Constitut essays

Declaration of Indep/Constitut essays The Declaration of Independence The framers of our country undertook the daunting task of creating a new country from scratch. Their intent was to create a republic that would be able to withstand the sands of time without losing sight of their democratic ideals. This they have accomplished, for the United States is the oldest large democracy in the world. But how did they succeed? During the era of our countrys birth our founding fathers set up a government that would base itself and its institutions on the idea that humans are not naturally political. In order to ensure order and sovereignty the drafters of a new regime knew that they had to establish a strong and coherent central government. However, this new government would be legitimate only if it was based on the consent of its governed citizens and had the means of checking and balancing itself. The Declaration of Independence and the United States Constitution differ in that the first proclaims principles about natural rights and the latter has the primary function of establishing a concrete formula for a government. Both, however, exemplify beliefs that in order for a large republic to last, it must be based on the federalist belief of a separation of power. The Declaration of Independence tells us that, all men are created equal, that they are endowed by their Creator with certain unalienable rights, that among these are Life, Liberty, and the Pursuit of Happiness, (Declaration). The author of the document, Thomas Jefferson, had the intent of showing that all men had the natural right of freedom. Since the British monarchy viewed colonists as mere tools for economic gains for the mother country and hence gave them almost no say in the passage of laws directly affecting them, they were inherently unequal compared to citizens that still lived in Britain who had representation in Parliament. Thus, it was our right to dis...

8 Writing Tips for Beginners

8 Writing Tips for Beginners 8 Writing Tips for Beginners 8 Writing Tips for Beginners By Ali Hale Welcome to the wonderful world of writing! However young or old you are, writing can be so rewarding. For some writers, it’s a fun hobby and a creative outlet; for others, it’s a dream career. When you’re just getting started, you might feel excited but also a little daunted – where should you begin? What do you need to know and learn? The great thing about writing is that whatever stage you’re at, you can keep growing your skills and honing your craft. This applies whether you’re a total beginner or a best-selling author: there’s always something new to learn or try. In your early months (or even years) as a writer, these eight tips should help you on your way Tip #1: Try Lots of Different Types of Writing When you’re just starting out, you might not know what you want to write – you just want to write! Or, you might have a firm idea of the type of writing you’d like to do (maybe you want to be a novelist or a poet, for instance). As a beginner, you’re in a great position to try out lots of different types of writing, without needing to commit to one in particular: no-one’s (yet!) demanding your next book. So have a go at a wide range of genres and styles – you might surprise yourself with what you enjoy. I never set out to be a freelancer (my writing dreams were all about being a novelist) †¦ but ten years into freelancing, I still love it, and I’ve written and published three novels too. Tip #2: Read Some Good Writing Blogs or Books †¦ But Not Too Many There are some brilliant books and blogs out there that’ll teach you the basics of writing (and much more): Daily Writing Tips is a great place to begin, of course! For fiction-writers, I always recommend K.M. Weiland’s blog Helping Writers Become Authors, and Nigel Watts’ book Get Started in †¦ Writing a Novel; for non-fiction writers, the Copyblogger blog is a great read, as is Joanna Penn’s book How to Write Non-Fiction. One trap that beginner writers sometimes fall into, though, is that they read and read, trying to learn everything there is to know about writing – but they don’t actually write! So don’t get too caught up in reading: make sure you’re also setting aside time to try out writing exercises, or to develop your own ideas. Tip #3: Start With Small Projects, Not Book-Length Works If you’ve never written much before, launching straight into a novel probably won’t work: either you’ll run out of steam within a few chapters, or you’ll keep writing but you’ll end up with a story that needs an awful lot of work to make it publishable. It’s better to hone your skills on smaller projects first: think short stories if you’re a fiction-writer, or short articles or blog posts if you’re a non-fiction writer. These can be a great way to explore potential ideas and topics without committing to a book-length work straight away. Tip #4: Write Regularly So You Don’t Lose Momentum Some writers think you should write every day: personally, I don’t think that’s very good advice. Maybe your weekdays are very busy, because you work long hours, but your weekends are clear. Or perhaps it’s the other way round: you have some time during the week while your kids are at school, but your weekends are packed with activities. It’s fine to set a writing schedule that suits you and your life †¦ but do make sure you’re allowing yourself time to write on a regular basis. If weeks go by without you writing anything, you’ll inevitably lose momentum. Writing at least once a week works for most people. For those who need extra help fighting procrastination, this post has many tips to beat writers block. Tip #5: Use Clear, Straightforward Words While I’m a huge fan of words, and love the sound of some more unusual ones (eclectic is one of my favourites!) †¦ I think that as a writer, it’s normally best to keep things simple. Even if, in school, you got extra marks for showing off your impressive vocabulary, readers frankly don’t care! You should, of course, use the word that best fits what you mean: sometimes a precise, technical word is the best choice, even if it isn’t the simplest. But in general, keep George Orwell’s advice in mind: â€Å"Never use a long word where a short one will do,† and â€Å"Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent.† Needless to say that you should use clear, correct English as well. Using a spellchecker is not enough. Proofreading and editing is essential to produce quality prose. Tip #6: (Fiction Writers) Don’t Mix Past and Present Tense This can sometimes be tricky to get to grips with when you’re new to writing: but if you’re writing piece of fiction, you need to choose between past and present tense. You can tell the story as though it’s already happened: John hurried down the street. Sue ran after him, furious. â€Å"John!† she shouted. â€Å"Come back here!† Alternatively, you can tell the story as if it’s currently happening: John hurries down the street. Sue runs after him, furious. â€Å"John!† she shouts. â€Å"Come back here!† What you can’t do is mix past and present: John hurried down the street. Sue runs after him, furious†¦ Sometimes, there’s a place for switching from past to present tense or vice versa – but be careful that you don’t switch accidentally. Tip #7: (Fiction Writers) Don’t Use the Same Word Too Often If you use the same word repeatedly within a short space of time, it can start to stand out for the reader and become a distraction from your writing. This is particularly true of unusual words (I read a novel recently by an author with a particular liking for the word â€Å"stolid†). Here’s an example: John locked the door before opening the letter. He could hear Sue moving around in the kitchen, just outside the door. As he drew the letter from the envelope, there was a knock on the door. â€Å"John? What are you doing in there? Open the door!† The word â€Å"door† appears four times in that paragraph, and there’s a danger of it having a slightly comic effect. Some words are fine to repeat as often as you like, however: little ones like â€Å"a†, â€Å"the†, â€Å"and†, â€Å"he†, â€Å"she and so on. With character names, too, it’s best to just pick something to call them and stick with it. So don’t try to remove all repeated words – but do keep an eye out for words or phrases that you tend to over-use. Tip #8: (Fiction Writers) Stick to One Character’s Perspective at a Time Even if you’re writing in the third-person rather than the first-person, it’s a good idea to stick to just one character’s perspective in any given scene or passage – this is called â€Å"third-person limited† or sometimes â€Å"deep POV† and contrasts with the â€Å"third-person omniscient† viewpoint that’s typical of classic 19th century literature. Readers expect this close third-person perspective, and it allows you to give the thoughts and viewpoint of one character at a time – helping the reader to identify with that person and to really understand them. Beyond all these tips, though, there’s one thing I want to leave you with: the fact that no-one is born able to write. You may not yet have the skills you want as a writer †¦ but you can develop those skills. A year or so ago, my five-year-old daughter could only write a few words (and often got her letters backwards); now, it’s fascinating to watch her fledgling attempts at writing stories, messages, and even puzzles. Just like her, you could look back a year from now and be surprised at how far you’ve come. Wherever you are right now with your writing, keep on working at it, keep enjoying it, and keep finding new things to learn as you go along. Good luck! Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Writing Basics category, check our popular posts, or choose a related post below:When to Capitalize Animal and Plant NamesThe Writing Process20 Names of Body Parts and Elements and Their Figurative Meanings

Business law Essay Example | Topics and Well Written Essays - 2000 words - 2

Business law - Essay Example The company has grossly violated the contractual terms of the agreement they signed with Mark (Walsh, 2006, pg. 544). The grounds for Mark’s dismissal are that he refused to accept orders from his boss. It is noteworthy that the two have a long history of misunderstanding and criticism of each other’s leadership and professionalism. Whereas Mark accuses his boss for poor leadership and undue targeting with more work, Rebecca thinks that Mark is unprofessional in his attitude towards work (Walsh, 2006, pg. 544). Much as the company felt that they should dismiss Mark, they needed to follow due procedure provided for in the law and anchored in their contractual agreement. The claim that Mark shall use to win the case are many. First, Mark will need to prove that for the 12 years he worked for the company, he has never had a disciplinary issue and the misunderstanding between him and his boss are just based on dissenting opinion on how they perceive situations (Walsh, 2006, pg. 544). This is a valid reasoning because at every workplace, employees must not satisfy the perception of their bosses. Furthermore, the differences between Mark and his boss can better be resolved through conflict resolution mechanisms within the company, which were not even activated before his dismissal (Walsh, 2006, pg. 544). ... Therefore, when the company desires that Mark should work overtime, they should discuss and agreed how compensation for overtime work shall be done (Walsh 2006, pg. 212). The approach Rebecca gave Mark that he should remain behind and work overtime should have been done in a better way. There was supposed to be an agreement signed to dictate how any work that Mark does overtime shall be compensated. Furthermore, there is nowhere in the contract where Mark was to work overtime (Walsh, 2006, pg. 108). Whereas it was better for Mark to show respect for his boss, this was not going to be possible through forcing him to work overtime disregarding plans that he might have had for the evening. Thirdly, Mark shall argue against the procedure the company followed to dismiss him. Mark will show that the company violated his employment and contractual rights. The company is entitled to give Mark 12 weeks’ notice before they dismiss him according to their contractual agreement. Therefore, the company violated this agreement thus leading to wrongful dismissal (Korn and Sethi, 2011, pg. 8). While arguing this case, the mark shall need to prove that the wrongful dismissal has caused him several challenges. The dismissal has caused him to lose his source of income immediately putting him into dire financial problems. Furthermore, he has the rights to seek legal redress on this matter. Mark will need to prove that through the legal process he should be allowed to access the remedies he has. The remedies he has for a wrongful dismissal include reinstatement and compensation (Korn and Sethi, 2011, pg. 8). Therefore, this is a strong case against the company because disciplinary procedures do not form part of Mark’s contractual agreement with the company.

Industrial Relations Assignment Example | Topics and Well Written Essays - 1500 words

Industrial Relations - Assignment Example omprehensively covered and provided for at the federal level under the Fair Work Act 2009, which provided for the formation of the Fair Work Commission as the body regulating labor in Australia (Cooper & Ellem, 2009:287). The legislation aimed at replacing numerous state labor laws that were established by different states individually, which did not balance or provide for the requirements of the workers equitably. Nevertheless, this legislation did not take over all the labor responsibilities from the territorial and the state authorities. It only took the responsibility of regulating some of the labor functions nationwide, while leaving some of the labor functions such as safety and health of the workers, workers compensation and workers leave being regulated at both the territorial and the state levels (FWC, 2014:n.p.). However, it is important to understand that the provisions of the Fair Work Act 2009 as regulated at the federal level overrides all the other provisions of different laws enacted both at the territorial and the state levels. This is because this legislation seeks to have the control of the whole labor force field in general (Sheldon, 2008:236). Despite this law being the primary labor law in Australia, there are certain aspects of the labor that are exempted from the coverage of the law. In this respect, the roles of the Australian Fair Work Commission as provided under the Fair Work Act 2009 include: Under the function of the creating fair work places, the role of the Australian Fair Work Commission is to set the minimum wages and minimum work conditions that must be met by the employers (Australia gov.au., 2014:n.p.). In doing this, the Fair Work Commission serves to create a safety net where the employees are protected in terms of the remuneration they receive from the employers, by ensuring that all employers are providing wages that are in line with the set minimum wage requirement. This way, the Australian Fair Work Commission makes

The Bicycle Thief Essay Example for Free

The Bicycle Thief Essay The Bicycle Thief is probably the best known and most highly praised of all the Italian Neorealist films of its era. The films of the Neorealist movement were characterized by several primary ideas. Instead of featuring stories focusing on glitz and glamour, Neorealist films focused on the poor and the working class. Instead of building and fabricating complex sets to film on, they did their filming on location. And instead of trying to get the most well known, highly paid celebrity actors, they frequently used people that weren’t even professional actors and had no training for their starring roles. This all helped lend a sense of realism and weight to the stories. The Bicycle Thief takes place in Rome during a period where the unemployment rate was high and men struggled to support their families. In the film, an unemployed man, Antonio Ricci (played by factory worker Lamberto Maggiorani, in true Neorealist fashion), catches a lucky break and manages to land a job pasting up posters around the city. The only catch is that he needs to own a bike. Being that he already sold his bike to a pawn shop for much needed cash, his wife sells all the bed sheets from their home to scrounge up just enough money to get the bike back. There’s a great shot in this scene where we see an enormous shelf containing hundreds of sheets; a subtle way of showing us that the protagonist is just one of many in similar desperate situations. Antonio gets his bike back and starts his job the next day. Unfortunately, just like in real life, things usually don’t go as planned. While he’s gluing up a poster, a hoodlum dashes by, snags his bike, and takes off with it. Antonio desperately chases after the man, knowing that if he loses his bike, he loses his job, and his family will starve. Try as he might however, the thief manages to escape. He reports the theft to the police, confident that they can help him recover it, but they basically tell him to go look for it himself. The film really tries to highlight the social and moral landscape of the time; if you’re at the bottom of the totem pole, you’re either a target or just one of the faceless millions to be ignored. With no other choice, Antonio takes to the streets and searches for his bike for hours, but comes up empty handed. The scene where he and his son are caught in the rain, soaked and downtrodden, as all around him people on their bikes are riding away really makes poignant the hopelessness of his situation. After trying everything he can think of to get any leads on the thief or the location of his bike, go so far as to even spend what little money he has left on a fortune teller, he happens to bump into the thief in question walking down the street. He chases and finally corners him, but the thief refuses to confess anything and his family and friends defend him from the furious Antonio. The cops arrive, and yet again, they are of no help. They can’t do anything for Antonio as he has no concrete evidence of the crime. Pushed to the final point of desperation, Antonio realizes he has no choice left but to stoop to the lowest level and steal a bike if he doesn’t want his family to starve. He tries to snatch one but is almost immediately taken down by witnesses and held until the police arrive. Seeing Antonio’s son distraught and in tears, the man doesn’t press charge and lets him off the hook. Antonio and his son walk off, both of them in tears, completely hopeless and beaten by society at every turn. This is what Italian Neorealism is all about. For millions upon millions of people living in poverty, real life doesn’t have a happy end. No matter how hard you struggle, sometimes there’s ultimately nothing you can do to alter your fate. And The Bicycle Thief really shows an extremely poignant example of this in the small vignette of Antonio’s life.

Boy Talk :: Example Personal Narratives

Boy Talk We keep tally marks (with parenthetical comments) in my little black book. When we score, we call them glory points. We conceived the idea on a Friday night of meandering around coffee shops, discussing the book Catcher in the Rye. I convinced my friend Michael that Catcher in the Rye satires pathetically alienated teens and mocks the protagonist as much as anyone else - and thus bore our tradition. We score glory points by convincing the other that he is wrong; my little black book is the memo pad I use for keeping phone numbers, homework assignments, other assorted notes, and of course, glory points. At the moment, I am beating Michael five to four in the "glory game." Michael actually gave me the book "Catcher in the Rye" to read somewhere near the end of my freshman year, at the time when I had very few friends because I had just changed schools. He, also being an alienated youth, began to talk to me about phonies and other Holden Caufieldesque things. To this day, he brags about how he drove me into a "three month depression." From the philosophy of Holden Caufield, we have since progressed to arguing philosophy and politics. Prior to discussing phonies, Michael and I had never gotten far beyond the surface-levels of conversation. That kind of relationship wasn't unusual for me - virtually every relationship I had was as shallow as a kiddie pool. In fact, discussing phonies was a breakthrough for me, if only because we exchanged some semblance of ideas about personal psychology. Michael and I thoroughly agreed: "Everybody in the world is a phony - except me." (We never did figure our if the "everybody" included the other person.) During the summer between my freshman and sophomore years, I began to miss people - no one person in particular, just those mystical creatures that I missed walking down the street while I spent three or four days inside reading and watching television. I made something of a commitment to myself to actually befriend more than the handful of people I talked to over that summer. I committed myself to making close friends whom I could talk to about personal problems. Friends, ironically, like Michael. Michael and I moved to this topic near the end of that summer, at a time when he was in the process of switching to a private high school from our old, public high school.

Overview Of The Musculoskeletal System Health And Social Care Essay

One illustration of diagnostic trial for the musculoskeletal system is Electromyography ( EMG ) . This diagnostic trial evaluates and records electrical activity of musculuss. It aids in diagnosing of lower motor nerve cell and peripheral nervus upsets. During the process, an electomyograph is used to bring forth a record called EMG, which determines what sort of upset the patient have. Small pins or acerate leafs are inserted into the musculuss and low electrical currents are passed through these, to mensurate the electrical activity of the patient ‘s musculuss. These electrical activity, determines the patient ‘s musculus ability to react when the nervus in the musculuss are stimulated. 2. Discuss musculoskeletal alterations associated with the aging procedure. When people ages, decrease motor activity are the frequently observation that can be sighted. This alteration is due to diminish motor nerve cells and motor fibres that are bring forth when a individual increases his/her age. Muscle mass is besides affected, in footings that the thin musculus mass is decreased while fat additions. The flexibleness and scope of gesture of an older individual are affected due to alterations in collagen construction and diminish physical activity, these decline consequences to muscle stiffness, joint spasms/pain, and decreased scope of gesture. Sensorimotor of an older grownup is besides affected. Due to aging, reduced neurotransmitters are produced that consequences decline of encephalon cells. In stead with this, the older grownup experience, lessening perceptual experience to quiver, temperature, and force per unit area. 3. Discuss patient readying for an arthroscopy. Arthroscopy, is a surgical direction in treating/diagnosing musculus upset by analyzing the internal construction of a joint utilizing an instrument called arthroscope. In fixing a patient for this process, the wellness status of the patient is the first thing to see. The patient should non hold bosom and lung diseases, should non hold taken decoagulants ( blood dilutants ) hebdomads before the process, do n't hold diabetes and high blood force per unit area to be able to measure up for this process. Physical scrutiny, blood trials and uranalysis are done to hold baselines for the patient ‘s wellness. If the patient is positive for any bosom or lung jobs, electrocardiogram ( EKG ) and chest X ray are done to measure the patient ‘s wellness capacity if he/she is capable for this process. 4. Discuss constituents of a musculoskeletal physical appraisal. In musculoskeletal physical appraisal, the cephalocaudal mode is followed along with IPPA, ROM and musculus testing are used in analyzing the musculoskeletal status of the patient. The equipments to be used are tape step, goniometer – to mensurate joint angles and tegument marker pen. Get downing of with this appraisal, stance and pace is assessed, the spinal column for any curvature and position, temporomandibular articulation, thoracolumbar spinal column, upper appendages ( shoulder, shoulder blade, caput, thorax, cervix, arm, cubitus, carpuss, custodies, and fingers ) , lower appendages ( hip, articulatio genus, mortise joint, pes and toes tenderness, hardened musculus cramps, swelling, flexure of the musculuss of the patient are assessed.Web Assignment1. Sum up an article discoursing techniques used in measuring the musculoskeletal system. How do the constituents of the wellness history guide the appraisal? In an article that I had read, musculoskeletal system appraisal is foremost started with current ailments of the patient. In footings of if he/she has joint, muscular, skeletal ailments, hurt or back hurting. The wellness history of the patient is reviewed, compromised of past history – injury: nervousnesss, articulations, castanetss, soft tissue, surgery on bone or joint, skeletal malformations, and chronic unwellness, household history – inborn abnormalcies or familial upsets, present unwellness, and personal and societal history. Health history reappraisals are normally done in order to find the implicit in hazard factors on why the patient has the present disablement. It besides give cognition to the wellness squad member that will execute the trial the extent of physical appraisal he/she will execute to the patient in order to forestall any farther complications if the patient has any unwellness that he/she ca n't make in holding the appraisal. In readying for this, equipments – tegument marker pens, tape step and goniometer ( to mensurate joint angles ) are needed to execute the appraisal. The techniques normally used in cephalocaudal mode – IPPA, ROM, and musculus testing. In IPPA it is compromised of – Inspection, Palpation, Percussion and Auscultation. In review, the alliance, contour, symmetricalness, tallness and weight, gross malformation, position ( standing and sitting ) , pace and mobility ( walking and standing ) , size and form, contour and overall visual aspect of musculus mass are normally assessed with the patient. In tactual exploration, swelling, tenderness, heat, nodules, multitudes, edema are frequently examined. The scope of gesture ( ROM ) of the patient is tested if the patient can travel his/her articulations and musculus freely without the presence of hurting. The musculus strength is tested by using opposition while the patient is traveling his/her articulations and musculuss. N ormally the flexure, extension, sidelong bending, rotary motion, abduction, adduction, inversion, and eversion are normally tested in patient ‘s ROM. Physical appraisal of musculoskeletal system, are needed to cognize beforehand any unnatural status with a individual. Proper mode of appraisal should be followed in order to hold an organized work and accurate consequences in the patient status. Always retrieve to admit patients feelings of hurting and uncomfortableness in order to forestall any farther more complications.

92-Tricks of Communication-Leil Lowndes

Technique #1 The Flooding Smile Don’t ? ash an immediate smile when you greet someone, as though anyone who walked into your line of sight would be the bene? ciary. Instead, look at the other person’s face for a second. Pause. Soak in their persona. Then let a big, warm, responsive smile ? ood over your face and over? ow into your eyes. It will engulf the recipient like a warm wave. The split-second delay convinces people your ? ooding smile is genuine and only for them. Technique #2 Sticky Eyes Pretend your eyes are glued to your conversation partner’s with sticky warm taffy. Don’t break eye contact even after he or she has ? ished speaking. When you must look away, do it ever so slowly, reluctantly, stretching the gooey taffy until the tiny string ? nally breaks. Technique #3 Epoxy Eyes ( dusray key baatay suntay suntay dusro say nazray melena chahtay hai .. toh yeh trick kaam key hai ) This brazen technique packs a powerful punch. Watch your target pers on even when someone else is talking. No matter who is speaking, keep looking at the man or woman you want to impact. Technique #4 Hang by Your Teeth ( BHAIYA JI , SMILE ) Visualize a circus iron-jaw bit hanging from the frame of every door you walk through. Take a bite and, with it ? mly between your teeth, let it swoop you to the peak of the big top. When you hang by your teeth, every muscle is stretched into perfect posture position. Technique #5 The Big-Baby Pivot Give everyone you meet The Big-Baby Pivot. The instant the two of you are introduced, reward your new acquaintance. Give the warm smile, the total-body turn, and the undivided attention you would give a tiny tyke who crawled up to your feet, turned a precious face up to yours, and beamed a big toothless grin. Pivoting 100 percent toward the new person shouts â€Å"I think you are very, very special. † Technique #6 Hello Old Friend ( DOSTANA DUDE ) When meeting someone, imagine he or she is an old friend (an old customer, an old beloved, or someone else you had great affection for). How sad, the vicis- situdes of life tore you two asunder. But, holy mack- erel, now the party (the meeting, the convention) has reunited you with your long-lost old friend! The joyful experience starts a remarkable chain reaction in your body from the subconscious softening of your eyebrows to the positioning of your toes—and everything between. Technique #7 Limit the Fidget ( KHUJLEE MAT KARNA baat kartay samay) Whenever your conversation really counts, let your nose tch, your ear tingle, or your foot prickle. Do not ?dget, twitch, wiggle, squirm, or scratch. And above all, keep your paws away from your puss. Hand motions near your face and all ? dgeting can give your listener the gut feeling you’re ? bbing. Technique #8 Hans’s Horse Sense ( ghoday key tarah bano 😛 hamesha pehlay Sunoo, socho fir bolo) Make it a habit t o get on a dual track while talking. Express yourself, but keep a keen eye on how your listener is reacting to what you’re saying. Then plan your moves accordingly. If a horse can do it, so can a human. People will say you pick up on everything. You never miss a trick. You’ve got horse sense Technique #9 Watch the Scene Before You Make the Scene ( be lyk RAJNIKAANTH†¦ LOL ) Rehearse being the Super Somebody you want to be ahead of time. SEE yourself walking around with Hang by Your Teeth posture, shaking hands, smiling the Flooding Smile, and making Sticky Eyes. HEAR your- self chatting comfortably with everyone. FEEL the pleasure of knowing you are in peak form and everyone is gravitating toward you. VISUALIZE yourself a Super Somebody. Then it all happens automatically. Technique #10 Make a Mood Match ( YO boyz†¦:P make a mood match bro.. ) Before opening your mouth, take a â€Å"voice sample† of our listener to detect his or her state of mind. Take a â€Å"psychic photograph† of the expression to see if your listener looks buoyant, bored, or blitzed. If you ever want to bring people around to your thoughts, you must match their mood and voice tone, if only for a moment. Technique #11 Prosaic with Passion ( first im pression is last impression) Worried about your ? rst words? Fear not, because 80 percent of your listener’s impression has nothing to do with your words anyway. Almost anything you say at ?rst is ? ne. No matter how prosaic the text, an empathetic mood, a positive demeanor, and passionate delivery make you sound exciting. Technique #12 Always Wear a Whatzit ( CHENDHA KARNA ) Whenever you go to a gathering, wear or carry something unusual to give people who ? nd you the delightful stranger across the crowded room an excuse to approach. â€Å"Excuse me, I couldn’t help but notice your . . . what IS that? † Technique #13 Whoozat ( for starting a consversation) Whoozat is the most effective, least used (by non- politicians) meeting-people device ever contrived. Simply ask the party giver to make the introduction, or pump for a few facts that you can immediately turn into icebreakers. Technique #14 Eavesdrop In No Whatzit? No host for Whoozat? No problem! Just sidle up behind the swarm of folks you want to in? l- trate and open your ears. Wait for any ? imsy excuse and jump in with â€Å"Excuse me, I couldn’t help but overhear. . . .† Will they be taken aback? Momentarily. Will they get over it? Momentarily. Will you be in the conversation? Absolutely! Technique #15 Never the Naked City ( Apnay rehnay key jagah ko achi jagh say compare karna chaiyay ) supificial SAKINAKA ) Whenever someone asks you the inevitable, â€Å"And where are you from? † never, ever, unfairly challenge their powers of imagination with a one-word answer. Learn some engaging facts about your hometown hat conversational partners can comment on. Then, when they say something clever in response to your bait, they think you’re a great conversationalist. Technique #16 Never the Naked Job ( if sum1 ask†¦ what do you do? To koi raaapchik word uskay saath adjective may daalnay apnay topic related thok daalnay ka :P) When aske d the inevitable â€Å"And what do you do,† you may think â€Å"I’m an economist/an educator/an engineer† is giving enough information to engender good conversation. However, to one who is not an economist, educator, or an engineer, you might as well be saying â€Å"I’m a paleontologist/psychoanalyst/pornographer. Flesh it out. Throw out some delicious facts about your job for new acquaintances to munch on. Otherwise, they’ll soon excuse themselves, preferring the snacks back at the cheese tray. Technique #17 Never the Naked Introduction ( batey karna sikhoo logo k saamnay.. gungay key tarah khaday mat rahoo ) When introducing people, don’t throw out an unbaited hook and stand there grinning like a big clam, leaving the newlymets to ? utter their ? ns and ? sh for a topic. Bait the conversational hook to get them in the swim of things. Then you’re free to stay or ? oat on to the next networking opportunity. Technique #18 Be a Word Detective ( kaaan khullaa raknay ka,aur uski baato say hint lekar TOPIC nikaal na kaa†¦ samja kya ? ) Like a good gumshoe, listen to your conversation partner’s every word for clues to his or her preferred topic. The evidence is bound to slip out. Then spring on that subject like a sleuth on to a slip of the tongue. Like Sherlock Holmes, you have the clue to the subject that’s hot for the other person. Technique #19 The Swiveling Spotlight When you meet someone, imagine a giant revolving spotlight between you. When you’re talking, the spotlight is on you. When the new person is speaking, it’s shining on him or her. If you shine it brightly enough, the stranger will be blinded to the fact that you have hardly said a word about yourself. The longer you keep it shining away from you, the more interesting he or she ? nds you. Technique #20 Parroting Never be left speechless again. Like a parrot, simply repeat the last few words your conversation partner says. That puts the ball right back in his or her court, and then all you need to do is listen. Technique #21 Encore! ( Koi achaa saa kissaa apni yaaado say dusro ko batana aur puchna kya apko yeh pasand aaya , hum firsay baatay ) The sweetest sound a performer can hear welling up ut of the applause is â€Å"Encore! Encore! Let’s hear it again! † The sweetest sound your conversation partner can hear from your lips when you’re talking with a group of people is â€Å"Tell them about the time you . . . † Whenever you’re at a meeting or party with someone important to you, think of some stories he or she told you. Cho ose an appropriate one from their repertoire that the crowd will enjoy. Then shine the spotlight by requesting a repeat performance. Technique #22 Ac-cen-tu-ate the Pos-i-tive ( a ache see smile chipkaa daaalnay ka,with +tve ness haan ) When ? rst meeting someone, lock your closet door and ave your skeletons for later. You and your new good friend can invite the skeletons out, have a good laugh, and dance over their bones later in the relationship. But now’s the time, as the old song says, to â€Å"ac-cen-tu-ate the pos-i-tive and elim-i-nate the neg-a-tive. † Technique #23 The Latest News . . . Don’t Leave Home Without It ( upto date rahoo†¦ BOLE toh TIP TOP) The last move to make before leaving for the party— even after you’ve given yourself ? nal approval in the mirror—is to turn on the radio news or scan your newspaper. Anything that happened today is good material. Knowing the big-deal news of the moment is lso a defensive move tha t rescues you from putting your foot in your mouth by asking what everybody’s talking about. Foot-in-mouth is not very tasty in public, especially when it’s surrounded by egg-on-face. The Right Way to Find Out So how do you ? nd out what someone does for a living? (I thought you’d never ask. ) You simply practice the following eight words. All together now: â€Å"How . . . do . . . you . . . spend . . . most . . . of . . . your . . . time? † Technique #24 What Do You Do—NOT! A sure sign you’re a Somebody is the conspicuous ab- sence of the question, â€Å"What do you do? † (You deter- ine this, of course, but not with those four dirty words that label you as either a ruthless networker, a social climber, a gold-digging husband or wife hunter, or someone who’s never strolled along Easy Street. ) Technique #25 The Nutshell Resume (apna character bhale he acha ho , alag alag log say miltay ho apna parichay badaltay raheyay†¦ lekin woh topic apna original ho†¦) Just as job-seeking top managers roll a different written resume off their printers for each position they’re applying for, let a different true story about your professional life roll off your tongue for each listener. Before responding to â€Å"What do you do? ask yourself, â€Å"What possible interest could this person have in my answer? Could he refer business to me? Buy from me? Hire me? Marry my sister? Become my buddy? † Wherever you go, pack a nutshell about your own life to work into your communications bag of tricks. Technique #26 Your Personal Thesaurus ( dude means that u shud use different words of same meaning in A COOL dude way†¦ ) Look up some common words you use every day in the thesaurus. Then, like slipping your feet into a new pair of shoes, slip your tongue into a few new words to see how they ? t. If you like them, start making permanent replacements. Remember, only ? fty words makes the difference between a rich, creative vocabulary and an average, middle-of-the-road one. Substitute a word a day for two months and you’ll be in the verbally elite. Technique #27 Kill the Quick â€Å"Me, Too! † ( jaldee mat kehna, mujay bhee but thoda wait karna chaiyay fir thoday tym k baad kehna chaiyay ) Whenever you have something in common with someone, the longer you wait to reveal it, the more moved (and impressed) he or she will be. You emerge as a con? dent big cat, not a lonely little stray, hungry for quick connection with a stranger. P. S. : Don’t wait too long to reveal your shared nterest or it will seem like you’re being tricky. Technique #28 Comm-YOU-nication ( pehlay aap ) Start every appropriate sentence with you. It immedi- ately grabs your listener’s attention. It gets a more positive response because it pushes the pride button and saves them having to translate it into â€Å"me† terms. W hen you sprinkle you as liberally as salt and pepper throughout your conversation, your listeners ?nd it an irresistible spice. Technique #29 The Exclusive Smile (use happydent sumtym LOL,issmile usee ko do JO hamay pasand aae ) If you ? ash everybody the same smile, like a Confed- erate dollar, it loses value. When meeting groups of people, grace each with a distinct smile. Let your smiles grow out of the beauty big players ? nd in each new face. If one person in a group is more important to you than the others, reserve an especially big, ? ooding smile just for him or her. Technique #30 Don’t Touch a Cliche with a Ten-Foot Pole ( koi NOOB jaisa word mat bhakna) Be on guard. Don’t use any cliches when chatting with big winners. Don’t even touch one with a ten-foot pole. Never? Not even when hell freezes over? Not unless you want to sound dumb as a doorknob. Instead of coughing up a cliche, roll your own clever phrases by using the next technique. Technique #31 Use Jawsmith’s Jive (Rhymin words but u Gotta be cool and only U ) Whether you’re standing behind a podium facing thousands or behind the barbecue grill facing your family, you’ll move, amuse, and motivate with the same skills. Read speakers’ books to cull quotations, pull pearls of wisdom, and get gems to tickle their funny bones. Find a few bon mots to let casually slide off your tongue on chosen occasions. If you want to be notable, dream up a crazy quotable. Make ’em rhyme, make ’em clever, or make ’em funny. Above all, make ’em relevant. Technique #32 Call a Spade a Spade ( bade log ko bade key tarah he maana chaiyay.. Don’t hide behind euphemisms. Call a spade a spade. That doesn’t mean big cats use tasteless four-letter words when perfectly decent ? ve- and six-letter ones exist. They’ve simply learned the King’s English, and they speak it. Here’s another way to tell the bi g players from the little ones just by listening to a few minutes of their conversation. Technique #33 Trash the Teasing ( kabhe bhe group talk may paiso so related Kisee aadmi par topic ya joke nahe karna chaiyay ) A dead giveaway of a little cat is his or her proclivity to tease. An innocent joke at someone else’s expense may get you a cheap laugh. Nevertheless, the big cats will ave the last one. Because you’ll bang your head against the glass ceiling they construct to keep little cats from stepping on their paws. Never, ever, make a joke at anyone else’s expense. You’ll wind up paying for it, dearly. Technique #34 It’s the Receiver’s Ball ( bad news ko smile,a relaxd whali breath k saath yaa thoda udaaseen ho expression kum he dikha kar batana chaiyay) A football player wouldn’t last two beats of the time clock if he made blind passes. A pro throws the ball with the receiver always in mind. Before throwing out any news, keep your receiver in mind. Then deliver it with a smile, a sigh, or a sob. Not ccording to how you feel about the news, but how the receiver will take it. Technique #35 The Broken Record (Pagaal ko log ko PAGAL banaanay ka ek he tarekaa,unchaahe baat puchnay par ek he baat ka REPETITION key jiyay) Whenever someone persists in questioning you on an unwelcome subject, simply repeat your original response. Use precisely the same words in precisely the same tone of voice. Hearing it again usually quiets them down. If your rude interrogator hangs on like a leech, your next repetition never fails to ? ick them off. Technique #36 Big Shots Don’t Slobber (fattu log key tarah mat khaday rayna†¦TAREEF jaldee say na karna.. alkee yeh kehna aap nay †¦ yeh sab kia mujay essay khushii mile DHANYAWAAD) .. People who are VIPs in their own right don’t slobber over celebrities. When you are chatting with one, don’t compliment her work, simply say how much pleasure or insight ità ¢â‚¬â„¢s given you. If you do single out any one of the star’s accomplishments, make sure it’s a recent one, not a memory that’s getting yellow in her scrapbook. If the queen bee has a drone sitting with her, ? nd a way to involve him in the conversation. Technique #37 Never the Naked Thank You ( thankU ko dilsay badachadakar bolo) Never let the phrase â€Å"thank you† stand alone. From A o Z, always follow it with for: from â€Å"Thank you for asking† to â€Å"Thank you for zipping me up. † Technique #38 Scramble Therapy ( do sumthin CRAZY bro†¦ ) Once a month, scramble your life. Do something you’d never dream of doing. Participate in a sport, go to an exhibition, hear a lecture on something totally out of your experience. You get 80 percent of the right lingo and insider questions from just one exposure. If you take a piece of blue litmus paper and dip it in a huge vat of acid, the tip turns pink. If you take another blue litm us paper and dip it into just one minuscule drop of acid on a glass slide, the tip turns just as pink. Compare this to participating in an activity just one time. A sampling gives you 80 percent of the conversa- tional value. You learn the insider’s questions to ask. You start using the right terms. You’ll never be at a loss again when the subject of extracurricular interests comes up—which it always does. Technique #39 Learn a Little Jobbledygook ( dude u gotta show interest in their lyf interest abt things which they lyk) Big winners speak Jobbledygook as a second language. What is Jobbledygook? It’s the language of other professions. Why speak it? It makes you sound like an insider. How do you learn it? You’ll ? d no Jobbledygook cassettes in the language section of your bookstore, but the lingo is easy to pick up. Simply ask a friend who speaks the lingo of the crowd you’ll be with to teach you a few opening questions. The words are few and the rewards are manifold. Technique #40 Baring Their Hot Button (PEOPLE k characters and status ko d ekhkar achay saawal pucho wid’out TENSION) Before jumping blindly into a bevy of bookbinders or a drove of dentists, ? nd out what the hot issues are in their ? elds. Every industry has burning concerns the outside world knows little about. Ask your informant to bare the industry buzz. Then, to heat the conversation up, push those buttons. Technique #41 Read Their Rags ( uska man pasand hobby dekho†¦ uskay bare may jaankar eekata karoo) Is your next big client a golfer, runner, swimmer, surfer, or skier? Are you attending a social function ? lled with accountants or Zen Buddhists—or anything in between? There are untold thousands of monthly magazines serving every imaginable interest. You can dish up more information than you’ll ever need to sound like an insider with anyone just by reading the rags that serve their racket. (Have you read your latest copy of Zoonooz yet? ) Technique #42 Clear â€Å"Customs† Before putting one toe on foreign soil, get a book on dos and taboos around the world. Before you shake hands, give a gift, make gestures, or even compliment anyone’s possessions, check it out. Your gaffe could gum up your entire gig. Technique #43 Bluffing for Bargains ( dude u wanna know the thing ,whaz it ? then buy it) PUCHtaach karo The haggling skills used in ancient Arab markets are alive and well in contemporary America for big-ticket items. Your price is much lower when you know how to deal. Before every big purchase, ? nd several vendors—a few to learn from and one to buy from. Armed with a ew words of industryese, you’re ready to head for the store where you’re going to buy. Technique #44 Be a Copyclass Watch people. Look at the way they move. Small movements? Big movements? Fast? Slow? Jerky? Fluid? Old? Young? Classy? Trashy? Pretend the person you are talking to is your danc instructor. Is he a jazzy mover? Is she a balletic mover? Watch his or her body, and then imitate the style of movement. That makes your conversation partner subliminally real comfy with you. Technique #45 Echoing Echoing is a simple linguistic technique that packs a powerful wallop. Listen to the speaker’s arbitrary choice f nouns, verbs, prepositions, adjectives—and echo them back. Hearing their words come out of your mouth creates subliminal rapport. It makes them feel you share their values, their attitudes, their interests, their experiences. Technique #46 Potent Imaging Does your customer have a garden? Talk about â€Å"sowing the seeds for success. † Does your boss own a boat? Tell him or her about a concept that will â€Å"hold water† or â€Å"stay a? oat. † Maybe he is a private pilot? Talk about a concept really â€Å"taking off. † She plays tennis? Tell her it really hits the â€Å"sweet spot. † Evoke your listener’s interests or lifestyle and weave images around it. To give your points more power and punch, use analogies from your listener’s world, not your own. Potent Imaging also tells your listeners you think like them and hints you share their interests. Technique #47 Employ Empathizers Don’t be an unconscious ummer. Vocalize complete sentences to show your understanding. Dust your dialogue with phrases like â€Å"I see what you mean. † Sprinkle it with sentimental sparklers like â€Å"That’s a lovely thing to say. † Your empathy impresses your listeners and encourages them to continue. Technique #48 Anatomically Correct Empathizers What part of their anatomy are your associates talking through? Their eyes? Their ears? Their gut? For visual people, use visual empathizers to make them think you see the world the way they do. For auditory folks, use auditory empathizers to make them think you hear them loud and clear. For kinesthetic types, use kinesthetic empathizers to make them think you feel the same way they do. #49 How to Make ’Em Think We (Instead of You vs. Me ) 1. Level One: Cliches Two strangers talking together primarily toss cliches back and forth. For instance, when chatting about the universally agreed- upon world’s dullest subject—the weather—one stranger might say to the other, â€Å"Beautiful sunny weather we’ve been having. Or, â€Å"Boy, some rain, huh? † That’s level one, cliches. 2. Level Two: Facts People who know each other but are just acquaintances often dis- cuss facts. â€Å"You know, Joe, we’ve had twice as many sunny days this year to date as last. † Or, â€Å"Yeah, well, we ? nally decided to pu t in a swimming pool to beat the heat. † 3. Level Three: Feelings and Personal Questions When people become friends, they often express their feelings to each other, even on subjects as dull as the weather. â€Å"George, I just love these sunny days. † They also ask each other personal ques- tions: â€Å"How about you, Betty? Are you a sun person? † 4. Level Four: We Statements Now we progress to the highest level of intimacy. This level is richer than facts and creates more rapport than feelings. It’s we and us statements. Friends discussing the weather might say, â€Å"If we keep having this good weather, it’ll be a great summer. † Lovers might say, â€Å"I hope this good weather keeps up for us so we can go swimming on our trip. † A technique to achieve the ultimate verbal intimacy grows out of this phenomenon. Simply use the word we prematurely. You can use it to make a client, a prospect, a stranger feel you are already friends. Use it to make a potential romantic partner feel the two of you are already an item. I call it the â€Å"Premature We. † In casual conversation, simply cut through levels one and two. Jump straight to three and four. Chemistry, charisma, and con? dence are three characteristics shared by big winners in all walks of life. Part One helped us make a dynamic, con? dent, and charismatic ? rst impression with body language. In Part Two, we put smooth small-talk lyrics to our body ballet. Then in Part Three, we seized hints from the big boys and big girls so we’re contenders for life’s big league. Part Four rescued us from being tongue-tied with folks with whom we have very lit- tle in common. And in Part Five, we learned techniques to create instant chemistry, instant intimacy, instant rapport. Mind boggling, isn’t it? Sociologists’ research shows: 1) a com- pliment from a new person is more potent than from someone you already know, 2) your compliment has more credibility when given to an unattractive person or an attractive person whose face you’ve never seen, 3) you are taken more seriously if you preface your comments by some self-effacing remark—but only if your listener perceives you as higher on the totem pole. If you’re lower, yourself-effacing remark reduces your credibility. Complicated, this complimenting stuff. Technique #51 Grapevine Glory A compliment one hears is never as exciting as the one he overhears. A priceless way to praise is not by telephone, not by telegraph, but by tell-a-friend. This way you escape possible suspicion that you are an apple-polishing, bootlicking, egg-sucking, back- scratching sycophant trying to win brownie points. You also leave recipients with the happy fantasy that you are telling the whole world about their greatness. Technique #52 Carrier Pigeon Kudos People immediately grow a beak and metamorphosize themselves into carrier pigeons when there’s bad news. It’s called gossip. ) Instead, become a carrier of good news and kudos. Whenever you hear something complimentary about someone, ? y to them with the compliment. Your fans may not posthumously stuff you and put you on display in a museum like Stumpy Joe. But everyone loves the carrier pigeon of kind thoughts. Carry More Cargo than Compliments Another wa y to warm hearts and win friends is to become a car- rier pigeon of news items that might interest the recipient. Call, mail, or E-mail people with information they might ? nd interesting. Technique #53 Implied Magnificence Throw a few comments into your conversation that resuppose something positive about the person you’re talking with. But be careful. Don’t blow it like the well- intentioned maintenance man. Or the southern boy who, at the prom, thought he was ? attering his date when he told her, â€Å"Gosh, Mary Lou, for a fat gal you dance real good. † Technique #54 Accidental Adulation Become an undercover complimenter. Stealthily sneak praise into the parenthetical part of your sentence. Just don’t try to quiz anyone later on your main point. The joyful jolt of your accidental adulation strikes them temporarily deaf to anything that follows. Technique #55 Killer Compliment Whenever you are talking with a stranger you’d like to make part of your professional or personal future, search for one attractive, speci? c, and unique quality he or she has. At the end of the conversation, look the individual right in the eye. Say his or her name and proceed to curl all ten toes with the Killer Compliment. Rule #1: Deliver your Killer Compliment to the recipi- ent in private. If you are standing with a group of four or ? ve people and you praise one woman for being ? t, every other woman feels like a barrel of lard. If you tell one man he has wonderful carriage, every other feels like a hunchback. You also make the blushing recipient uncomfortable. Rule #2: Make your Killer Compliment credible. For example, I’m tone-deaf. If I’m forced to sing even a simple song like â€Å"Happy Birthday,† I sound like a sick pig. If anyone in earshot were foolish enough to tell me they liked my voice, I’d know it was hogwash. Rule #3: Confer only one Killer Compliment per half year on each recipient . Otherwise you come across as insincere, groveling, obsequious, pandering, and a thoroughly manipulative person. Not cool. With careful aim, the Killer Compliment captures everyone. It works best, however, when you use it judiciously on new cquaintances. If you want to praise friends every day, employ the next technique. Technique #56 Little Strokes Don’t make your colleagues, your friends, your loved ones look at you and silently say, â€Å"Haven’t I been pretty good today? † Let them know how much you appreciate them by caressing them with verbal Little Strokes like â€Å"Nice job! † â€Å"Well done! † â€Å"Cool! † Technique #57 The Knee-Jerk â€Å"Wow! † Quick as a blink, you must praise people the moment they a ? nish a feat. In a wink, like a knee-jerk reaction say, â€Å"You were terri? c! † Don’t worry that they won’t believe you. The euphoria of the moment has a strangely numbing effect n the achiever’s objective judgment. Technique #58 Boomeranging Just as a boomerang ? ies right back to the thrower, let compliments boomerang right back to the giver. Like the French, quickly murmur something that expresses â€Å"That’s very kind of you. † Technique #59 The Tombstone Game Ask the important people in your life what they would like engraved on their tombstone. Chisel it into your memory but don’t mention it again. Then, when the moment is right to say â€Å"I appreciate you† or â€Å"I love you,† ? ll the blanks with the very wor ds they gave you weeks earlier. You take people’s breath away when you feed their eepest self-image to them in a compliment. â€Å"At last,† they say to themselves, â€Å"someone who loves me for who I truly am. † Technique #60 Talking Gestures Think of yourself as the star of a personal radio drama every time you pick up the phone. If you want to come across as engaging as you are, you must turn your smiles into sound, your nods into noise, and all your gestures into something your listener can hear. You must replace your gestures with talk. Then punch up the whole act 30 percent! Technique #61 Name Shower People perk up when they hear their own name. Use it more often on the phone than you would in person to eep their attention. Your caller’s name re-creates the eye contact, the caress, you might give in person. Saying someone’s name repeatedly when face-to-face sounds pandering. But because there is physical distance between you on the phoneâ₠¬â€sometimes you’re a conti- nent apart—you can spray your conversation with it. Technique #62 â€Å"Oh Wow, It’s You! † Don’t answer the phone with an â€Å"I’m just sooo happy all the time† attitude. Answer warmly, crisply, and professionally. Then, after you hear who is calling, let a huge smile of happiness engulf your entire face and spill over into your voice. You make your caller feel as hough your giant warm fuzzy smile is reserved for him or her. Technique #63 The Sneaky Screen If you must screen your calls, instruct your staff to ? rst say cheerfully, â€Å"Oh yes, I’ll put you right through. May I tell her who’s calling? † If the party has already identi? ed himself, it’s â€Å"Oh of course, Mr. Whoozit. I’ll put you right through. † When the secretary comes back with the bad news that Mr. or Ms. Bigwig is unavailable, callers don’t take it personally and never feel screened . They fall for it every time, just like I did. Technique #64 Salute the Spouse Whenever you are calling someone’s home, always identify nd greet the person who answers. Whenever you call someone’s of? ce more than once or twice, make friends with the secretary. Anybody who is close enough to answer the phone is close enough to sway the VIP’s opinion of you. Technique #65 What Color Is Your Time? No matter how urgent you think your call, always begin by asking the person about timing. Either use the What Color Is Your Time? device or simply ask, â€Å"Is this a convenient time for you to talk? † When you ask about timing ? rst, you’ll never smash your footprints right in the middle of your telephone partner’s sands of time. You’ll never get a â€Å"No! just because your timing wasn’t right. How to Impress Everyone with Your Outgoing Voicemail Message And here’s the secret: to give the impression you are really on top of your business, change your message every day. Studies show that callers perceive people to be brighter and more ef? cient when they hear an updated message each time they call. If appropriate, let callers know where you are and when you intend to be back. If you have customers who need to be attended to, this is crucial. Technique #66 Constantly Changing Outgoing Message If you want to be perceived as conscientious and eliable, leave a short, professional, and friendly greeting as your outgoing message. No music. No jokes. No inspirational messages. No boasts, bells, or whistles. And here’s the secret: change it every day. Your message doesn’t have to be ? awless. A little cough or stammer gives a lovely unpretentious reality to your message Technique #67 Your Ten-Second Audition ( just keep in suspense†¦. ) While dialing, clear your throat. If an answering machine picks up, pretend the beep is a big Broadway producer saying â€Å"Nexxxt. † Now you’ re on. This is Your Ten-Second Audition to prove you are worthy of a quick callback. Technique #68 The Ho-Hum Caper Instead of using your party’s name, casually let the pronoun he or she roll off your tongue. Forget â€Å"Uh, may I speak to Ms. Bigshot please? † Just announce, â€Å"Hi, Bob Smith here, is she in? † Tossing the familiar she off your tongue signals to the secretary that you and her boss are old buddies. Technique #69 â€Å"I Hear Your Other Line†(I can hear U other lyn†¦kuch kaam hai apko ussay..? When you hear a phone in the background, stop speaking—in midsentence, if necessary—and say â€Å"I hear your other line,† (or your dog barking, your baby crying, your spouse calling you). Ask whether she has o attend to it. Whether she does or not, she’ll know you’re a top communicator for asking. Technique #70 Instant Replay Record all your business conversations and listen to them again. The second or third time, you pick up on signi? cant subtleties you missed the ? rst time. It’s like football fans who often don’t know if there was a fumble until they see it all over again in Instant Replay. Use the Six-Point Party Checklist—the Who? When? Why? Where? What? and How? of a party—as your general game plan. Now let’s get down to speci? cs. Technique #71 Munching or Mingling Politicians want to be eyeball to eyeball and belly to elly with their constituents. Like any big winner well versed in the science of proxemics and spatial relationships, they know any object except their belt buckle has the effect of a brick wall between two people. Therefore they never hold food or drink at a party. Come to munch or come to mingle. But do not expect to do both. Like a good politician, chow down before you come. Technique #72 Rubberneck the Room When you arrive at the gathering, stop dramatically in the doorway. Then s-l-o-w-l-y survey the situation. Let your eyes travel back and forth like a SWAT team ready in a heartbeat to wipe out anything th at moves. Technique #73 Be the Chooser, Not the Choosee( baagha key tarah khaday mat raho.. jo bakra pasaand aaya usko manaao) The lifelong friend, the love of your life, or the business contact who will transform your future may not be at the party. However, someday, somewhere, he or she will be. Make every party a rehearsal for the big event. Do not stand around waiting for the moment when that special person approaches you. You make it happen by exploring every face in the room. No more â€Å"ships passing in the night. † Capture whatever or whomever you want in your life. Technique #75 Tracking Like an air-traf? controller, track the tiniest details of your conversation partners’ lives. Refer to them in your conversation like a major news story. It creates a power- ful sense of intimacy. When you invoke the last major or minor event in anyone’s life, it con? rms the deep conviction that he or she is an old-style hero around whom the world revolves. And people love you for recognizing their stardom. Technique #76 The Business Card Dossier Right after you’ve talked to someone at a party, take out your pen. On the back of his or her business card write notes to remind you of the conversation: his favorite restaurant, sport, movie, or drink; whom she dmires, where she grew up, a high school honor; or maybe a joke he told. In your next communication, toss off a reference to the favorite restaurant, sport, movie, drink, hometown, high school honor. Or reprieve the laugh over the great joke. Like a sales pro, ask yourself, â€Å"How can I change the subject to turn this person on? † Technique #77 Eyeball Selling The human body is a twenty-four-hour broadcasting station that transmits â€Å"You thrill me. † â€Å"You bore me. † â€Å"I love that aspect of your product. † â€Å"That one puts my feet to sleep. † Set the hidden cameras behind your eyeballs to pick up on all your customers’ and friends’ signals. Then plan your pitch and your pace accordingly. Technique #78 See No Bloopers, Hear No Bloopers Cool communicators allow their friends, associates, acquaintances, and loved ones the pleasurable myth of being above commonplace bloopers and embarrassing biological functions. They simply don’t notice their comrades’ minor spills, slips, fumbles, and faux pas. They obviously ignore raspberries and all other signs of human frailty in their fellow mortals. Big winners never gape at another’s gaffes. Technique #79 Lend a Helping Tongue Whenever someone’s story is aborted, let the interrup- tion play itself out. Give everyone time to dote on the little darling, give their dinner order, or pick up the jagged pieces of china. Then, when the group reassembles, simply say to the person who suffered story-interruptus, â€Å"Now please get back to your story. † Or better yet, remember where they were and then ask, â€Å"So what happened after the . . . † (and ? ll in the last few words). When asking someone for a favor, let them know how mu t means to you. You come across as a straight shooter, and the joy of helping you out is often reward enough. Don’t deny them th leasure! Technique #80 Bare the Buried WIIFM (and WIIFY) Whenever you suggest a meeting or ask a favor, divulge the respective bene? ts. Reveal what’s in it for you and what’s in it for the other person—even if it’s zip. If any hidden agenda comes up later, you get labeled a sly fox. Technique #81 Let ’Em Savor the Favor Whenever a friend agrees to a favor, allow your generous buddy time to relish the joy of his or her bene? cence before you make them pay the piper. How long? At least twenty-four hours. Technique #82 Tit for (Wait . . . Wait) Tat When you do someone a favor and it’s obvious that â€Å"he owes you one,† wait a suitable amount of time before asking him to â€Å"pay. Let him enjoy the fact (or ? ction) that you did it out of friendship. Don’t call in your tit for their tat too swiftly(fastly). Technique #83 Parties Are for Pratter There are three sacred safe havens in the human jungle where even the toughest tiger knows he must not attack. The ? rst of these is parties. Parties are for pleasantries and good fellowship, not for confrontations. Big players, even when standing next to their enemies at the buffet table, smile and nod. They leave tough talk for tougher settings. Technique #84 Dinner’s for Dining The most guarded safe haven respected by big winners is the dining table. Breaking bread together is a time when they bring up no unpleasant matters. While eating, they know it’s OK to brainstorm and discuss the positive side of the business: their dreams, their desires, their designs. They can free associate and come up with new ideas. But no tough business. Technique #85 Chance Encounters Are for Chitchat If you’re selling, negotiating, or in any sensitive communication with someone, do NOT capitalize on a chance meeting. Keep the melody of your mistaken meeting sweet and light. Otherwise, it could turn into your swan song with Big Winner. Technique #86 Empty Their Tanks If you need information, let people have their entire say ?rst. Wait patiently until their needle is on empty and the last drop drips out and splashes on the cement. It’s the only way to be sure their tank is empty enough of their own inner noise to start receiving your ideas. Technique #87 Echo the Emo Facts speak. Emotions shout. Whenever you need facts from people about an emotional situation, let them emote. Hear their facts but empathize like mad with their emotions. Smearing on the emo is often the only way to calm their emotional storm. Technique #88 My Goof, Your Gain Whenever you make a boner, make sure your victim ene? ts. It’s not enough to correct your mistake. Ask yourself, â€Å"What could I do for this suffering soul so he or she will be delighted I made the ? ub? † Then do it, fast! In that way, your goof will become your gain. Technique #89 Leave an Escape Hatch Whenever you catch someone lying, ? lching, exagger- ating, distorting, or deceiving, don’t confront the dirty duck directly. Unless it is your responsibility to catch or correct the culprit—or unless you are saving other innocent victims by doing so—let the transgressor out of your trap with his tricky puss in one piece. Then resolve never to gaze upon it again. Technique #90 Buttercups for Their Boss ( makhhan maarkay) Do you have a store clerk, accountant, law ? rm junior partner, tailor, auto mechanic, maitre d’, massage therapist, kid’s teacher—or any other worker you want special attention from in the future? The sure? re way to make them care enough to give you their very best is send a buttercup to their boss. Technique #91 Lead the Listeners No matter how prominent the big cat behind the podium is, crouched inside is a little scaredy-cat who is anxious about the crowd’s acceptance. Big winners recognize you’re a fellow big winner when they see you leading their listeners in a positive eaction. Be the ? rst to applaud or publicly commend the man or woman you agree with (or want favors from). Big winners—before putting pen to paper, ? ngers to key- board, mouth to phone, or hand to someone else’s to shake it— do a quick calculation. They ask themselves â€Å"Who has the most to bene? t from th is relationship? What has each of us done recently that demands deference from the other? † And what can I do to even the score? Remember, repeating an action makes a habit. Your habits create your character. And your character is your destiny. May success be your destiny. Cheer UP bro†¦. 😀 ***************

Reflection in the water essays

Reflection in the water essays As I lay the dock the sky is free of clouds and pollution as if it were a blue sheet covering the sky. Sun shining on the tips of the mountains as it sets. Pine trees and fields cover the mountains that surround me. I put my hand down on the mirror like surface and feel the warmth. Hearing a fish jump I look to see the tiny waves of water working there way outward in perfect circles. The dampness is like a swamp cooler blasting in the middle of summer, occasionally interrupted by the smell of fires from the people that come to camp here in the summer. I remember waking up early to go fishing with my dad in our rickety old boat that reeked of dead fish. I remember walking along the razor like jagged rocks with my brother; my dogs would shake water on us after their swim. I can still see the reflection of the beautifully colored fireworks, during Little Valley Days. The strong gas-burning aroma from the exhaust of the boat reminds me of endless days spent wakeboarding. The throbbing pain of headaches from wiping out was only intensified by the music piercing my ears; it would blast from the boat speakers as if there were a concert going on right behind me. I remember the warm sun beating down on my body as I lay on the back of the boat, as it is now as I lay on the dock. Tiny droplets of salt water running down my side, making me stick to the warn cracked vinyl that covered the boat seats. The lake to me is like a big brother; it will always be there. Sun setting to the west, orange, yellow, pink, and red reflect in the water, as do I. I dont know where or what heaven is but I know that I live near a piece of it. ...

40 Synonyms for Praise

40 Synonyms for Praise 40 Synonyms for Praise 40 Synonyms for Praise By Mark Nichol Last week, I offered a list of synonyms for the word criticize. To avert criticism (admonishment, censure, chastising, and so on), I offer here a roster of synonyms for its antonym, praise, in that word’s verb form as well as when it’s used as a noun. 1. Acclaim: To applaud or praise; also a noun referring to the action of applause or cheering. 2. Acknowledge: To recognize someone or something for services rendered; the word also has the connotation of â€Å"to confirm rights or authority.† 3. Adore: To honor or worship in a religious sense, although its meaning has extended to â€Å"to be fond of, to admire.† 4. Adulate: â€Å"To express excessive praise.† This rarely used verb form of adulation has a connotation of flattery. (See flatter below.) 5. Applaud: To express approval in general, as well as to clap hands or otherwise praise nonverbally. 6. Belaud: To praise, but the sense is of excessive acclaim. 7. Bless: To praise or to glorify in a religious sense; the word also has a secular sense of â€Å"to approve† as well as â€Å"to favor† (the latter in usage such as â€Å"blessed with remarkable talent†). 8. Carol: To praise with song, or in a like manner. 9. Celebrate: To publicly honor in a secular sense as well as a religious one. 10. Chant: A close synonym of carol and hymn. 11. Cheer: To cheer in applause or to express triumph. 12. Cite: To formally call attention to for praise. However, this term also has an opposite meaning of â€Å"to reprimand,† as well as the senses of â€Å"to quote† or â€Å"to refer to,† so the context should be clear. 13. Commemorate: To observe a ceremony of remembrance, or to provide a memorial. 14. Commend: To praise with approval, or to recommend. 15. Compliment: To communicate respect or admiration for someone to that person or another. 16. Crack up: Slang used to refer to someone or something that may or may not be as worthy of praise as previously thought; generally restricted to phrases such as â€Å"not all it’s cracked up to be.† 17. Deify: To glorify, as if to equate the person being praised with a god; this sense coexists with the literal religious sense of according someone the status of a god. 18. Emblazon: Originally meant to inscribe or decorate a heraldic device or bearings; now, the sense is extended to praising, especially in writing, as if to permanently establish the subject as praiseworthy. 19. Eulogize (British English: eulogise): To praise in speech or writing; usually, the connotation is that the subject of praise is deceased. 20. Exalt: To praise extensively. 21. Extol (or extoll): To praise generously. 22. Fete: To honor with a celebration, or to honor in general. 23. Flatter: To praise insincerely or only for selfish motives. The word also has similar senses of â€Å"to depict with excessive favor† or â€Å"to present to one’s advantage,† as well as â€Å"to deceive, as in â€Å"I flatter myself that I acted wisely.† 24. Glorify: To praise with the intent of making the subject appear glorious, but it also means â€Å"to make something or someone seem to be better than it or they really is.† 25. Hail: To greet enthusiastically as a show of approval; the term also has a mundane sense of â€Å"to call or greet.† 26. Honor: To express respect or admiration. 27. Hymn: A close synonym of carol and chant. 28. Idolize: To worship, with a connotation of excessive praise. 29. Laud: To praise; also, capitalized, a religious ceremony. (The adjective form is laudable.) 30. Magnify: To praise, in the sense, as the etymology suggests, of making someone or something appear greater than they or it is. 31. Mention: To identify someone or something for mild praise, often in the form of a consolation prize called â€Å"Honorable Mention.† 32. Rave: To praise enthusiastically. 33. Recognize: To publicly thank someone for their service or otherwise indicate appreciation. 34. Recommend: To endorse or propose as commendable, in addition to the more pedestrian connotations such as â€Å"to advise.† 35. Renown: To offer praise. (In its more common noun form, it means â€Å"fame.†) 36. Resound: To praise, or to become one praised, with the sense of loud approval. The word has an additional sense, more commonly used, of echoing or reverberating. 37. Rhapsodize: To praise excessively, from the noun form, rhapsody, which refers to a literary work that rouses emotions (originally, it denoted recitation of an epic poem). 38. Salute: To praise or honor, in addition to the sense of gesturing to show respect or to otherwise acknowledge someone as a courtesy. 39. Tout: To promote or endorse. It also means â€Å"to spy,† especially in the sense of obtaining information about a racehorse to improve one’s betting odds. 40. Worship: To extravagantly praise, as if the subject were a deity. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:10 Grammar Mistakes You Should AvoidPeople versus PersonsApostrophe with Plural Possessive Nouns

The Policy Process Essay Example | Topics and Well Written Essays - 1500 words - 1

The Policy Process - Essay Example (Sidlow et al. 2010, pp. 345) With these variables in mind, the policy process is easily understood to present a multidimensional challenge involving numerous realities. As a result, policymakers become prone to errors because of these variables are misrepresented and, hence, misunderstood. The Policymaking Process Even when confined to public policymaking, the issue of policy is still too general. That is why this paper will further contract the topic into specific policy areas: those that are currently prioritized in the United Kingdom. Identifying these policy areas are important because they are fundamental in citing the relevant policy process to be investigated and further clarifying the discussion into context. Foreign policy, economic policy, EU policy and security policy are all formulated in Britain through several institutions within the Westminster System. In addition, they include not just the polity but also the citizens, the media, among other players. To demonstrate t his, the case of foreign policy process will be cited. There are four stages in the foreign policy making in the UK. The first is the so-called articulation or initiation stage wherein stakeholders like concerned citizens and individuals successfully bring an issue into the attention of the policymakers. For example, there is the case of the 1,500 or so motorcyclists who effectively grabbed the attention of the media with regards to a proposed European Union laws on bikers. (BBC 2011) This demonstrated how individuals or groups such non governmental organizations could demand and initiate a foreign policy agenda. This was what happened in the past when several national interest groups in Britain joined with others from several European countries in their â€Å"big-bang strategy† that eventually helped facilitate the EU enlargement. Interest groups from nine European countries participated in this strategy and that hey came to be called as the Vilnius group or the â€Å"big b ang group† who vigorously campaigned for a broad multistate accession. (Assenova 2003, pp. 16) The second stage involved the actual policy formulation, which would already involve the governmental policy process as bureaucratic agencies begin crafting and passing the policy. Countries like the UK and the US have given their respective executive departments the power to formulate foreign policy. This is also true in the case of economic and security issues. The implementation of the policy is considered as the third stage in the process. According to Smith and Dunne (2008, pp. 383), this is the most understated but important area since it â€Å"describes the agencies and individuals charged with carrying out the policy† and that â€Å"often, the final outcome is very different from the intent of the legislation.† Finally, the last stage of the foreign policymaking process is called the evaluation stage. This is the time when â€Å"parliamentary committees, specia l commissions, government ombudsmen, or watchdog groups review the policy process and policy outcomes and makes recommendations to stay the course or change.† (Smith and Dunne, pp. 383) The above policy process is roughly the same across all policy areas, although they involved some changes in the governmental agencies involved. Explaining this process becomes