Wednesday, March 18, 2020

Tips for Salvaging Flood Damaged Photos, Papers Books

Tips for Salvaging Flood Damaged Photos, Papers Books When disasters hit, most people dont mourn the refrigerator or the couch but the loss of precious family photographs, scrapbooks, and memorabilia can be devastating. While it may seem as if theres nothing to be done when faced with piles of soggy, mud-spattered documents, pictures, and other paper items, saving at least some of them may be possible if you follow a few simple steps. How to Save Water-Damaged Photos Most printed photographs, photographic negatives, and color slides can be cleaned and air-dried using the following steps: Carefully lift the photos from the mud and dirty water. Remove them from water-logged albums and separate any that are stuck together, being careful not to rub or touch the wet emulsion of the photo surface.Gently rinse both sides of the photo in a bucket or sink filled with clear, cold water. Do not rub the photos, and change the water frequently.Time is of the essence, so as soon as you can arrange adequate space, lay each wet photo face-up on any clean blotting paper, such as a paper towel. Dont use newspapers or printed paper towels, as the ink may transfer to your wet photos. Change the blotting paper every hour or two until the photos dry. Try to dry the photos indoors if possible, as sun and wind will cause them to curl more quickly.If you dont have time to dry your damaged photos right away, rinse them to remove any mud and debris. Carefully stack the wet photos between sheets of wax paper and seal them in a zipper-type plastic bag. If possible, freeze the photos to inhibit d amage. This way, photos can be defrosted, separated, and air-dried when you have the time to do it properly. More Tips for Handling Water Damaged Photographs Try to get to flood-damaged photos within two days or they will begin to mold or stick together, making it much less likely they can be salvaged.Begin with photographs for which there are no negatives, or for which the negatives are also water damaged.Pictures in frames need to be saved when they are still soaking wet, otherwise, the photo surface will stick to the glass as it dries and you will not be able to separate them without damaging the photo emulsion. To remove a wet photo from a picture frame, keep the glass and photo together. Holding both, rinse with clear flowing water, using the water stream to gently separate the photo from the glass. Note: Some historical photographs are very sensitive to water damage and may not be recoverable. Older or valuable photographs should not be frozen without first consulting a professional conservator. You may also want to send any damaged heirloom photos to a professional photo restorer after drying. Other Paperwork Marriage licenses, birth certificates, favorite books, letters, old tax returns, and other paper-based items can usually be saved after a drenching. The key is to remove the dampness as quickly as possible, before mold  sets in. The simplest approach to salvaging water-damaged papers and books is to lay the damp items on blotting paper to absorb moisture. Paper towels are a good option, as long as you stick to the plain white ones without the fancy prints.  Avoid using newsprint since the ink may run. How to Save Water-Damaged Papers Books As with photos, most papers, documents, and  books can be cleaned and air-dried using the following steps: Carefully remove the papers from the water.If the damage is from dirty flood water, gently rinse the papers in a bucket or sink of clear, cold water. If they are especially fragile, try laying the papers on a flat surface and rinsing with a gentle spray of water.Lay the papers individually on a flat surface, out of direct sunlight. If the papers are soggy, put them in piles to dry out a bit before attempting to separate them. If space is a problem, you can string fishing line across a room and use it as you would a clothesline.Put an oscillating fan in the room where you are drying your papers to increase air circulation and speed the process.For water-logged books, the best option is to place absorbent paper between the wet pages (this is called interleaving) and then lay the books flat to dry. You dont have to place blotter paper  between  every page, just every 20-50 pages or so. Change the blotting paper every few hours.If you have wet papers or books that you just cant deal with right away, seal them in plastic zipper bags and stick them in the freezer. This helps to stop  the deterioration  of the paper and prevents mold from setting in. When cleaning up after a flood or water leak, remember that books and papers dont have to be directly in the water to suffer damage. The increased humidity is enough to trigger the growth of mold. Its important to remove books and papers from a wet location as soon as possible and move them to a location with fans and/or dehumidifiers to speed air circulation and lower humidity. After your papers and books are completely dry, they may still suffer from a residual musty smell. To combat this, place the papers in a cool, dry place for a couple of days. If the musty smell still lingers, put the books or papers in an open box and put that inside a larger, closed container with an open box of baking soda to absorb odors. Be careful not to let the baking soda touch the books, and check the box daily for mold. If your important papers or photos have developed mold and must be discarded, have them copied or digitally scanned before throwing them out.

Monday, March 2, 2020

Getting to Know Your Protagonist How to Create “Real” Characters - Freewrite Store

Getting to Know Your Protagonist How to Create â€Å"Real† Characters - Freewrite Store Have you ever read a book where the characters seem so real it’s like they could step off the page and sit down for a coffee with you? Those are the kinds of characters I love - the ones you almost miss when the novel comes to an end. Unfortunately, too many books I read contain characters that seem little more than cardboard cutouts. Being able to craft a protagonist in your story that is three-dimensional and totally â€Å"real† is a skill that a lot of novelists struggle with. If you find it difficult to create those kinds of characters, you’re certainly not alone - but it’s absolutely possible to learn this skill. And it’s not as hard as you might think it is! Keep reading if you want to discover powerful secrets for creating characters that jump right off the page. What Not  To Do You’ve probably come across those questionnaires that many ‘how-to-write’ websites love so much. You know the questions I mean - the ones that are supposed to help you get to know your characters by having you fill in every detail of your character’s life. Where they were born, their middle name, how their parents met, their job, their hobbies†¦ and so on. Here’s my first piece of advice. Don’t rely on those kinds of questionnaires to bring your characters to life. Sure, it can help to have those details to hand when you’re writing, but I’m afraid they’re not going to give you three-dimensional characters. It’s not facts that bring your characters to life. Getting Under Your Protagonist’s Skin Being able to describe what your character looks like is useful, but it’s not what makes him come alive in your reader’s mind. Instead, you need to focus on what makes your character tick. To get under your characters’ skin, you need to know the answers to these kinds of questions: What motivates him? What is she afraid of? Is she emotional, passionate and extroverted or placid, gentle and introverted? What secrets does he have that he’s afraid that others may reject him because of? What influences her decision-making? What’s his life-story? What makes her happy? What makes him angry? How does she present herself to others - and is that at odds at how she feels inside? What are the experiences that have shaped his opinions and reactions to different situations? The emotional details of your protagonist’s psyche are far more important than being able to describe the color of his hair or the layout of her home. When I write fiction, I’ve been known to spend more time getting to know my characters innermost secrets than I actually spend on writing the novel. Taking the time to really get under your characters’ skin can be frustrating when you just want to sit down and write, but trust me, the effort is absolutely worth it. When I look at some of the stories I wrote before I discovered the secrets of bringing my characters to life on the page, I’m embarrassed by how two-dimensional the characters seem. I didn’t spend enough time understanding what made my protagonists tick, and it shows. I’m going to take you through my own 3-step process for creating realistic characters so that you can easily follow a tried-and-tested technique that really works. 3 Powerful Steps Toward Understanding Your Protagonists When you start the process of bringing your characters to life, I suggest you open a new document for each protagonist. This is where you can keep and organize all the details you ‘discover’ and have a handy reference when you start to write your novel. This technique also works for short stories, but you won’t need quite so much detail! Step 1: Exploring the Psyche The psyche of your protagonist and other characters is where their motivations lie. There are different aspects to this - both conscious and subconscious. While it may seem a little weird at first to dig into the subconscious of a character that you’re creating, investing time in this exercise really pays off. To explore your protagonist’s psyche, you need to ask deep and searching questions and dig into as much detail as you can. If you find that you’re struggling with this exercise, you might want to try the ‘empty chair’ visualization. Put a chair opposite you and imagine that your character is sitting in it. Ask them the following questions, as you might do if it was a friend sitting in the chair. What is your primary goal and why is it so important to you? What is the deepest desire in your life? Do you worry that you’ll never reach the point where that deepest desire is realized? If so, why is that? What are you most afraid of? What are your core beliefs about yourself, other people, and the world around you? Do you believe in fairytales? What are your views about marriage, divorce, happiness, success, and failure? If you could sum up your fundamental beliefs in a single sentence, what would that sentence be? What three values describe you the most closely? What principles do you believe should always be adhered to? What drives you to get out of bed every morning? At the end of this exercise, you will have a pretty good insight into the conscious and subconscious things that make your character who they are. If there are other questions you want to ask, go ahead and ask them - this list isn’t an exhaustive one! Step 2: Examining their Behavior Knowing how your character will react in different situations can help you to craft scenes that really bring your protagonist to life. We’ll be looking at why they behave the way they do in step 3, so in this step, you need to focus solely on your character’s behavior and actions. Instead of asking your character questions, this step requires you to really exercise your imagination. By the time you’ve finished with this step, you’ll be confident in knowing how your character will react in a whole range of situations, and it’s this kind of detailed knowledge that allows you to bring your protagonist to life on the page. You’re going to be putting your protagonist (and other key characters) into a range of hypothetical situations, so this step can take a while! You don’t have to go through all the scenarios at once, though - it’s something you can come back to later if you’re short on time. Scenario 1 Your protagonist leaves the office and rides the elevator to the underground garage to get their car to head home. As they’re pulling out of the garage, a black sedan comes hurtling towards them and rear-ends their vehicle. What does your protagonist do? Scenario 2 The phone rings in the middle of the night. Your protagonist sees that it’s an ‘unknown number’ and ignores the call. In the morning, they check voicemail and learn that a friend or family member has been involved in an accident. By the time they get to the hospital, the person has passed away. How do they react? Scenario 3 Your protagonist heads out on a hike one Saturday morning after a busy week at work. After a couple of hours, they come across an abandoned campsite. There’s a still-smoldering campfire that suggests that it’s not long since someone left in a hurry. Suddenly, your protagonist hears the sound of someone sobbing. What do they do? Scenario 4 Your character spends several hours at a family picnic attended by extended family and friends. They have a secret that they thought no one is aware of, but then their cousin makes a comment that suggests the secret is out of the bag. What does your protagonist do? Scenario 5 It’s vacation time, and your protagonist is vacationing in Jamaica. While they’re lazing by the pool, a stranger asks a too-intimate question. How does your protagonist respond? Scenario 6 New neighbors have moved in, and the whole neighborhood is talking about them because they’re not the kind of people who normally live in this part of town (for whatever reason, it’s up to you!). Your protagonist is mowing the front lawn when the new neighbors come out of the house. How does your character respond to them? Scenario 7 Your protagonist discovers that they have a stalker. What aspects of their personality emerge in response to the chilling situation? Scenario 8 At work, your protagonist’s line manager is deported because she’s breached the terms of her visa. Suddenly, your character has to step into a leadership role that they’ve never been trained for. How do they respond, and what kind of leader do they make? Scenario 9 Your protagonist is talking to a friend when they suddenly realize that they’ve caught their friend in a lie. How do they react? (You can flip this one and imagine how your character would behave if a friend discovered that your character has been lying to them). Scenario 10 There’s a freak storm that knocks out the power and phone lines and leaves your character stuck in the office, unable to get home because of flash flooding. Their twelve-year-old child is home alone. How does your character respond to the crisis? If you want to try more scenarios to delve even deeper into your character’s behavior, feel free to create your own! Step 3: Understanding their Influences Now that you understand your character’s psyche a little more, and you’ve delved into the way that they behave, it’s time to start exploring the things that have shaped them as a person. To a certain extent, this is similar to knowing your character’s backstory, but in this exercise, you’ll be delving a bit deeper and exploring facts that might never be revealed in your novel. Backstory is usually used as part of the novel in some form or another, but many of the details that you’ll be uncovering in this exercise are about helping you to understand your characters, rather than providing the context in a story. You can use the empty chair technique again to ask your character about the things that have made them who they are. What is your earliest memory? How have your early experiences impacted on your personality? For example, have they made you: Reserved/shy? Fearful? Timid? Aggressive? Confrontational? Anxious? Determined? Confident? Tell me about your childhood. What kind of relationship do you have with your parents and other close family members? How old were you when you had your first kiss? What were your experiences at school like? Were you encouraged to express yourself as a child? Can you tell me about the 7 most challenging and/or life-changing events you’ve experienced in your life? How have these events shaped you? Do you find it easy to trust other people? Why/why not? Who was your first crush, and why were you attracted to them? When you are faced with a threatening situation, is your immediate response one of fight, flight or freeze? Again, this isn’t an exhaustive list of questions, so feel free to add others that you think will deepen your understanding of your character(s). Real Characters Require Real Effort It would be great if there was a quick and easy way to create characters that just leap off the page, but unfortunately, there isn’t. Cutting corners when you’re creating characters leads to two-dimensional characters that your readers will quickly lose interest in and forget about once the novel is over. If you want characters that are going to stay in your readers’ minds and give you a solid fanbase for future books featuring the same characters, then you’re going to have to put the time in. Trust me, you won’t regret it. What’s more, if you’re planning a series then you only have to get to know your protagonist once, so future novels will be ‘easier’ to write.    About the author: Ariella is an experienced copywriter, editor, and digital marketing consultant. Driven by a passion for writing and content creation she takes pride in producing articles that deliver the latest information in an engaging manner and marketing campaigns that deliver exceptional results. Ariella has a BA (Hons) in English Language and Creative Writing (First), an MA in Theology and Ministry, and is a published author of three novels and a bestselling non-fiction book. A creative at heart, Ariella has 14 years’ industry experience and always aims to keep abreast of current trends and developments. She lives in the UK with her three beagles Zeke, Hope, and Sandy, who always make life interesting.

Friday, February 14, 2020

Analysis of American Eagle Outfitters Research Paper

Analysis of American Eagle Outfitters - Research Paper Example he company’s auditor, the research will draw from the current financial statements for the year ending February 2013 in an attempt to identify the name of the audit firm, whether the audit firm issued a combined for separate reports, the type of audit opinion provided and the auditor’s view about internal control over fiscal reporting. AEO is a retailer company whose main business activity is clothing and accessories sold under its own private label brands. Its main products include footwear, apparel, personal care, accessories and lingerie, which is offered in a multi-brand targeting people in different ages. The American Eagle Outfitters most common brand targets both female and male aged 15 to 25 years. It most popular products are polo shirts, low-rise jeans, swimwear, graphic T-shirts, Henley shirts, briefs and boxers. The aerie lingerie brand targets females aged 15-21 years and it offers a variety of female wears including undergarments, dorm-wear, loungewear, sleepwear and active apparel. The company has experienced misfortunes while marketing its brands. For instance, failure of success by the Martin + Osa stand alone lifestyle concept brand led to its closure in 2006. It targeted women and men aged 28-40 years. Furthermore, its latest brand, 77 kids, which targeted children aged 2-10 years was also sold after experiencing after tax losses in 2012. American Eagle Outfitters has a worldwide presence in a number of international countries. The company has expanded to Canada, Puerto Rico, Egypt, Tokyo, Moscow, Dubai and Kuwait where it sells its clothing brands. With over nine hundred stores and 148 Aerie stand-alone stores, this clothing retailer is one of the largest in U.S having acquired revenues of $ 3.48 billions in FY 2013 (United States Securities And Exchange Commission-FY 2013). AEO is a public company; therefore, it is required by law to appoint an independent external auditor to audit its financial statements. This is also a requirement

Sunday, February 2, 2020

Analysis of architecture work and theory of Peter Esienman Essay

Analysis of architecture work and theory of Peter Esienman - Essay Example A series of deconstructivist rectilinear box like houses designed as experiments in geometry and philosophy, were known initially only by numerals (I to X). Eisenman predominantly used grids as an organizing principle in this set of his earlier work. He experimented and investigated a variety of theoretical ideas including the notion of deep structure, a proposition that there is a universal, underlying ordering device that is the natural and logical generator of a design. The later larger design compositions reflect geometries derived from historical references or from circumstances of the building site. The Wexner Center for the Arts (1983-1989) at Ohio State University is a remarkable example for this. The House VI displays unclear structural functions. The house was designed primarily as an exercise in geometric autonomy. It represents efficient method of construction but labeled by many critics as having futile construction elements. The house is constructed using primarily a post and beam system, with box beams and large dimension timbers forming the major elements of the structural system. The building is a study in the relationships between the actual structure and the architectural theory. Many of the forms that appear structural are actually included to reinforce the concepts behind the design and not essentially for the purpose of providing structural strength and stability to the building. The design displays non practical and philosophical use of structural elements such as an exterior column that does not reach the ground and a linear design element in the bedroom floor which created practical problems and disallowed the owners to use it in a desirable manner. The spatial organization of spaces also displays antagonistic planning. He practiced the philosophy of "post-functionalism" in architectural designs of the houses in which he added the element of function after the completion of design and the celebrated thinking of ‘form follows the

Friday, January 24, 2020

Television and Media - TV Violence and Childrens Behavior Essay

Television Violence and Children's Behavior    Drive-by shootings and school massacres are just two of the many violent past-times of today’s youth. Is television a contributor to this insidious erosion of children's respect for life?   Much research that has been done in an attempt to answer this question. The majority of the findings are very similar in content, and the results are grim.   Television violence has been shown to cause four major changes in children's behavior:   "Increasing aggressiveness and anti-social behavior, increasing their fear of becoming victims, making them less sensitive to violence and to victims of violence, and increasing their appetite for more violence in entertainment and in real life."   (AAP Committee)   Television is causing a change in America's children, and it is not a change for the better. If watching television is increasing children's aggressive behavior, then is it also causing a higher crime rate?   Once again, the answer is a resounding yes.   "Longitudinal studies tracking viewing habits and behavior patterns of a single individual found that 8-year-old boys who viewed the most violent programs while growing up were the most likely to engage in aggressive and delinquent behavior by age 18 and serious criminal behavior by age 30." (Booth, Mullins, Scott, and Woolston)   Not only do our children exhibit an immediate reaction to violence in the media but also a long term effect of a higher propensity toward committing crimes.   Another population study stated that the homicide rate doubled within ten to fifteen years after the introduction of television into several different locations where television was introduced at different times.   (Facts About Media Violence)   We are all affect... ...can child reaches the age of 16, he or she will have witnessed 200,000 acts of violence on television, including 33,000 murders.   (Juvenile Crime and TV)   Apparently we accept what we see over and over again as normal behavior.   We are teaching our children that violence is acceptable by inviting it into our homes everyday.   They, in turn, are becoming more violent from the playgrounds all the way to the prisons. Works Cited Booth, Vicki, Mullins, Heather, Scott, Erika, and Woolston, Jonathon.   "Juvenile Crime and TV."   Online. "Facts About Media Violence."   Online. AAP Committee on Pediatrics. "Some Things You Should Know About Media Violence and Media Literacy."   Online.

Thursday, January 16, 2020

Competitive Advantage †Microsoft Case Essay

When trying to spill the beans of MS’s success, the titles of two books from Bill Gates slip into my mind. They are â€Å"The Road Ahead† and â€Å"Business @ the speed of thought†, which I would translate into â€Å"Direction† and â€Å"Speed† and could be the reason for MS’s success – be good at setting strategy and adapting to the changes. However, to reframe them within the context of Modern Competitive Strategy, the reasons for MS’s success are to create and maintain its modern COMPETITIVE ADVANTAGES. With the analysis of it competitive advantages, MS’s profitability was more rely on its ability to DEFEND its market position rather than to create. To put it another way, the usage of MS’s resources and capabilities can be better understood in light of isolating mechanisms. On one hand, MS focus on increasing customer retention. Software is an experience good. It can be tell exactly from the name – Windows XP – where XP is short for experience. For an experience good, the search costs, training cost and learning cost are high, which in turn help to increase customer retention. Here is a classic example. In 1998, Bill Gates gave his speech at Washington University and talk about piracy in China, and he said: â€Å"About 3 million computers get sold every year in China, but people don’t pay for the software. Someday they will, though. As long as they are going to steal it, we want them to steal ours. They’ll get sort of addicted, and then we’ll somehow figure out how to collect sometime in the next decade.† For the same reason, MS bundled Office Suite, expanded server platforms, and gave many stuffs/features for free like IE and Media Player. We can expect the adding to the list will grow on and on. Its broad scope of products and global presence also helped MS to increase customer retention. On the other hand, MS defend its market position fiercely. A typical tactic used by MS is the prohibitive development cost. For example, it spent $2 billion alone in 2001 for its .net platform. When MS identifies a potential threat, it react with all of it resources and capabilities to compete with. Through advance technology, enticement OEM manufactures, or even giving for free, it won battles over Office Suite, OS, Internet browser and media player. As a result, MS stands above its competitors and reaps its profit like printing money. For example, while application software price dropped by an average of 8.9% at 1989, MS could raise its OS price. While WordPerfect was priced at $79, MS charged $249 for upgrades of Office 2000. The challenges MS faced somehow derived from its own marketing activities. The antitrust litigation is a warning for its aggressive assault on its competitors. In general, Microsoft should keep focus on defending its market positions, using its resources and capabilities cautiously and smartly. Its isolation mechanisms could be enhanced by strategies like product development and acquisition, platform integration, user and channel enticement, all happen at prohibitive cost.

Wednesday, January 8, 2020

List of the Atlantic Oceans Ten Marginal Seas

The Atlantic Ocean is one of the worlds five oceans. It is the second-largest behind the Pacific Ocean with a total area of 41,100,000 square miles (106,400,000 sq km). It covers about 23% of the Earths surface and located mainly between the American continents and Europe and Africa. It also stretches north to south from Earths Arctic region to the Southern Ocean. The average depth of the Atlantic Ocean is 12,880 feet (3,926 m) but the deepest point in the ocean is the Puerto Rico Trench at -28,231 feet (-8,605 m).The Atlantic Ocean is also similar to other oceans in that it shares borders with both continents and marginal seas. The definition of a marginal sea is an area of water that is a partially enclosed sea adjacent to or widely open to the open ocean ( The Atlantic Ocean shares borders with ten marginal seas. The following is a list of those seas arranged by area. All figures were obtained from unless otherwise noted.1) Caribbean SeaArea: 1,063,000 square miles (2,753,157 sq km)2) Mediterranean SeaArea: 970,000 square miles (2,512,288 sq km)3) Hudson BayArea: 819,000 square miles (2,121,200 sq km)Note: Figure obtained from the Encyclopedia Britannica4) Norwegian SeaArea: 534,000 square miles (1,383,053 sq km)5) Greenland SeaArea: 465,300 square miles (1,205,121 sq km)6) Scotia SeaArea: 350,000 square miles (906,496 sq km)7) North SeaArea: 290,000 square miles (751,096 sq km)8) Baltic SeaArea: 146,000 square miles (378,138 sq km)9) Irish SeaArea: 40,000 square miles (103,599 sq km)Note: Figure obtained from the Encyclopedia Britannica10) English ChannelArea: 29,000 square miles (75,109 sq km) (15 August 2011). Atlantic Ocean - Wikipedia, the Free Encyclopedia. Retrieved from: (28 June 2011). Marginal Sea - Wikipedia, the Free Encyclopedia. Retrieved from: