have shown that this can be a viable alternative to more traditional authentication and verification measures.

Research Methods Essay -- Mixed Research, Qualitative Method

Defining and Analyzing Mixed Method Johnson and Christensen (2007) describe mixed research as the third and newest research methodology paradigm. Philosophically, mixed research takes an eclectic, pragmatic, and commonsense approach, suggesting that the researcher mix quantitative and qualitative in a way that works best for the given research question that is studied in a particular context. Mixed research uses both deductive and inductive methods, obtains both quantitative and qualitative data, attempts to corroborate and complement findings and takes a balanced approach to research. Researchers used the term mixed method to refer to all procedures collecting and analyzing both quantitative and qualitative data in the context of a single study. According to Johnson and Onwuegbuzie (2004), some researchers have taken issue with the term mixed methods to describe research designs that consciously blend both approaches within or across the stages of the research process. Researchers seeking associations between primarily quantitative biophysical and primarily qualitative socio cultural data, including environmental and natural resource anthropologists can look to mixed method research designs for structured and tested integrative processes. Such designs have been used to augment traditional methods for assessing and monitoring the impacts of recreation and tourism on the physical environment (Mackay, 2004). Defining and Analyzing Qualitative Method On the other hand, Shank (2002) defines qualitative research as a form of systematic empirical inquiry into meaning. By systematic he means, planned, ordered, and public, following rules, agreed upon by members of the qualitative research community. By empirical, he means that thi... ...ompanying attributes of servant leader. Data Collection The self-assessment servant leadership instrument (SASL) will be converted from a master copy into SPSS 19 software a commercial server from which data will be analyzed. The researcher will use a conceptual framework for measuring servant leadership. Letters requesting permissions to conduct research will be sent to each Dean and Assistant Dean at each campus, as well as the Dean of Students. The letter will specify the research and emphasize that all participation will be selected voluntarily. Also, the individual responses will be anonymous and confidential. Concurrent mixed method data collection strategies will be employed to validate one form of data with the other to transform the data for comparison, or to address different types of questions (Creswell & Plano Clark, 2007).

Immortal Characteristics in the Iliad and the Aeneid Essay

Although written in two distinct eras, The Aeneid and The Iliad offer views of the Trojan War, which have been studied for centuries.   The Iliad, written by Homer in 750-650 BCE, portrays the tale from the Greek point of view.   Sometimes thought to have been a mythic person himself, the telling of The Iliad is attributed to him nonetheless.   The story, written originally in ancient Greek, speaks from an omniscient narrator who can share all details encountered in the main character, Achilles, involvement in the war. Achilles has refused to fight in retribution for Agamemnon stealing his war prize, Briseis.   The Aeneid, on the other hand, is known to have come from the Roman poet, Virgil.   Although the main character, Aeneas, tells portions of the story, Virgil himself narrates the majority of the tale.   Aeneas is traveling to Italy to build a race of Romans.   Juno, who is still angry with the Trojans, sets Aeneas off course and the story begins with a recounting of the war itself. In the way the tales themselves offer varying illuminations on the same setting in Greece, the Gods portrayed share differing characteristics.   In The Iliad, Zeus stands as the king of the Gods.   He refuses to take sides in this war of men, although his favor moves to the Trojan side after Achilles’ mother begs him to intervene.   We find Zeus bothered by the request.   He is involved with domestic disputes already with his wife, Hera, and is reluctant to do any further damage to his solitude.   â€Å"Here is trouble.   You drive me into open war with Hera sooner or later: she will be at me, scolding all day long. Even as matters stand she never rests from badgering me before the gods: I take the Trojan side in battle, so she says,† (Homer, I.593-599).   He does go on to promise he will do as she has asked, although the reader can sense his foreboding in doing so.   His foresight is strong though, as Hera’s reaction is as he said it would be – biting and harsh.   Ã¢â‚¬Å"Who is it this time, schemer?   Who has your ear?   How fond are you of secret plans, of taking decisions privately,† (Homer, I.620-622).   Zeus is portrayed as a beaten God, one who is verbally assaulted by his own wife and appears to be weary of her scorn. One can sense the laughter as the words are written, the hidden personalities that are so similar to common man. Jupiter, however, does not worry over what he will go through personally in order to grant the wish of the goddess who has appealed to him.   Ã¢â‚¬Å"With the serenity that calms the weather, and lightly kissed his daughter.   Then he said: No need to be afraid, Cytherea.   Your children’s destiny has not been changed,† (Virgil, I.345-348).   Jupiter has granted what she sought, and promises that her progeny will found the great kingdom of Rome, named after one of the twin sons to come from Aeneas.    The reader can already discern favoritism for the Romans by this issuance of Jupiter.   He is not a hen-pecked God as Zeus is, although Jupiter’s wife is not a timid creature.   Much like Hera, she is vastly upset and carried a grave distaste for the Trojans.   Jupiter, however, feels Juno will eventually relax.   â€Å"Juno, indeed, whose bitterness now fills with fear and torment sea and earth and sky, will mend her ways, and favor them as I do, Lords of the World, the toga-bearing Romans,† (Virgil, I.376-379). The reader gets the sense that the Greek Gods as told of by Homer are seen as folly.   Zeus is not the almighty master, as one would suspect the king of the Gods to be.   He is stuck between caring for his subjects, the minor Gods, and listening to the gripes and complaints of his wife, the telling is almost comical.   Virgil, however, tells the origination of a great race of people, his own Romans.   The Jupiter is patient and assured of the greatness to come.   His caring ways with his daughter and sincere belief that all will be as he said indicate his power and greatness, showing him to be a true King of the Gods. The physical separation between God and mortal man is great.   In the eleventh book of The Iliad, we find Zeus directly interfering with the battle on hand.   â€Å"Now Zeus, the son of Kronos roused an uproar along his host, and sprinkled bloody dew from highest heaven, being resolved that day to crowd great warriors in to the undergloom,† (Homer, XI,58-61).   The battle between Greek and Trojan forces allowed yet another display of Zeus’ great power over man. Zeus demonstrates this power while protecting Hector. â€Å"Hector moved forward with his round-faced shield.   As from night clouds a baleful summer star will blaze into the clear, then fade in cloud, so Hector shone in front or became hidden when he harangued the rear ranks – his whole form in bronze aflash like lightening of father Zeus,† (Homer, XI.67-72).   The soldiers recognize the ability of Hector to shadow himself as the protection of the Gods.   Zeus’ otherworldly display of power and support for the Trojan cause signifies the justness of their cause, yet as we already know, his might is not good enough.   Troy will lose the battle and the God is not all-powerful in the end. The Aeneid however, shows the true power and wisdom of Jupiter is not only just, but up to the task as well.   Aeneas will reach his destination, and Rome will become the great power it is meant to be.   Jupiter sees that Aeneas has fallen sedentary with his love for Dido and remains with her rather than fulfilling his duty as Jupiter told him.  Ã‚   The scourge of the earth is not brought down on his head to force him off the island.   The all-powerful Jupiter simply sends a messenger, Mercury.   â€Å"From bright Mount Olympus he that rules the Gods and turns the earth and heaven by his power – he and no other sent me to you, told me to bring this message on the running winds: what have you in mind?   †¦the land of Rome are due,† (Virgil, IV.365-375). Aeneas is reminded of his family fortune and honor, which are on the line.   True to his word and loyal to his God, Aeneas leaves Dido to fend for herself.   Her misery and subsequent suicide are not given any thought by Jupiter, the mission is at hand and the great Roman peoples are far more important than a single female.   â€Å"Beating her lovely breast three times, four times, and tearing her golden hair, ‘Oh Jupiter! †¦will this man go, will he have mocked my kingdom, stranger than he is and was,’† (Virgil, IV.816-820)?   Jupiter pays her no mind; the Roman Empire is at stake.   Again, it is in silent action, verbal mandates that Jupiter issues his power.   He is not forced to resort to mortal measures to ensure his will is done. Zeus is portrayed as the mover, the God who has to physically partake in things to get anything accomplished.   The stronger God of the two, Jupiter, simply asks and gets what he wants.   The fear of retribution is fierce amongst not only the people, but also the Gods.   He does not take pity on the fallen as Zeus does.   In terms of masculine strength, Jupiter is by far the strongest.   Of course, such an amazing group of warriors, philosophers and artisans could never have come from so slovenly a King as Zeus. As the war wages on in The Iliad, Zeus is once again shown to be a weaker form than the mighty Jupiter.   Achilles has lost his best friend, Patroclus, in battle. Heartbroken, he vows to return to the battle immediately to slay Hector in revenge.   Although Zeus has long since gone to help the Achaeans in fighting this war, â€Å"Zeus took pity on them, saying quickly to Athena: Daughter, you seem to have left your fighting man alone.   Should one suppose you care no more for Achilles?   The he sits, before the curving prows, and grieves for his dear friend. The other soldiers flock to meat; he thirsts and hungers.   Come, infuse him sweet nectar and ambrosia, that an empty belly may not weaken him,† (Homer, XIX.374-382). Athena then goes off to give the poor warriors some nourishment so they may fight bravely in their final battles.   His heart still belongs to the losing side.   We see his weakness again with the interference into the battle.   In calling the Gods to Mount Olympus, Zeus tells them, â€Å"You know what plan I have in mind and why I called you, why you are here. Men on both sides may perish, still they are near my heart.   And yet, by heaven, here I stay at ease upon a ridge.   I’ll have an ample view here.   But you others, go into action, side with the men of Troy or with Achaeans, as each has a mind to,† (Homer XX.22-29).   Zeus lazily tells the other Gods that the people are dying and it breaks his heart.   However, he will sit on the mountaintop and watch the spectacle.   They should go down and help whichever side they feel is just, but he will just watch.   Homer again makes fun of the God.   He is a couch potato during the war he was powerless to stop in the first place.   His wife is constantly meddling in the affairs of state, and Zeus will not step in to act according to his heart. Jupiter does not have this problem toward the end of The Aeneid.   When fighting has broken out in Italy and the great Romans are fighting amongst themselves, Jupiter is asked his opinion.   He responds in a regal and self-assured manner.   When he opens his mouth to speak, all of the earth responds in kind. â€Å"The almighty father then, chief power of the world, began to speak, and as he spoke the great halls of the Gods fell silent, and earth quaked, and silence reigned in the highest air, the west-winds went to rest, the deep sea stilled his waters to calm,† (Virgil, X.137-142).   He has decided that fate will serve each man his own plate.   Jupiter no longer condones divine intervention.   This surprises virtually everyone present, as they have interfered in these matters right from the start.   Yet, the King of the Gods has spoken and it cannot be any other way.   â€Å"He took oath nodding, making all Olympus tremble at his nod.   There was an end of speaking.   Jupiter form his golden throne arose, and lords of heaven on either hand escorted him to the threshold of his hall,† (Virgil, X.160-164). Although the King of the Gods in each depiction of the Trojan wars and its eventual outcomes acted in extremely different ways, the act remains that they were in control the entire time.   The main protagonists for each tale are not afforded this same luxury.   In The Iliad, Achilles never has control over his bloodlust for Agamemnon.   His search for glory and the switching of sides is beyond his control so to speak.   The usurping of his prize from the war damaged his pride and it is the sole driving force for him.   When his best friend is killed, he appears to have devised a higher purpose for his rage, yet the reader notes he is still guided for his own gratification throughout. Aeneas, blindly does as he is bid to do.   He leaves his heart behind when he leaves Dido on the island.   Jupiter is not concerned with the trivial matters before him, and concerns himself only with the Roman creation.   Aeneas cannot simply believe that Dido will eventually understand what he must do, unlike Jupiter feelings for Juno.   The foresight the Gods portray separate them greatly from humanity, making the people seem as though they are simply pieces of a chess game, there for the amusement of creatures bored with eternity. Although Homer pokes fun at the God from the past and uses the tale to tell of the heroism of the Greek people, he fails to place his own God at the forefront as a just and caring ruler.   Virgil at least shows the God of the Romans as one who delights in the magnificence of the race. Physically the gods are far superior to the men they control, but in the case of Zeus, he is far from being above the simple human frailty of emotion.   Homer instills a sense of commonality between the people and their God, one in which the playing field is an equal one.   The Gods are affected by this war almost as much as the people are.   When interfering in the matters of men, the Gods are shaken to the core in some instances, harmed in others, and heartbroken other times still. For Virgil, the people end on the positive note.   The great anti-hero is dead, and the true hero does not turn out to be Aeneas, but the Romans themselves.   The reader sees throughout the epic poem, that Virgil had them in mind all along.   The creation myth of the great empire seeks to solidify their place in the world and by showing that that creation came from a just and powerful authority – he accomplishes just that. Works Cited Homer.   The Iliad. Trs. Robert Fagles.   New York, NY: Penguin Classics, 1998. Virgil. The Aeneid. Trs. W.F. Jackson Knight. New York, NY: Penguin Classics, 2006.

The Agony and the Ecstasy

The Agony and the Ecstasy The past is always forgotten, left alone in the dark, a reminiscence among hundreds, until it finally erodes from living memory†¦But before it vanishes, the past always fights back, in an effort to reclaim its throne. In 15th century Europe, the Church and its preachings of the past were swept away in a tide of change; the clash of these two ideas is shown in The Agony and the Ecstasy. Throughout the movie, Pope Julius II illustrates the values of the Middle Ages through his speech and actions, both of which reflect the ideologies of that time period.The twin values of obedience and punishment lie at the core of the Middle Ages, entwined and inseparable; both are exemplified in Pope Julius II’s actions and words. The Pope demonstrates the concept of obedience, treasured so deeply by the Church, through his actions following the noncompliance of subjects. One example of this is the Pope’s reaction to Michelangelo’s blasphemous sonnet ; he immediately rebukes him for his lapse in deference.The Pope’s demand of complete and utter submission to the Church demonstrate the emphasis on unquestioned obedience to the Pope (and likewise to the Church). Another instance is the Pope’s encounter with the French ambassador; the Pope angrily tells him that he will stand no interference from the French king in Church matters. The Pope’s harsh reprimand once again points to the importance of undisputed conformity to the Church’s words; it was a vital segment of their society .The Middle Ages was a time of fear and uncertainty, of conflict in discord; the Church was the backbone of Middle Ages’ society, and kept daily life running as smoothly as possible—but was successful only because the people obeyed. Without obedience, their lives would have come to sudden and abrupt halt. As a Greek playwright put it, â€Å"Obedience is the mother of success and is wedded to safety†. The Chur ch thought the same way, and for all the right reasons—it just held on to these beliefs too long. An equally important value Pope Julius II exhibits is that of punishment, often a result of disobedience, mostly in his speech.An illustration of this value is shown in the same encounter previously mentioned with the French ambassador; the Pope, angry at the French king’s hypocrisy and lack of respect for the Church, thundered, â€Å"Let him learn that I too carry a stick. Let him learn that I am the Pope! † Through his angry threat to the king, the Pope reveals to the ambassador and the viewer that he is not afraid to use force to establish his authority as pope. Furthermore, the Pope, when he hears that Michelangelo has disappeared, he is outraged, and maintains his ground: â€Å"He will paint it or he will hang! the Pope exclaims. Through his threats to Michelangelo, the Pope reinforces the Middle Ages’ belief in the power of punishment; a disorderly soc iety such as theirs could not have existed very long without some form of law and order. The Church used punishments to enforce discipline in an uncertain world; It was the only method that prevented the spread of immorality. Even a highly-acclaimed Renaissance man agreed with the concept, reasoning, â€Å"He who does not punish evil commands it to be done. †

Macbeth and Lord of the Flies Comparison Essay Essays

Macbeth and Lord of the Flies Comparison Essay Essays Macbeth and Lord of the Flies Comparison Essay Essay Macbeth and Lord of the Flies Comparison Essay Essay Macbeth by Shakespeare and Lord of the Fliess by William Golding have much to state about man’s iniquitous nature. Both of these plants contain scenes in which chief characters die ; their deceases come about because of their iniquitous nature or the iniquitous nature of others around them. Man’s iniquitous nature is revealed through the ideas and actions of the characters of these plants. The writers show through their plants their belief that if everybody revealed their true natures. the universe would rupture itself apart. In both plants. immorality is revealed by the revealing actions of the characters. In Lord of the Flies. the boys’ society starts to fall apart as Jack becomes less and less civilised and the other male childs bit by bit follow his illustration. Merely Simon is the genuinely guiltless one ; even Ralph and Piggy expose their evil nature when they help the other male childs kill Simon. Besides the slayings of Simon and Piggy. immorality is besides demonstrated through the scenes when the hog is killed. Piggy’s spectacless are stolen. and the conch shell is smashed. In Macbeth. man’s iniquitous nature is seen rather early in the narrative when Lady Macbeth urges her hubby to kill the male monarch after he is told a prognostication that he will go male monarch. Though Macbeth is loath at foremost. so horrified at the slaying he has committed. his pride and greed get the better of him. He starts killing more people. including adult females and kids. and even efforts t o kill his good friend Banquo. Though Macbeth started out good. his evil nature conquered in the terminal. Though they both demonstrate man’s iniquitous nature. the books end in really different ways. In Macbeth. Macbeth dies by the manus of his enemy. and his married woman dies by her ain manus. In Lord of the Flies. the male childs are rescued merely as Ralph is about to be killed. However. in both books the wickedness job is neer controlled. Shakespeare neer suggests in his work that Malcolm will go corrupt or that person else will prehend the throne. However. it is in the nature of adult male to be corrupt. and finally something like Macbeth’s trespass of the throne would go on once more. On the other manus. Golding lays heavy accent on the suggestion that all work forces are iniquitous. non merely male childs marooned on an island. He shows this by adding the naval officer and his ship into the narrative. The Bible has much to state about man’s iniquitous nature. In Romans 3:23. it states: â€Å"For all have sinned and fall short of the glorification of God. † Luke 18:13 says this: â€Å"†¦Ã¢â‚¬â„¢God. have mercy on me. a evildoer. † Everybody has a iniquitous nature ; our Black Marias are corrupted and full of greed. Macbeth and Lord of the Flies show how improbably far off our wickednesss can take us from God’s love and grace. As the Luke transition proves. nevertheless. God will ever hold clemency on us. no affair how far we have strayed from him. Macbeth. unluckily. neer changed- he stayed wicked until the terminal. On the other manus. Ralph and the other boys most likely did alter their evil ways when they went back to civilisation. If we neer return to God and garbage to hold anything to make with him. like Macbeth. he will hold no pick but to penalize us. However. if we turn from our iniquitous ways like Ralph. God will welcome us back with unfa stened weaponries. Both Macbeth and Lord of the Flies speak volumes about the job of man’s iniquitous nature. Though they seem like guiltless narratives at first. the reader bit by bit realizes that the writers are. in fact. talking about the full human population. Both writers are doing a individual point: All worlds have a iniquitous nature. and if it were given free rein. world would destruct itself.

Outlining for Writers Who Hate to Outline - Freewrite Store

Outlining for Writers Who Hate to Outline - Freewrite Store Cate Dean has been writing for far longer than she cares to admit. She has published over 40 books and novellas, and is best known for her paranormal series, The Claire Wiche Chronicles, as well as her cozy mystery series, The Maggie Mulgrew Mysteries. Outlining. It’s just a word – but, oh, can it leave you shaking in your chair, staring at a blank screen, sweat trickling down your back. I’ve been where you are – multiple times. Every time I read an article about outlining, I squelched the desperate cries of my pantser, and tried the latest technique. The result was always the same: wasted hours, and miserable failure. That failure would send me straight back to my pantsing ways, and my long, messy drafts. It was more work, but I was so much happier without the ball and chain of an outline. If you’ve spent any time on writer’s forums, or in any writing group, you know that the pantser vs. outliner battle has been long and fierce. Each side claims that their way is the best way, the only way. But – what if there was a third option? A way to outline that didn’t kill your creative spark, and actually improved your word count? Ah ha! Now I’ve got your attention. But I’m a Pantser! Outlining will ruin my creative process! I hear you. I had the same rally cry, the same reaction every time another â€Å"perfect† outline process was making the rounds. I was a pantser, for years. Like I said above, outlining never worked for me. After taking all that time, and writing out every detail of my world, my plot, and my characters, I was so sick of the story that I no longer wanted to write it. Sound familiar? If every attempt you’ve made to outline has been a time-sucking, creativity-sucking disaster, you’re nodding your head right now. You’re probably also ready to click to the next post, before I mention that evil word again. Give me another minute, before you run away. I’m here to tell you, as a former pantser, that there is a way to outline that won’t ruin your creative process. Quite the opposite, in fact. Let me tell you how I became an outline convert – for good. Why I started outlining - and why you should as well It was 2012, and I’d just self-published my first novella. I was nervous, excited, and ready to take the next step – writing the first book of a potential series. My biggest obstacle was working a 12-hour day, with only weekends and holidays to do any serious writing. As a pantser, I knew it would take me forever to get the first draft written, and even longer to clean it up enough to send to an editor. To add even more pressure, I gave an actual deadline to my new author friend, and now I had to meet that deadline. I had been reading about story structure, and discovered that even though I made stories up as I went along, I instinctively understood the flow of a story, and what needed to go where. I’ve been writing for a long time (since I was seven), and making up full-blown, multi-plot stories in my head for almost as long. I’ve literally had years of practice creating stories. So, I took that knowledge, and story structure, and started writing stuff down. My first effort was a long process. It included index cards, loads of notes, and a template that took days to fill out. The result was an outline that let me write my first book in three weeks. Yes, you read that right. It may have taken longer than I wanted to work out the logistics of the outline, but having all the pieces in place let me fly through the story. It was the first book of what is still my bestselling series, The Claire Wiche Chronicles. To say I was excited would be an understatement. I was flying – and I had a few people read that book, just to make sure I wasn’t imagining that I actually had a good story. As a side note, they were all reading a first draft. I literally typed the last paragraphs and sent it off, more scared than I’ve ever been in my life. If it had been a pre-outline first draft, I never would have let anyone see it – not until it had been through multiple editing passes. An outline from a former pantser Since that first experience, I’ve been honing and refining my outline, to make it fast, easy, and a pleasure to do. Never thought you’d see outline and pleasure in the same sentence, did you? What I use now is a quick, one page, bullet point outline, based on story structure. It takes me a couple of hours to fill out. Ready to give it a try? I call it my outline for outline-phobes – like me. This is what it looks like: inciting incident – (this is when something changes, aka when the story really starts) plot point 1 – (this is where you establish the story question – where the MC’s life changes forever) pinch point 1 – (the opposition pokes back) plot point 2 – (new information allows the MC to start acting instead of reacting – i.e. running around like a wild chicken) pinch point 2 – (the opposition strikes back – hard and ugly) plot point 3 – (this is the big push for the third act – normally, there’s no new info after this point, but this isn’t set in stone) black moment– (worst thing ever – stick your character in a tree, then light it on fire) resolution – (get them out of the tree – without a deus ex machina move) Not so scary, is it? To make the process even easier, create a template that you can use over and over. Then you just copy/paste it to the top of your document, every time you start a new story or book. Easy to reference, and you can delete or cross out a scene once you finish it. An extra tip: use each bullet point to create a chapter. I’ve been doing this with my last few books, and it really helps with both flow and not writing deadly long chapters. Don’t be hard on yourself when you first tackle this outline. Remember, I’ve been writing for years, and I usually have the whole story already in my head by the time I get to the actual outline. Take as long as you need, and understand that this will be a fluid document. You will be adding, changing, or moving things around as you get into the actual writing. That’s where the real fun begins. Watching your story come to life, discovering fun surprises along the way, and having a tight, exciting story will hook you. Before you know it, you won’t start a new story – you’ll start the outline for a new story. And there you have it – an outline that can actually be enjoyable. The power of this outline is that it leaves you plenty of room for creativity, maybe step off the story path. You’ll always have a map to find your way back. It will also streamline your writing, and as a bonus, it will probably add to your daily word count. Knowing where you’re headed in a story makes your imagination fly. Your fingers might just have a hard time keeping up. Outlining can be so overwhelming, especially for those of you who shudder at the memory of the convoluted, multi-level outlines you were forced to create in high school. My simple outline takes away all the fear, and puts back in all the fun. Do you have your own method of outlining that works for you? I’d love to hear about it! Please share with us in the comments. Now, go forth and outline your next opus with confidence. cheers, ~Cate       Cate Dean an author, a travel addict, and a rabid Anglophile.  She grew up losing herself in the wilds of fantasy worlds, and has had some of her own adventures while tromping through the UK, and a few other parts of the world.  A lover of all things supernatural, she infuses that love into her stories, giving them a unique edge.  When she's not writing, she loves cooking, scaring herself silly in the local cemeteries, and reading pretty much anything she can get her hands on.