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Is Pascal Adam Scintilla the first of three in the prophecy of Dol? Does he possess the prophesied gemstone?
Naerius. A rocky, seemingly unimportant planet. A stepping stone for rampaging imperial fleets and armies. Naerians. An ancient people caught in the vortex between 3 battling empires. Fiercely independent, they seem to assimilate into the cultures into which their diaspora was spread, Their stories were replete with great princes who fought epic losing battles. Pascal Adam Scintilla. A Naerian refugee on the dusty planet of Barabrum. Pascal was a nickname given to him in an orphanage-monastery by the Escisian Monks. Warriors and Priests. Return. Pascal's unquenchable thirst to go home leads him to actions that get him to the halls of power in the Raslavon empire. Raslavon. The largest most powerful galactic empire. A civil war here would cause Pascal to find his love and his fate. Prophecy. Prophecy would pit 2 religions, 3 empires and 3 generations of the Urtaru family In a set of events that might lead to Galactic Peace. Was Pascal the first of three as described in the prophecy of Dol?
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Great stuff, Armen. A real gem of a novel. I've been engrossed, almost overwhelmed by the strength, and depth, of your story telling. Felt totally involved in your world. Loved how it felt there. Thank you.You write so very well. Flowing. With clarity and with emotion. You moved me. The characters and their dialogue works really well: strikingly real at times, from life, you know? A difficult thing to achieve in this world of yours, but you pull it off. A great achievement.Love the culture clash theme. Bounces me to today, here. Another achievement within this work of yours. That's what good Sci Fi is supposed to do, right? Draw parallels? Say the unsayable? Well, you don that, and you do it well.So ... I really want this to succeed, whatever that means to you. Shelvings a plenty, methinks. And bigger ones than on here, I expect. Still, mine is a start. See you in Borders, okay?James
Well written Mr. Chakmakjian. Seeing good and evil, being awake so to speak, is a terrible burden. The simpler life is being the fool, the follower that accepts the dictates given. Bondage only hurts for those that see the bindings. The greatest pain of awareness is the feeling of loneliness that shadows it. Maybe we're not so alone? We are the few limited by numbers, the few that can see beyond the curtains of diversion, having the wit to peer into the magicians other hand. The burden maybe great, but the call to write it more profound.
Hi ArmenJust had a chance to read your book.I must say it is a great read. Your characterisation is spot on.I did notice something 'He asked with a bit of dread coming over him..' I´m not sure about this line...dread is at the far end of the anxiety spectrum and using the word bit before tends to make it lose it's edginess. Could possibly remove bit and add another word or omit completely. Your call.I noticed you say in your synopsis 'based on the armenian experience' ...just wondering if this was your experience? More so with the brutality that is depicted in the book...i know you made it sci-fi, but just curious as to your experience.Anyway Armen, on my shelf.Best of luckEd Quinn (Donkeys kill more people)
This is excellent. It's the sort of thing you either love or hate, and I love it. I know what you're probably thinking, Armen: "Yes, he's being nice. I backed his book, now he feels he's got to be nice to me". Absolutely not true, and I can prove it. I don't know whether you've come across Mark Hagan (aka "iwik") on this site? If not, go and have a look at him at http://www.authonomy.com/Profile.aspx?userid=9bad156a-199a-4876-bdaa-49e4fd01d145. Offer him a read swap and I'm sure you'll end up best buddies. I've backed two of his, and you're at least equally good. Bookshelved.
An exciting and fascinating read. There is much to like in this work of science fiction and the author connects with us well.Happily backed
I used to adore science fiction as a kid. Your book kind of refreshes best memories. Plus it's an excellent piece of literature. Good luck with it! Cool read. Indeed.Ma.Ste.
Why the hell is this great book languishing in the lower part of the site.You have a very good storytelling voice and what's not to like about your impressive premise and characterisation.Terrific read, highly enjoyable, you shouldn't give up on it.MelxxImpeding Justice
Different and well written. I am backing this. I see it has been here for sometime. I hope you haven't given up on it for it is really great. BackedT.L Tyson-Seeking Eleanor
Armen.First let me say how much I love the bold type. I've been squinting at tiny type all day. Okay, you have the makings of a great story here. First we have the flashback, dream sequence explaining the magic necklace in dramatic fashion with the death of Adam's mom. Then we have the grown up Pascal as a deer hunting guide, then he wants to get off the planet to find documentation. I'm sure it all makes sense a little further down the road. As an editor I couldn't find anything wrong with the exception of some dialogue which needs to be trimmed to make it more natural sounding. I always recommend to read your dialogue out loud to check. Oh yeah, I did see one of these: ?! The rule is: just one punctuation mark. Better to use the question mark and italicize for emphasis. This is a fun read, very creative. Good luck with it.Steve WardTest Pilot's Daughter: Revenge
Hey,I really liked the opener and the pace you set from the beginning. It is good to see another book on authonomy where something actually happens in the first chapter. I like your writing too."trimmed moustache and deep brown eyes," very nice description.I think you could improve on it in some places (couldn't we all?) basically it is fine, though there are some phrases which seem a little awkward."panic in his expression," i think you could edit this to something else. It stood out amongst your writing.Anyway, aside from that, you have a good story here. I will gladly back you, hope i was a little helpful.On my shelf.Regards,Mark H
I'm here on behalf of Patrick (Cuthbert) for his return read......I confess I am not a reader of science fiction so I have no idea whatsoever about the conventions of this genre. But it seems to me that you have conjured up a highly complex and believable world and introduced into it some powerful characters. You're also playing with some volatile subject matter here, for which all praise.I wouldn't dream of offering any crit here, as I say it's too far outside my knowledge sphere. But Patrick loves imagination and daring and other worlds so I feel confident to back you on his behalf. Jane PS - I love your cover......
Hello Armen,I love the opening of your book. Suddenly realising that this first part of the story was all in the past had a great result--it seemed to bolt me into the story. Pascal's intelegence and his desire to return to his planet keeps me wondering what is next, but mostly wondering what happens with the necklace is intriguing because of the pitch. Well done, shelving.BarbaraThe Sea Pillow
ArmenPitch: Woah, this has an epic feel to it. Very inviting indeed.Ch1: Wow, what an opening. I was there! I was a bit bummed when I found out it was a dream but you did get me. You say that P&P love to wander through the woods hunting – how about showing it? I think this would add to your cause and engage the reader more. And then introduce the exposition. I'd recommend 'Hooked' by Les Edgerton to help with crafting openings – I'm so glad I bought that book. Anyway, I made these notes as I went along and I now see that you show hunting a little later. Personally I'd love to experience this from the off – it is engaging and exciting. Ha-ha! Fantastic chapter ending.Ch16: Great visuals and an interesting array of slightly quirky characters. I really like their names too. Now you have an exquisite stride in your prose. Your writing is addictive and makes me want to read more. So, I'm going to post these notes and read some more. Ok?Oh, please create some Tags for this (on the right of the screen as you view the book). Sorry to take so long to get back to you. Hope this has been of some help.You are a great story teller!Shelved with my very best wishesDavid Green Ore
A pacey style that reflects the fast-moving action of this start. A wonderfully named central character-- Pascal Adam Scintilla who thinks thus:"In truth, fate was something in which Pascal did not believe. He thought that chance and effort combined to make a person's future. Presented with chance, he believed that effort was required to take advantage of it."He is an accomplished man "Pascal spoke seven languages fluently and idiomatically" but is also a practical one: "Pascal was quite proud of his shotguns and knew their capabilities and limitations. They could be lethal against a prey at close range as the many projectiles cause multiple penetrations in a small area."But this is a science fiction book so:"Getting off the planet was Pascal's number one mission. He needed to get back to Naerius. However his planet was under Darjiki control. The Darjiki and Raslavon Empire were locked in their deadly game of give and take surrounding Naerius. Planet after planet, system after system, the Darjiki and Raslavon empires would exchange systems."This is all great stuff which is bound to find favour with its target readers:"Grigori got up from his chair and went to the display screen showing the grand map of the quadrant and began pointing to the systems in danger. "Sire, we will move forces from the five systems in the Rejik Nebula to the Palomar, Palomid and Palodar systems close to Naerius. This will leave us slightly exposed to the Albion, but we can rush forces from the center of the empire.""And this will be meat and drink too:"The Dol prophecy is written in a poetic form called heptanic, namely seven lines. Each line contains a prophecy in of itself Three sons of different mothers come The rule of all will succeed in the last The first shall see the last just once The last will keep the secret of the father Their last shall bring home the first two The stone will be returned to its place A power immeasurable will be unleashed.""Intricately constructed and full of the nectar of Sci-Fi. Shelved.
Hi ArmenExciting start to the tale, a the characters are smoothly introduced. Good economical writing but still tells the reader all he needs to know. Happy to shelve and read on.CheersBill
This is a movie. Your prose is sharp and vivid and fast-paced and we can see and hear and feel everything that is happening. The opening is instantly engaging: "Fire and smoke rose from the village center." What a great opening line. The clash of cultures is a particulary intriguing aspect to your novel. Also, love the names of your characters. This is great science fiction. WL.
Urtaru...After reading c.4, I think I still agree with the suggestion that you scrap c.3 and combine with c.4, but only the really important parts of the backstory.This is a good story, well told. Just needs a bit of polishing and perhaps a slight restructuring, and you've got a winner, IMHO. (For good info on structure, which I still find the most difficult task, read Jack W. Bickham's Scene and Structure.)Shelving, of course.Cheers,SherylIN ALL THE WRONG PLACES (would love your honest reactions)
Urtaru...Chapter 3 felt a little contrived, as if you were trying to avoid the problem of too much backstory by using dialogue to convey the same thing. Didn't quite work for me. You might consider scrapping this chapter and finding a way to weave the important information into subsequent scenes. Just a thought.Reading on...
Chapter 13 might explain something about the necklace. Like any prophecy and items that have potentially prophetic effects it is questionable to the characters why they cling to things that others give them. I do appreciate all the feedback. Thanks!
Urtaru...Chapter 3 felt a little contrived, as if you were trying to avoid the problem of too much backstory by using dialogue to convey the same thing. Didn't quite work for me. You might consider scrapping this chapter and finding a way to weave the important information into subsequent scenes. Just a thought.Reading on...
Urtaru...I'm pouting because I still want to understand the last para in c.1, and c.2 doesn't give me the answer.This chapter doesn't read as smoothly as the first, perhaps because you haven't varied your sentence structure enough. Also,I'm wondering if the tension in the chapter could be increased by revealing a little more about Pringle and Parker's business dealings and Pascal's desire to get off the planet earlier in the scene.Despite my nits, I am reading on, and the bottom line is always that you want to hook your reader and you have (this one, anyway)....
Urtaru...Totally engaged by the end of chapter 1 and will be reading more and making more comments. I was confused by the last paragaph in this chapter, but perhaps that's what you want me to be so that I'll read on. I'm thinking that maybe he's dreaming what goes on before in the scene.This promises to be a great read.I have two nits: the para that begins with "Suddenly" has two 'out's' in it...kind of jarred a bit.Second nit: avoid The Starting Syndrome (begin or start to do something; usually stronger if the character or thing just does it.)Reading on, of course...
You capture the sense of chaos after an attack very well, and your action scenes are well done. This hold my interest and make me want to read more. Which I will. In the meantime, shelved.
Hello Armen,You crafted an amazing story here on the premise of good and evil. It is a sci-fi but the smooth writing and the easy-to-relate to lines make it almost believable. Chapter one especially set the story apart from most sci-fi works with its adrenaline introduction, description of the brothers and the attacks, the mother's frantic effort to save her sons and the closing with Adam's wake up as an adult still haunted by that past.Chapter two carried on beautifully with the description of the hunting. Great chapter even though I would suggest you tighten it up a little. I read until chapter four and love the rivalries involved between the different dominions and Adam's positioning of himself with his ultimate gaol being his return home.Good job done at characterization, dialogue and narrative. The plot is also gripping and the scope of the setting attests to the depth of your imaginative mind. This is a story I am glad I shelved. All the best.Janvier (FLASH OF THE SUN)
I keep expecting this to veer off into Stanislaw Lem territory for some reason. In fact, I find the reservations I have hard to pinpoint (the prose seems jerky, but it's more than that) - still, I love the scope & that distinctive European feel. Happy to back this one. I've had it on my watchlist for ages, as a matter of fact. Also, I wanted an Armenian in a short story I finished recently: does the name 'Marta Sulyan' sound OK? All the best for this one.
What I liked best about this -especially in the first chapter- is that this could have taken place anywhere. It could have been in a fantasy world but just as easily the first chapter could be a modern day city in the middle east or in the US during the Civil War...well you catch my drift...it is universal from the get go so we all buy in and then you take us on a fabulous twist in the second chapter and we are already sold! Well done. It seems that your MC is not the only one with a gift for language! Shelved.JohannaScream Out Loud
well, it's all go isn't it. get the plot moving they say, and my dear, you have. in spades. i can see that the pitch was something of a red herring. the book is going to be gripping.i would still like to see a writer with such ability being much more ruthless with his writing. this could be tightened up into something truly memorable.you and i can both have a rest now while i pop this on my shelf.xxmaitreyiBLOGSPOT
ARMEN, this is not my genre but i am looking for ways to be useful. i see no reason why your scifi thriller should not be as fascinating to read as the next book in terms of language, so perhaps at this level i may comment? that is the good news and the bad news.i have only read the pitch so far. to me your pitch is your shop window. get it wrong and no-one comes in the shop. that's why i'm going to harp on about every little thing. tune out if it's no use to you. you've got a jolly romp here with prophecies, planets and imperial fleets, so you may not need any of the following. i shan't mind a bit.1. you have some good names here. one of the things about scifi that usually has me reaching for my pistol is the creation of etymology-free names. Naerius, Pascal, Escisian even Urtaru (Urartu would be better) have a possibly spurious authenticity about them which means they get past my ear as i read. mazel tov.less happy with Barabrum and when i get to Raslavon i am looking for the ice-pick, sorry , pack.2. now the second thing i address is the elegance of the sentence, especially when read aloud. 'Does he possess the jewel foretold?' to my ear is happier than 'Does he possess the prophesied gemstone' - fewer 's's. also i am never happy when prophesied is used alone like this with a simple noun. i'm sure it's not technically wrong, but nor is it great to read.your sentences work really well on the whole though. most are economical and sound fine. 'into which their diaspora was spread' could do with a rethink, but otherwise.........3. now, words. our tools, our friends, our lovers. armen, choose your words with the same care you would a lover. make sure it is the word you want. don't sleep with the nearest one because it's convenient. it makes for complications down the line. you are old enough to know this.do the rampaging really use stepping stones? i find this incongruous. v hard to rampage effectively over stepping stones. try : 'a mere pitstop for the rampaging, imperial fleets' or conversely ' a stepping stone for the insidious progress of the imperial fleets'. if were you i would drop 'and armies' - it weakens the sentence.'fiercely independent, they seem to assimilate' - you have changed tense here. don't.also the sentence does not make sense to me without a 'yet' in it. as it is sounds like a non sequitur.two 'into' is one too many in one sentence.why 'replete'? it means 'filled to satisfaction' or 'abounding' - is this what you want here?4. the plot. the pitch outlines the plot but woah, now there are so many unknown names and themes coming at me, i'm lost. i'm putting your book down and picking up something more user-friendly like war and peace.who are the Escisian Monks, Warriors and Priests - whose side are they on?hello, now it's the Raslavon empire of whom to date we know nothing.ah, an explanation....galactic empire. but now a cryptic clue (the pitch is not the place, sir) 'a civil war here would cause....' what is the reader to make of this? is it a codicil to the prophecy? is it the author winking at us? what, what, what?suggestion, if our main storyline is old Pascal finding his love and his fate, start with this. give it the big build up. it is easier to identify with the MC than all these planets and bods. (look what they do in newspapers. personalise shamelessly)'would pit 2 religions...etc' doesn't 'pit' need the word 'against'? i am still waiting in this sentence for the resolution of the verb. and who the hell are the Urtaru family, hitherto unmentioned.was pascal the first of the three what?i expect you're wondering what you can have done for me to be such a nightmare - answer nothing. i'm like this the whole time to my best friends.i will take a peek at ch 1 if we can both stand it. meanwhile, love and kissesm
There is a lot to like here, Armen. Very creative premise and you start out right in the middle of action. However, I was a bit disappointed to find it was a dream. I think readers may feel 'cheated' by this, though it's only my opinion. The writing still needs a final edit, but that is true of all of our work. For example, you have some unnecessary repetition with "The earth began to rumble beneath his feet and he wanted to see what was happening." and "He raced toward the action hoping to catch some glimpse of what was going on." Look to iron out these kinds of little things and it will be a heck of a read! Matt
Pascal Adam... any inspiration from Adam Pascal? :D Can't say that I understood the pitch, but the story was actually quite good.
Hi Armen,You have an intriguing premise and that's what pulled me towards this book.Great opening, I was pulled in right away. Loved the characterization; I felt a connection with Adam and sympathized with him. The pace was great and sentence structure was well constructed; I read it with ease.I'm really starting to love sci-fi now.Shelved!Shinzy :)
Hi Armen,Okay, so I got here much faster than anticipated - please don't tell the other books on my WL that were ahead of you in line! :)You have great pacing, and a good ear for dialog. This moved along at an excellent pace, and the little hints of intrigue (the necklace, the hunter hesitanting to take a second shot) kept my interest and really propelled the story forward. Well done and welcome to my shelf!~Traci
Hi ArmenYou have an oustanding tale here! You start off with great action and then maintain the hype- difficult to do (an issue for me!). I am seriously intrigued by the ancestry, the mysterious necklace, the battles, your worlds...I could go on and on. I would buy this.No nitpicks. A polished ms, indeed.Happy to shelve, and all the best forward!ElainaGathering of Rain
This has all the ingredients that make me keep on reading sci-fi: good pace, good characters, and most importantly a great plot and your writing makes it simple to understand and follow. Goes on my shelf and good luck.
Dear Armen,Would have liked to have seen a bit more of the sci-fi world that Adam inhabits. I wonder at the effort you took to describe Adam's stiff-legged mounting … unless that comes into play later.Pringle and Parker and Pascal: three names that all start with a P. A reader's eye does a shorthand, recognizing the architecture of the word. Not only is the problem in the same letter, but they're almost the same length: 7 or 6 characters. Strongly suggest you change one of the names. It actually does cause confusion; at best, it asks an additional effort of the reader to concentrate all the more.But the action is riveting, and the last bit of Chapter 1 is a page turner. Shelved for imagination, a winning character and a plot that looks to be highly intriguing -- if we only had the time to delve deeper!
Hi Armen,I've really enjoyed the chapters I've read so far. Your premise is fabulous, and your writing drew me into the story right away.You have great conflicts going on that I think most people will be able to relate to. Your characters are very realistic and well drawn. And your world building is top-notch. This is a story beautiful in its depth. Backed!Heidi
It needs more. For science fiction novel and fantasy novels to work they have to be completely believable. This means paying attention to the small details such as the use of shotguns and kinetic energy. If these are other planets other forms of weapons must be used, and an alternate form of scientific evolution would have changed the name of kinetic energy to something else (I tried to think of a cool name, but nothing was coming to mind). The only weapon that is universal is the sword and the blade. Edgar Rice Burroughs proved this in his Martian Tales. However, all the other names of the people are very imaginative. Also, give more feeling to the first chapter. Most of the time dreams are more vivid than reality, bringing with them overpowering emotions that carry over into the real world. Give Pascal these images in the expressions of his brother and mother, their hesitations on what to do next, and strength in knowing what needs to be done. Drown the reader in this world and leave them fighting the current to find Atlantis. It's on my watchlist until I have time to read more. Later days,Kenny
You have a wonderful imagination, and I was intrigued to see how you are working some of the themes and experiences from your own father's and grandfather's lives into this series of novels. What a wonderful way to honour them.I think you have set up an interesting plot -- with Pascal needing to get back to Naerius to learn more about his past. I am not a reader of scifi so I can't comment on the originality of that aspect of it, but I am impressed with what you've done here.My one suggestion would be to change the names of Parker and Pringle because with all three names starting with P, I got very confused. I will put this on my shelf, and wish you success with it!Mary
Armen,I've just finished up to chapter three and am finding it hard to relate to your protagonist and the story. You have given me lots of information in these three chapters about the setting and the history, but not a lot about the character. It's like you expect the reader to know the character already and I have been left relying on the blurb to fill in a lot of the blanks, which I don't think is something you should rely on. The story should be complete within itself.I think part of the problem is that you are trying to tell your story too fast. A lot of the information you have given us could have been be left until later in the story, in my opinion. First of all you need to win us over to your protagonist and introduce us to the style of your writing and the milieu of your story.Speaking of which. I think you first chapter could be used to set the science fiction element of your story better. I was a bit taken back about the young protagonist mounting a horse to go and see what was happening in town when the technology should have been available to not only tell him what was happening but warn his mother about the invasion. I was also a bit turned off by the mention of the invaders using swords. This is supposedly science fiction and people are supposed to use guns rather than swords. The use of swords without some sort of justification leaves me wondering if your story is not in the wrong genre.Sorry to sound so negative. I think, from what I've read in your bio, that there is good material here for a story. But I think it needs careful and slow development not breakneck speed.Keep writing.Phillberrie.
Thanks for the feedback. One of the difficult parts of this writing this story is that the clash of cultures means a clash of cultures along the technology timeline. Take a look at Afghanistan for example. You have the most technologically advanced armed forces in collaboration to suppress an ancient people who know their rocks. So the categorization Sci-Fi in the cyborgs and all encompassing technology is not an exact fit. I daresay that the Fremen in Dune weren't either (not that I'm comparing myself to Frank Herbert or the quality of his writing, just using it as an example).I will take your your advice on growing Pascal. I think that at least a chapter on his training with the Monks might cure the pace problem initially. I'll also look for some other opportunities to stretch out things a bit.
Armen,I've just finished up to chapter three and am finding it hard to relate to your protagonist and the story. You have given me lots of information in these three chapters about the setting and the history, but not a lot about the character. It's like you expect the reader to know the character already and I have been left relying on the blurb to fill in a lot of the blanks, which I don't think is something you should rely on. The story should be complete within itself.I think part of the problem is that you are trying to tell your story too fast. A lot of the information you have given us could have been be left until later in the story, in my opinion. First of all you need to win us over to your protagonist and introduce us to the style of your writing and the milieu of your story.Speaking of which. I think you first chapter could be used to set the science fiction element of your story better. I was a bit taken back about the young protagonist mounting a horse to go and see what was happening in town when the technology should have been available to not only tell him what was happening but warn his mother about the invasion. I was also a bit turned off by the mention of the invaders using swords. This is supposedly science fiction and people are supposed to use guns rather than swords. The use of swords without some sort of justification leaves me wondering if your story is not in the wrong genre.Sorry to sound so negative. I think, from what I've read in your bio, that there is good material here for a story. But I think it needs careful and slow development not breakneck speed.Keep writing.Phillberrie.
Urtaru - Armen Chakmakjian. I read the first 2 chapters and skimmed several others and some comments. Interesting opening with a dream sequence that relives the killing of his family. Could this be a recurring dream?Some thoughts: perhaps "small 'space' or 'air' ships..." so we know they are in the sky; New paragraph "Adam cried out in fear and awoke screaming. He noted that he was in his...."; chapter 2 - "put much stock or belief."; why do all three character names start with "P" - reader can become confused who's whom; you have some organizational timing issues that others have already noted. This has potential - perhaps creating a smoother flowing story would help. Keep at it, I'll check back in the future.GideonThe Oil Market Czar
Armen,Excellent idea, well written story. Your multiple worlds, empires and religions bring to mind other conflicts of the last few years with similar issues: Yugoslavia and Iraq being two examples. Pascal is a great character to take us through this story. One of the challenges in a story such as this is, of course creating alien names and place names to give us a flavor of the story. You've done some of that in a very unobstrusive way, which makes it easy to follow the story. Like the way that the gemstone is passed to daughter-in-law, a very thought provoking process. Only one concern; the names Pringle and Parker seem so 20th century Earth, they stand out in an odd way. Perhaps that is explained further in the story, and if so, my ignorance for not reading further. However, that is a small point. I really like this and on my shelf it goes. Good luck with Urtaru!Jeff
Great start, sir. Convincing names (what I personally would find the hardest part about writing SF) and good pace. Only thing I was tempted to change: ""... he's dead?[!]" he cried" - if he's crying out in panic (understandably), I think you'd be forgiven the exclamation mark there too. Nicely done, sir. Best of luck with it - sestius
UrtaruHi Armen, Such great potential here, a strange new world we plunge into so quickly, with a pacy start. You have some interesting characters and some good writing but I think the first chapter needs looking at. Can it not be done as a prologue, a real-time description of the past, that would take us more into the experience, I felt like I wanted to be in Adam's head more, experiencing those terrible moments, feeling them for real. It is a great first paragraph, but when we find out it is a dream the first chapter is in danger of becoming a cliche. CH2 and I am intrigued about Adam's growing up, but you are telling about it, not showing me it. Adam is a good strong character, can we not see the world from his perspective, be inside his head more, can the backstory not be weaved in in more subtle ways. This is a strong piece of creativity with some good writing, I think you now need to think about the reader's experience of it and get us inside Adam's head more so we can fully experience this fascinating world. I think this deserves to be rising in the charts on the basis of its imaginative power...best wishes and best of luck - SHELVED - Andrew W.
pitches are bitches.crazy pitch you've got, i like it, it convinces and casts a manic spell,buti didn't understand any of it, okay,- i get a sense of what it'll be about, but there's no single focus or emotional axis, challenge or whatever--you get a sense of epic scope.. maybe that's exactly what you want your pitch to do, but i'd recommend you have a think about it--even the epic needs to be personalized if it is to grip folks.on to the book. your writing flows well.there is a lot of imaginative energy here, the single most important quality a novel has to have..it's easy to read. you mix description and action and speech pretty well in what i read. you don't overindulge in outlandish vocab or neologisms.i noticed the opening (the most imprtant single bit) does this more assuredly than ch 13 where there is more narrative, and you deal out more info as narrator rather than through action or speech.a few microcomments: in ch 1, at the beginning, i found "Oh, God!" and "What?" unnecessary interjections, i'd replace either with some description of their face as they react or something, or just by having a pause before speech resumes. your call.overall, a powerful and compelling piece of writing. shelved.good luck with itfreddie
Hi Armen.What a fascinating depth of history you have imagined for your world. Most realistic in its complexity. I confess that at times I found it a little too complex, but I'm not much into politics so that sort of thing tends to wash over me.I liked the way you began, and I also liked the fact that we weren't aware it was a dream until the end. Good stuff. In ch2, I found myself wondering whether the hunting scene, well-written though it was, really moved the story on at all. If it was just meant to introduce Parker and Pringle as Adam's friends then it was a long-winded way of doing that.Ch3 established that he wanted to get back home, and that was fine. But I was thrown by the sudden change to Edward. What time-frame did it occur in? I presumed the past, but it wasn't clear. Perhaps the middle of the third chapter wasn't the ideal place for a bit of back-story.Mostly this was well-written, though I'm assuming English isn't your first language. Some of my specific comments below might reflect that.Ch 1toward the town...on the town. Bit of repetition here.Jacob had an identical face...Jacob's face was identical to Adam's?I was confused as to why Adam had developed a strange way of mounting a horse. You might want to clarify that."What do you mean he's dead?" Isn't it obvious?I was also a bit confused as to why you have spaceships, transcarts, guns and then swords? Surely swords are a bit backward for a race with spaceships?Ch 3fate was something in which Pascal did not take stock or believe....this sounds s bit awkward. How about, 'fate was something in which Pascal put no stock or faith?chance became visible to seize...awkward again. Became tangible and could be seized?parlay this relationship...turn this relationship?very lethal....either it's lethal or it isn't!Pascal, Pringle and Parker...are there too many P's?dropped his rear legs....sounds like they fell off! Dropped to his haunches?Ch3Parker shook his head in understanding...people usually nod their heads in understanding, not shake them.Anyway, Armen, those are just my opinions, feel free to ignore them! I wish you all the best with Urtaru,Cas.(KING'S ENVOY).
Hi Armen,Oh boy oh, I am in awe of the work you put in. This is what I felt and truly an awesome read. Of my own cultural background this shows that we are not much different. It is excellent of the two chapters I have read. The word for Police or Military Police is very understandable to me. I have ancestors of Mediterranean descent and especially love stories from that or surrounding area.Cheers,Robert.
Armen,You weren't kidding. You put a lot of work into this. I didn't plan on rereading the entire chapter again, but you hooked me. I'm so impressed by what you've done with this. Bravo!I'm giving you a spot on my shelf. Well done.ML
Hi ArmenI very much enjoyed the start of your story.; it's imaginative and vivid. The problem I found though is the writing style. I feel it let's the story down a little. ( One small example -you use the word horse within the same sentence or so, instead of using, say, 'horse' then 'mount', 'beast 'or something different. If you do re-write it -and there's no reason you should, just on my say so - I would be happy to re-read it and hopefully, be able to Shelve it; something I don't feel able to do at this stage.My apologies- and I hope I am proved wrong and that, unaltered, it races past me in the race for the Editor's Desk!races Anthony('Houses 0f sand')
Thanks for your comment. I just read through it with a new eye and I saw the problem. I'll definitely do a rewrite of that section. I'll also look to see if I continue to do that in later chapters.
Hi ArmenI very much enjoyed the start of your story.; it's imaginative and vivid. The problem I found though is the writing style. I feel it let's the story down a little. ( One small example -you use the word horse within the same sentence or so, instead of using, say, 'horse' then 'mount', 'beast 'or something different. If you do re-write it -and there's no reason you should, just on my say so - I would be happy to re-read it and hopefully, be able to Shelve it; something I don't feel able to do at this stage.My apologies- and I hope I am proved wrong and that, unaltered, it races past me in the race for the Editor's Desk!races Anthony('Houses 0f sand')
"In the nobility, this ritual was slightly silly, since the overbearing presence of the state on the relationship was palpable. But it mattered for the people...." (Apologies if I misquoted.) I really like this kind of writing. Draws you into the society, makes you want to know more about its rules and customs. Anyway, I love the parallelism to real history, and I've enjoyed the first 2 chapters--and like Pascal. Backed.BTW, Armen, did you realized you switch fonts in the first chapter?
I just found the font change in the manuscript after all these weeks. For whatever reason, the day I wrote the hunting sequence (which was originally the first chapter but now is chapter two) I started in Arial...but then finished in Helvetica. The rest of the regular text of the whole 350 pages is Helvetica (except for 4 stylized italicized chapters in garamond). I reverted the arial to helvetica to be consistent with the rest of the text. Thanks for pointing this out.
Comments on Chapter 1... It was a little hard to tell what was going on, in the sense that the brother is describing some of the more important events. It might be better if you take Jacob's pov OR had Adam experiencing the events himself. For some reason I was half-expecting the Darjiki to be non-human - this is SF, after all - but maybe that's just me. Do you have any aliens in this world/universe?I also noticed some unnecessary dialogue attributions, "He asked" and so on, in situations where it was obvious who was speaking, and HOW they were speaking the words. When there are only two people present it's easy for the reader to keep track of who is speaking.Chapter 2...Unless you have done it deliberately, I would suggest changing some of the names. Pringle, Parker, Pascal are all distinct, of course, but can give the reader a momentary pause when working out who is speaking or doing what.Chapter 3...I got a little confused with the proliferation of names and empires here. The thing that strikes me is that you use comparatively ordinary Anglo-Saxon names for both Albion and Raslavon people, which made it harder to distinguish them as different empires or peoples.Again I felt some of the backstory with the monks etc would be better experienced by the reader rather than related in dialogue.Best of luck with this. The idea of approximating a real world "experience" in this sort of setting is worth exploring, but I feel this needs a bit more work to get it where it needs to be.Regards,TomW
Thanks for the very specific comments! Pringle, Parker and Pascal are actual names of the people. That chapter is a lift directly from a story my father told me about my grandfather being hired by two british Attaches in British Palestine in the early 1930's. Including the shotguns. That's my grandfather in the bookcover on the right. That chapter is the inspiration for the whole book. About non-human aliens...I'm not sure I need them yet. Robotics gone wild is something that I'm toying with in Book 2 for the son of Adam.Raslavon - Russian EmpireAlbion - BritishDarjiki - Ottoman Turkish empireBarsifi - PersiaDig back into about the 16th/17th century and you can pick out historical events that I've used. Battle of Lepanto, in latter part of the book not here, Seige of Vienna, various battles between the Persian and Ottoman empires. There's a lot of material there and the people were quite alien to each other without having horns or looking like squid or something.When it comes to the monks, their a tough lot to create. I didn't want to make them Jedi Knights...their sort of a mashup between franciscan monks and coptic priests (with added attitude) that I've seen. This one I do think needs work and I agree with you. I have to find a vehicle to show the training that Pascal received. My grandfather was an orphan who ended up being raised in a franciscan orphanage in Lebanon...he almost became a priest...Thanks again.
Comments on Chapter 1... It was a little hard to tell what was going on, in the sense that the brother is describing some of the more important events. It might be better if you take Jacob's pov OR had Adam experiencing the events himself. For some reason I was half-expecting the Darjiki to be non-human - this is SF, after all - but maybe that's just me. Do you have any aliens in this world/universe?I also noticed some unnecessary dialogue attributions, "He asked" and so on, in situations where it was obvious who was speaking, and HOW they were speaking the words. When there are only two people present it's easy for the reader to keep track of who is speaking.Chapter 2...Unless you have done it deliberately, I would suggest changing some of the names. Pringle, Parker, Pascal are all distinct, of course, but can give the reader a momentary pause when working out who is speaking or doing what.Chapter 3...I got a little confused with the proliferation of names and empires here. The thing that strikes me is that you use comparatively ordinary Anglo-Saxon names for both Albion and Raslavon people, which made it harder to distinguish them as different empires or peoples.Again I felt some of the backstory with the monks etc would be better experienced by the reader rather than related in dialogue.Best of luck with this. The idea of approximating a real world "experience" in this sort of setting is worth exploring, but I feel this needs a bit more work to get it where it needs to be.Regards,TomW


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text:
Documentation Center
Surface properties
Use surface to create surface objects.
You can set and query graphics object properties in two ways:
Property Editor is an interactive tool that enables you to see and change object property values.
The set and get commands enable you to set and query the values of properties.
To change the default values of properties, see Setting Default Property Values.
See Core Graphics Objects for general information about this type of object.
This section provides a description of properties. Curly braces { } enclose default values.
m-by-n matrix of double or uint8
Transparency data. A matrix of non-NaN values specifying the transparency of each face or vertex of the object. The AlphaData can be of class double or uint8.
MATLAB® software determines the transparency in one of the following ways:
Using the elements of AlphaData as transparency values (AlphaDataMapping set to none)
Using the elements of AlphaData as indices into the current alphamap (AlphaDataMapping set to direct)
Scaling the elements of AlphaData to range between the minimum and maximum values of the axes ALim property (AlphaDataMapping set to scaled, the default)
none | direct | {scaled}
Transparency mapping method. Determines how MATLAB interprets indexed alpha data.
none — The transparency values of AlphaData are between 0 and 1 or are clamped to this range (the default).
scaled — Transform the AlphaData to span the portion of the alphamap indicated by the axes ALim property, linearly mapping data values to alpha values.
direct — Use the AlphaData as indices directly into the alphamap. When not scaled, the data are usually integer values ranging from 1 to length(alphamap). MATLAB maps values less than 1 to the first alpha value in the alphamap, and values greater than length(alphamap) to the last alpha value in the alphamap. Values with a decimal portion are fixed to the nearest lower integer. If AlphaData is an array of uint8 integers, then the indexing begins at 0 (that is, MATLAB maps a value of 0 to the first alpha value in the alphamap).
scalar >= 0 and <= 1
Strength of ambient light. Sets the strength of the ambient light, which is a nondirectional light source that illuminates the entire scene. You must have at least one visible light object in the axes for the ambient light to be visible. The axes AmbientLightColor property sets the color of the ambient light, which is therefore the same on all objects in the axes.
You can also set the strength of the diffuse and specular contribution of light objects. See the surface DiffuseStrength and SpecularStrength properties.
hg.Annotation object (read-only)
Handle of Annotation object. The Annotation property enables you to specify whether this surface object is represented in a figure legend.
Querying the Annotation property returns the handle of an hg.Annotation object. The hg.Annotation object has a property called LegendInformation, which contains an hg.LegendEntry object.
Once you have obtained the hg.LegendEntry object, you can set its IconDisplayStyle property to control whether the surface object is displayed in a figure legend:
|IconDisplayStyle Value
|Represent this surface object in a legend (default)
|Do not include this surface object in a legend
|Same as on because surface objects do not have children
Setting the IconDisplayStyle property
Set the IconDisplayStyle of a graphics object with handle hobj to off:
hAnnotation = get(hobj,'Annotation'); hLegendEntry = get(hAnnotation,'LegendInformation'); set(hLegendEntry,'IconDisplayStyle','off')
Using the IconDisplayStyle property
See Control Legend Content for more information and examples.
unlit | lit | {reverselit}
Face lighting control. Determines how faces are lit when their vertex normals point away from the camera.
unlit — Face not lit.
lit — Face lit in normal way.
reverselit — Face lit as if the vertex pointed towards the camera.
Use this property to discriminate between the internal and external surfaces of an object. See Back Face Lighting for an example.
on | {off} (read-only)
This object is being deleted. Mechanism to determine if objects are in the process of being deleted. MATLAB sets the BeingDeleted property to on when the object's delete function callback is called (see the DeleteFcn property). It remains set to on while the delete function executes, after which the object no longer exists.
For example, an object's delete function calls other functions that act on a number of different objects. If a function does not need to perform an action on an about-be-deleted object, it can check the object's BeingDeleted property before acting.
cancel | {queue}
Callback queuing
Determines how MATLAB handles the execution of interrupting callbacks.
A running callback is the currently executing callback. The interrupting callback is the callback that tries to interrupt the running callback. The BusyAction property of the interrupting callback determines how MATLAB handles its execution. When the BusyAction property is set to:
'queue' — Puts the interrupting callback in a queue to be processed after the running callback finishes execution.
'cancel' — Discards the interrupting callback as MATLAB finishes execution.
For information about how the Interruptible property of the callback controls whether other callbacks can interrupt the running callback, see the Interruptible property description.
function handle | cell array containing function handle and additional arguments | string (not recommended)
Button press callback function. Executes whenever you press a mouse button while the pointer is over the surface object.
See the figure's SelectionType property to determine if modifier keys were also pressed.
Set this property to a function handle that references the callback. The function must define at least two input arguments (handle of object associated with the button down event and an event structure, which is empty for this property).
The following example shows how to access the callback object's handle as well as the handle of the figure that contains the object from the callback function.
function button_down(src,evnt) % src - the object that is the source of the event % evnt - empty for this property sel_typ = get(gcbf,'SelectionType') switch sel_typ case 'normal' disp('User clicked left-mouse button') set(src,'Selected','on') case 'extend' disp('User did a shift-click') set(src,'Selected','on') case 'alt' disp('User did a control-click') set(src,'Selected','on') set(src,'SelectionHighlight','off') end end
Suppose h is the handle of a surface object and the button_down function is on your MATLAB path. The following statement assigns the button_down function to the ButtonDownFcn property:
For information on the syntax of callback functions, see Function Handle Callbacks.
matrix (of type double)
Vertex colors. Values that specify the color at every point in ZData.
Mapping CData to a Colormap
You can specify color as indexed values or true color. Indexed color data specifies a single value for each vertex. These values are either scaled to map linearly into the current colormap (see caxis) or interpreted directly as indices into the colormap, depending on the setting of the CDataMapping property.
CData as True Color
True color defines an RGB value for each vertex. If the coordinate data (XData, for example) are contained in m-by-n matrices, then CData must be an m-by-n-by-3 array. The first page contains the red components, the second the green components, and the third the blue components of the colors.
Texturemapping the Surface FaceColor
If you set the FaceColor property to texturemap, CData does not need to be the same size as ZData, but must be of type double or uint8. In this case, MATLAB maps CData to conform to the surface defined by ZData.
{scaled} | direct
Direct or scaled color mapping. Determines how MATLAB interprets indexed color data used to color the surface. (If you use true color specification for CData, this property has no effect.)
scaled — Transform the color data to span the portion of the colormap indicated by the axes CLim property, linearly mapping data values to colors. See the caxis reference page for more information on this mapping.
direct — Use the color data as indices directly into the colormap. The color data should then be integer values ranging from 1 to length(colormap). MATLAB maps values less than 1 to the first color in the colormap, and values greater than length(colormap) to the last color in the colormap. Values with a decimal portion are fixed to the nearest lower integer.
matrix of handles
Always the empty matrix; surface objects have no children.
{on} | off
Clipping to axes rectangle. When Clipping is on, MATLAB does not display any portion of the surface that is outside the axes rectangle.
function handle | cell array containing function handle and additional arguments | string (not recommended)
Callback function executed during object creation. Executes when MATLAB creates a surface object. You must define this property as a default value for surfaces or set the CreateFcn property during object creation.
For example, the following statement creates a surface (assuming x, y, z, and c are defined), and executes the function referenced by the function handle @myCreateFcn.
MATLAB executes this routine after setting all surface properties. Setting this property on an existing surface object has no effect.
The handle of the object whose CreateFcn is being executed is passed by MATLAB as the first argument to the callback function and is also accessible through the root CallbackObject property, which you can query using gcbo.
For information on the syntax of callback functions, see Function Handle Callbacks.
function handle | cell array containing function handle and additional arguments | string (not recommended)
Delete surface callback function. Executes when you delete the surface object (for example, when you issue a delete command or clear the axes cla or figure clf).
For example, the following function displays object property data before the object is deleted.
function delete_fcn(src,evnt) % src - the object that is the source of the event % evnt - empty for this property obj_tp = get(src,'Type'); disp([obj_tp, ' object deleted']) disp('Its user data is:') disp(get(src,'UserData')) end
MATLAB executes the function before deleting the object's properties so these values are available to the callback function. The function must define at least two input arguments (handle of object being deleted and an event structure, which is empty for this property).
The handle of the object whose DeleteFcn is being executed is passed by MATLAB as the first argument to the callback function and is also accessible through the root CallbackObject property, which you can query using gcbo.
For information on the syntax of callback functions, see Function Handle Callbacks.
scalar >= 0 and <= 1
Intensity of diffuse light. Sets the intensity of the diffuse component of the light falling on the surface. Diffuse light comes from light objects in the axes. Default value is 0.6.
You can also set the intensity of the ambient and specular components of the light on the object. See the AmbientStrength and SpecularStrength properties.
String used by legend. The legend function uses the DisplayName property to label the surface object in the legend. The default is an empty string.
If you specify string arguments with the legend function, MATLAB set DisplayName to the corresponding string and uses that string for the legend.
If DisplayName is empty, legend creates a string of the form, ['data' n], where n is the number assigned to the object based on its location in the list of legend entries. However, legend does not set DisplayName to this string.
If you edit the string directly in an existing legend, MATLAB set DisplayName to the edited string.
If you specify a string for the DisplayName property and create the legend using the figure toolbar, then MATLAB uses the string defined by DisplayName.
To add a legend programmatically that uses the DisplayName string, call legend with the toggle or show option.
See Control Legend Content for more information and examples.
{scalar = 1} | flat | interp
Transparency of the surface edges.
scalar — A single non-NaN scalar value between 0 and 1 that controls the transparency of all the edges of the object. 1 (the default) means fully opaque and 0 means completely transparent.
flat — The alpha data (AlphaData) value for the first vertex of the face determines the transparency of the edges.
interp — Linear interpolation of the alpha data (AlphaData) values at each vertex determines the transparency of the edge.
Note that you must specify AlphaData as a matrix equal in size to ZData to use flat or interp EdgeAlpha.
{ColorSpec} | none | flat | interp
Color of the surface edge. Determines how MATLAB colors the edges of the individual faces that make up the surface.
ColorSpec — A three-element RGB vector or one of the MATLAB predefined names, specifying a single color for edges. The default value is [0 0 0] (black). See ColorSpec for more information on specifying color.
none — Edges not drawn.
flat — The CData value of the first vertex for a face determines the color of each edge.
interp — Linear interpolation of the CData values at the face vertices determines the edge color.
{none} | flat | gouraud | phong
Algorithm used for lighting calculations. Selects the algorithm used to calculate the effect of light objects on surface edges.
none — Lights do not affect the edges of this object.
flat — The effect of light objects is uniform across each edge of the surface.
gouraud — The effect of light objects is calculated at the vertices and then linearly interpolated across the edge lines.
phong — The effect of light objects is determined by interpolating the vertex normals across each edge line and calculating the reflectance at each pixel. Phong lighting generally produces better results than Gouraud lighting, but takes longer to render.
{normal} | none | xor | background
Erase mode. Controls the technique MATLAB uses to draw and erase surface objects. Alternative erase modes are useful for creating animated sequences, where control of the way individual objects are redrawn is necessary to improve performance and obtain the desired effect.
normal — Redraw the affected region of the display, performing the three-dimensional analysis necessary to ensure that all objects are rendered correctly. This mode produces the most accurate picture, but is the slowest. The other modes are faster, but do not perform a complete redraw and are therefore less accurate.
none — Do not erase the surface when it is moved or destroyed. While the object is still visible on the screen after erasing with EraseMode none, you cannot print it because MATLAB stores no information about its former location.
xor — Draw and erase the surface by performing an exclusive OR (XOR) with each pixel index of the screen behind it. Erasing the surface does not damage the color of the objects behind it. However, surface color depends on the color of the screen behind it and is correctly colored only when over the axes background Color, or the figure background Color if the axes Color is none.
background — Erase the surface by drawing it in the axes background Color, or the figure background Color if the axes Color is set to none. This damages objects that are behind the erased object, but surface objects are always properly colored.
Printing with Nonnormal Erase Modes
MATLAB always prints figures as if the EraseMode of all objects is normal. This means graphics objects created with EraseMode set to none, xor, or background can look different on screen than on paper. On screen, MATLAB mathematically combines layers of colors (for example, performing an XOR on a pixel color with that of the pixel behind it) and ignore three-dimensional sorting to obtain greater rendering speed. However, these techniques are not applied to the printed output.
You can use the getframe command or other screen capture applications to create an image of a figure containing nonnormal mode objects.
{scalar = 1} | flat | interp | texturemap
Transparency of the surface faces.
scalar — A single non-NaN scalar value between 0 and 1 that controls the transparency of all the faces of the object. 1 (the default) means fully opaque and 0 means completely transparent (invisible).
flat — The values of the alpha data (AlphaData) determine the transparency for each face. The alpha data at the first vertex determine the transparency of the entire face.
interp — Bilinear interpolation of the alpha data (AlphaData) at each vertex determines the transparency of each face.
texturemap — Use transparency for the texture map.
Note that you must specify AlphaData as a matrix equal in size to ZData to use flat or interp FaceAlpha.
ColorSpec | none | {flat} | interp | texturemap
Color of the surface face.
ColorSpec — A three-element RGB vector or one of the MATLAB predefined names, specifying a single color for faces. See the ColorSpec reference page for more information on specifying color.
none — Do not draw faces. Note that edges are drawn independently of faces.
flat — The values of CData determine the color for each face of the surface. The color data at the first vertex determine the color of the entire face.
interp — Bilinear interpolation of the values at each vertex (the CData) determines the coloring of each face.
texturemap — Texture map the CData to the surface. MATLAB transforms the color data so that it conforms to the surface. (See the texture mapping example.)
none | {flat} | gouraud | phong
Algorithm used for lighting calculations. Selects the algorithm used to calculate the effect of light objects on the surface.
none — Lights do not affect the faces of this object.
flat — The effect of light objects is uniform across the faces of the surface. Select this choice to view faceted objects.
gouraud — The effect of light objects is calculated at the vertices and then linearly interpolated across the faces. Select this choice to view curved surfaces.
phong — The effect of light objects is determined by interpolating the vertex normals across each face and calculating the reflectance at each pixel. Select this choice to view curved surfaces. Phong lighting generally produces better results than Gouraud lighting, but takes longer to render.
{on} | callback | off
Control access to object's handle. Determines when an object's handle is visible in its parent's list of children. This property is useful for preventing command-line users from accidentally drawing into or deleting a figure that contains only user interface devices (such as a dialog box).
on — Handles are always visible.
callback — Handles are visible from within callback routines or functions invoked by callback routines, but not from within functions invoked from the command line. This provides a means to protect GUIs from command-line users, while allowing callback routines to have access to object handles.
off — Handles are invisible at all times. Use this option when a callback invokes a function that could damage the GUI (such as evaluating a user-typed string). This option temporarily hides its own handles during the execution of that function.
When a handle is not visible in its parent's list of children, it cannot be returned by functions that obtain handles by searching the object hierarchy or querying handle properties. This includes get, findobj, gca, gcf, gco, newplot, cla, clf, and close.
When a handle's visibility is restricted using callback or off, the object's handle does not appear in its parent's Children property, figures do not appear in the root's CurrentFigure property, objects do not appear in the root's CallbackObject property or in the figure's CurrentObject property, and axes do not appear in their parent's CurrentAxes property.
You can set the root ShowHiddenHandles property to on to make all handles visible, regardless of their HandleVisibility settings (this does not affect the values of the HandleVisibility properties).
Handles that are hidden are still valid. If you know an object's handle, you can set and get its properties, and pass it to any function that operates on handles.
{on} | off
Selectable by mouse click. Determines if the surface can become the current object (as returned by the gco command and the figure CurrentObject property) as a result of a mouse click on the surface. If HitTest is off, clicking on the surface selects the object below it (which might be the axes containing it).
off | {on}
Callback routine interruption
Controls whether MATLAB can interrupt an object's callback function when subsequent callbacks attempt to interrupt it.
For Graphics objects, the Interruptible property affects only the callbacks for theButtonDownFcn property. A running callback is the currently executing callback. The interrupting callback is the callback that tries to interrupt the running callback. MATLAB handles both the callbacks based on the Interruptible property of the object of the running callback.
When the Interruptible property is set to:
'off', MATLAB finishes execution of the running callback without any interruptions
'on', these conditions apply:
If there is a drawnow, figure, getframe, waitfor, or pause command in the running callback, then MATLAB executes the interrupting callbacks which are already in the queue and returns to finish execution of the current callback.
If one of the above functions is not in the running callback, then MATLAB finishes execution of the current callback without any interruption.
BusyAction property of the object of interrupting callback determines whether the callback should be ignored or should be put in the queue.
Setting Interruptible property to on (default), allows a callback from other graphics objects to interrupt callback functions originating from this object.
Note: MATLAB does not save the state of properties or the display when an interruption occurs. For example, the handle returned by the gca or gcf command may be changed as another callback is executed.
After the function that interrupts a callback completes, the callback resumes execution where it halted when interrupted. For more information, see Control Callback Execution and Interruption.
{-} | -- | : | -. | none
Line style of surface edges.
size in points
Edge line width. The width of the lines in points used to draw surface edges. The default width is 0.5 points. 1 point = 1/72 inch.
character (see table)
Marker symbol. Specifies symbols that are displayed at vertices. You can set values for the Marker property independently from the LineStyle property. For a list of supported marker symbols, see the following table.
none | {auto} | flat | ColorSpec
Marker edge color. The color of the marker or the edge color for filled markers (circle, square, diamond, pentagram, hexagram, and the four triangles).
{none} | auto | flat | ColorSpec
Marker face color. The fill color for markers that are closed shapes (circle, square, diamond, pentagram, hexagram, and the four triangles).
Marker size. Size of the marker in points. The default value is 6.
{both} | row | column
Row and column lines. Specifies whether to draw all edge lines or just row or column edge lines.
both — Draws edges for both rows and columns.
row — Draws row edges only.
column — Draws column edges only.
{auto} | manual
MATLAB generated or user-specified normal vectors.
auto — MATLAB calculates vertex normals based on the coordinate data
manual — If you specify your own vertex normals, MATLAB sets this property to manual and does not generate its own data.
See also the VertexNormals property.
handle of axes, hggroup, or hgtransform
Parent of surface object. Contains the handle of the surface object's parent. The parent of a surface object is the axes, hggroup, or hgtransform object that contains it.
on | {off}
Is object selected? When this property is on, MATLAB displays a dashed bounding box around the surface if the SelectionHighlight property is also on. You can, for example, define the ButtonDownFcn to set this property, allowing users to select the object with the mouse.
{on} | off
Objects are highlighted when selected. When the Selected property is on, MATLAB indicates the selected state by drawing a dashed bounding box around the surface. When SelectionHighlight is off, MATLAB does not draw the box.
scalar in the range 0 to 1
Color of specularly-reflected light. When this property is 0, the color of the specularly-reflected light depends on both the color of the object from which it reflects and the color of the light source. When set to 1, the color of the specularly-reflected light depends only on the color or the light source (that is, the light object Color property). The proportions vary linearly for values in between.
scalar >= 1
Harshness of specular reflection. Controls the size of the specular spot. Most materials have exponents in the range of 5 to 20.
scalar >= 0 and <= 1
Intensity of specular light. Sets the intensity of the specular component of the light falling on the surface. Specular light comes from light objects in the axes.
You can also set the intensity of the ambient and diffuse components of the light on the surface object. See the AmbientStrength and DiffuseStrength properties. Also see the material function.
User-specified object label. Provides a means to identify graphics objects with a user-specified label. The default is an empty string.
Use the Tag property and the findobj function to manipulate specific objects within a plotting hierarchy.
string (read-only)
Class of the graphics object. String that identifies the class of the graphics object. Use this property to find all objects of a given type within a plotting hierarchy. For surface objects, Type is always 'surface'.
handle of uicontextmenu object
Associate a context menu with the surface. Assign this property the handle of a uicontextmenu object created in the same figure as the surface. Use the uicontextmenu function to create the context menu. MATLAB displays the context menu whenever you right-click over the surface.
User-specified data. Data you want to associate with the surface object. The default value is an empty array. MATLAB does not use this data, but you can access it using the set and get commands.
vector | matrix
Surface normal vectors. The vertex normals for the surface. MATLAB generates this data to perform lighting calculations. You can supply your own vertex normal data, even if it does not match the coordinate data. This can be useful to produce interesting lighting effects.
{on} | off
Surface object visibility. By default, all surfaces are visible. When set to off, the surface is not visible, but still exists, and you can query and set its properties.
vector | matrix
X-coordinates. The x-position of the surface points. If you specify a row vector, surface replicates the row internally until it has the same number of columns as ZData.
vector | matrix
Y-coordinates. The y-position of the surface points. If you specify a row vector, surface replicates the row internally until it has the same number of rows as ZData.
Z-coordinates. The z-position of the surface data points. See the Description section for more information.


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Are you a long-time admirer of Virginia or is this your first rendezvous? Either way, you'll surely enjoy seeing first-hand all the ways love lives in Virginia.
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Thousands of people— the majority of them law enforcement— will pay their final respects Wednesday to a Riverside police officer killed last week.
Officer Mike Crain was gunned down while on routine patrol in Riverside in the early morning hours of Feb. 7. Police have said he didn't even have time to fire off his own weapon while attacked in a "cowardly ambush" by suspect Chris Dorner.
Crain's services are being held at the Grove Community Church in Riverside. Riverside police tell Patch they expect approximately 8,000 people to attend, most of which will be members of the law enforcement community.
Scheduled to speak at the funeral are:
- Wife Regina Crain
- Childhood friends Joe Negroni and Rob Frazer
- Brother Jason Crain
- Former Riverside Police Department coworker Steve Pounds
- USMC friend John Bacon (USMC Friend)
Crain is a Southern California native who grew up in Redlands and graduated from Redlands High School in 1996. He lived in Beaumont with his wife, son and daughter.
The funeral was set to begin at 10:30 a.m. at Grove Community Church, 19900 Grove Community Drive, in Riverside. Following the funeral, there will be an Honor Gurad procession to Riverside National Cemetery, where the officer will be interred, according to a Riverside Police Department news release.
Crain served two deployment tours in Kuwait as a rifleman in the 15th Marine Expeditionary Unit, 3rd Battalion 1st Marines. He leaves behind a wife and two children, one son and one daughter.
All Riverside police facilities will be closed for normal business on Wednesday "to allow our employees to attend the services," police said in their release.
Riverside National Cemetery is located at: 22495 Van Buren Blvd, Riverside, CA 92518.
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- DORNER MANHUNT: Mountain Search for Alleged Cop-Killer to Go Thru Night
- Murder Charges Filed Against Chris Dorner in Redlands High Grad's Death
- Funeral Service Information for Slain Riverside Police Officer Mike Crain
- $1 Million Reward Offered For Dorner's Capture
- LAPD Chief Beck's Full Statement on Reviewing Dorner's Termination Case
- MANHUNT: Search For Rogue Former Cop Continues
- DORNER MANHUNT: Armed Deputies Vigilant on Snowbound Mountain Roads
- Winter Storm Warning for Mountains Where Dorner Search is Under Way
- DORNER MANIFESTO: Rogue Officer Posted His Plan for 'Last Resort' Online
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Safari Books Online is a digital library providing on-demand subscription access to thousands of learning resources.
1 1.1 Purpose of the PMBOK ® Guide CHAPTER 1 - INTRODUCTION The increasing acceptance of project management indicates that the application of appropriate knowledge, processes, skills, tools, and techniques can have a significant impact on project success. The PMBOK ® Guide identifies that subset of the project management body of knowledge generally recognized as good practice. "Generally recognized" means the knowledge and practices described are applicable to most projects most of the time, and there is consensus about their value and usefulness. "Good practice" means there is general agreement that the application of these skills, tools, and techniques can enhance the chances of success over a wide range of projects. Good practice does not mean the knowledge described should always be applied uniformly to all projects; the organization and/or project management team is responsible for determining what is appropriate for any given project. The PMBOK ® Guide also provides and promotes a common vocabulary within the project management profession for discussing, writing, and applying project management concepts. Such a standard vocabulary is an essential element of a professional discipline. The Project Management Institute (PMI) views this standard as a foundational project management reference for its professional development programs and certifications. As a foundational reference, this standard is neither complete nor all-inclusive. This standard is a guide rather than a methodology. One can use different methodologies and tools to implement the framework. Appendix D discusses application area extensions, and Appendix E lists sources of further information on project management. In addition to the standards that establish guidelines for project management processes, tools, and techniques, the Project Management Institute Code of Ethics and Professional Conduct guides practitioners of the profession of project management and describes the expectations practitioners have of themselves and others. The Project Management Institute Code of Ethics and Professional Conduct is specific about the basic obligation of responsibility, respect, fairness, and honesty. It requires that practitioners demonstrate a commitment to ethical and professional conduct. It carries the obligation to comply with laws, regulations, and organizational and professional policies. Since practitioners come from diverse backgrounds and cultures, the Code of Ethics and Professional Conduct applies globally. When dealing with any stakeholder, practitioners should be committed to honest and fair practices and respectful dealings. The Project Management Institute Code of Ethics and Professional Conduct is posted on the PMI website (http://www.pmi.org). Acceptance of the code is a requirement for the PMP ® certification by PMI. ©2008 Project Management Institute. A Guide to the Project Management Body of Knowledge (PMBOK ® Guide) -- Fourth Edition 4


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We take a look at a report from CSN Bay Area that the 49ers are leaning toward not using their franchise tag on free safety Dashon Goldson.
There are reports that Ted Ginn Jr. is a low priority for the 49ers in free agency. Will the return man and wide receiver be back in 2013?
A Niners Nation user puts together his thoughts on the 49ers offseason, and potential roster moves.
According to sources, the San Francisco 49ers might not use the franchise tag on free agent Dashon Goldson.
49ers defensive tackle Ricky Jean Francois sent out a tweet indicating his desire to stay in the Bay Area. Is it just a wish on his part, or could a deal be near?
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Question by Dunnie 1267 · Nov 30, 2011 at 04:41 AM · belly-fatwomenbody-imagepositivity
I'm asking this question for several reasons:
1) It seems like there have been a lot of questions lately from women who are struggling to get their body fat to a lower % and to be rid of belly fat in general.
2) I'm becoming increasingly aware of all the ways women are told their bodies are "wrong": our bodies are too hairy, so we should shave. Our breasts are misshapen, so we need corrective bras. Our faces are not feminine and pretty enough, so we need make-up, etc.
3) I was watching some of the movies on netflix where the white guy traverses through the jungle with camera crew to find the "untouched" natives. I was struck by the similarity of the women's bodies to my own (which I too have internalized as wrong). I took some screen caps (the movie was called Pururambo).
And one of the men for comparison:
I know this is only one group of people, but it seems to be the norm from what I've seen of people living beyond the bounds of western civilization. Let me know if you want any more references, I didn't want to overwhelm this question with pictures.
So, can we let ourselves be OK with a rounded belly?
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I think there is a confirmation bias going on here. The second woman is pregnant. I do not think that such a fat stomach is normal or desirable for women. Here are some other pictures of thin tribal/non-civilized women to compare.
http://www.amazon-tribes.com/Amazon-Women-Grooming-cens.jpg http://www.worldofstock.com/slides/PCU7369.jpg http://www.hayinart.com/imag http://www.culturequest.us/maasaitribe/rituals_files/MasaiWomen.jpgAlso note different races/ethnicities have different body compositions and reactions to neolithic foods. I am curious WRT uncivilized European body distribution..
@Shari, that is a false dichotomy. Being strong and lean and not having 10 inches of blubber around your stomach is not the same as being a Victoria's Secret model. Just like being not fat is not the same as "being an anorexic size zero." You are being illogical.@Cliff. Arbitrary as some things may seem, the way you look makes a statement about the kind of person you are. Even if society did away with all social convention, the urge to find the most suitable mate would still lead men/women to try to be as attractive to each other as possible. Note how women dress 50 yrs after feminism.
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Answer by Mallory 1 1229 · Nov 30, 2011 at 03:25 PM
omg people....the womens bodies DO NOT LOOK INSULIN RESISTANT or 'wheat bellied.' you obviously have no idea what cultural women's bodies look like- sans i think cliff said the ideal was no ideal. women, ALL fertile women SHOULD carry their weight in their belly, rounded from one side of the hips to the other. it makes a protective barrier promoted by estrogen and womens wonderful leptin receptors on their ovaires. it is NORMAL for a HEALTHY WOMAN, to have a rounded belly.
seriously, this is the main reason i dislike this site. first, people assume ANY WEIGHT WHATSOEVER that is not muscle must be someone dietary f*ckups..get real
real women in evolution are there to MAKE BABIES and reproduce. thats their purpose, for real. they build, breed, and evolve women who will be able to carry babies. the point is to carry on the culture.
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You're missing my point. The point is that even if we agree that the bodies of these women are beautiful (and they aren't, and I bet vast majority of ANY population would agree with me), they are not typically healthy bodies.And there is nothing "bogus bullshit" about studies correlating WHR with health. I'm sure some of them have questionable methodology, but it's one of the best-known and studied indicators.
Wait, no, I'm not, quite the contrary. Fertility is correlated with small WHR. Ie. women with the classic 36-24-36 chest-waist-hips hour glass figure are more fertile than pot-bellied women.
http://www.newscientist.com/article/dn4953-barbieshaped-women-more-fertile.htmlAny other knee-jerk reactions which don't agree with your feminist or whatever agenda that is? Anyone?
Answer by Thumper 12455 · Nov 30, 2011 at 07:04 PM
Beauty is in the eye of the beholder. I know of many men who love them some skinny chicks; but I know many men who love them some cushy ladies too. Some like boobs, some like bums, some like feet.
Rounded bellies are the norm for women if there is a baby in there (or there was a baby in there recently).
The world is a diverse place - so there should be all shapes and sizes and we should embrace that and not force people into a 'norm'.
I mean isn't that sort of what we came to paleo for - to escape the 'norm'?
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Answer by Bread-Eating Beelzebub 56474 · Nov 30, 2011 at 05:03 PM
In developing countries, higher waist circumference is positively tied to infant survival, which is the opposite situation from the West. A jungle horticulturalist diet is marginal to begin with* and then you add in pregnancy food taboos and parasites, and it's understandable why this is the case. Extra body fat is a buffer.
These also could be women who have just given birth. Either way, anthropologist Steven Gaulin says that women tend to gain weight around the middle as they either age or have children because of the fact that it helps support larger babies, who are more likely to survive. A woman who has had many children already has a stretched pelvis and can handle it. And older women who has never given birth before...well, natural selection is figuring she isn't going to have many children and the ones she has better survive, even if it's at the cost of her life.
From what I know, the health of infants in Papua New Guinea is a little better than the Hadza, which another person mentioned. The Hadza are too thin and their health suffers for it. As far as I'm concerned it's an indication that the Hadza and other "bushman" tribes are adapted to an environment that was once more plentiful. The Melanesians have been living in their locality for a very very long time and are very much genetically distinct. Sexual selection could also be a factor, as interviews with Melanesians typically confirm that men prefer women with a higher WHR than the West or Asian, and that women desire to have "fat arms."
Then the pattern is that after menopause, a woman in these cultures (and in our culture until very recently) gets thinner and thinner, which is sometimes referred to as "wasting." I understand why Western women take hormonal replacement to avoid the negative effects of this, but it often means they keep the weight.
Either way, none of these women are obese. In America, many people are so overweight that it affects their mobility. They would not be able to use that boat the first woman is in.
*did anyone see the human planet episode in Papua where they are hunting bats and talking about how little meat they get? Meat hunger is quite common in the jungle and it's debatable whether the jungle is really any more of an optimal environment than a modern European city. Also, if you want to see how much better coastal/island Melanesians look, do a search for "Trobriand" on Flickr.
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Answer by Renee 2 12358 · Nov 30, 2011 at 01:04 PM
Well, we know that women carry more weight around their bellies, hips and thighs to support child-bearing. And the human female abdomen is not flat like a pancake - even in slim women, it's slightly convex. So I do think the answer to Dunnie's question is YES. However, I agree that these pictures are not the best example of this - seems like pregnancy or recent childbirth may be involved there.
I also agree with Dunnie that the media and modern culture has completely skewed our conception of what a normal healthy woman looks like. Photoshopping, the use of pubescent and underweight models, spray tans, hair extensions, plastic surgery, liposuction, brazilian waxing, labia trimming, restylane, botox, teeth bleaching, anal bleaching..... it's a brave new world.
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Answer by Eric 12 22700 · Nov 30, 2011 at 06:07 AM
Each and every person is beautiful to me.
Each of us needs to manage our body composition and overall body fat. Having a correct image of what that should look like can be difficult. It starts with wanting the body that you already have. It is refined by proper diet and reasonable exercise.
A proper example of a goal is knowing you weigh 15 lbs more than you did five years ago. Maybe I should try to lose 5-10 lbs of weight. That is healthy and good.
A poor example is someone at an ideal body weight (or worse below ideal body weight) wanting too lose weight to look like someone else.
The pictures of natives could be misleading. It may be they are already eating a western diet.
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Wisper, I'm a pretty chill chick but can't let this one go for once. I take offense at your statement "Even newborns look at beautiful faces longer than ugly ones." I have a beautiful amazing friend who was terribly burned in a fire and is married with children. Why she may not fall into the category that your pretty people link discusses, I can tell you that her babes, from newborn to now, look upon her as the most beautiful woman in the world. Also a babes nose knows more than eyes at newborn. PS: Megan Fox has toe thumbs and Vera Farmiga is way hotter. Juba --> exits stage left
Answer by Mike Gruber 97 · Nov 30, 2011 at 06:40 AM
It could be that each of those women has had 5 children.
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Answer by Jenny 9 247 · Dec 16, 2011 at 01:55 AM
I agree that a little "belly" on lots of women, or a slightly higher body fat %, is an evolutionary "that makes sense" for wanting to have healthy babies. This is totally anecdotal, but I had a series of super-fit friends trying to get pregnant, and several of them couldn't conceive until they let their body fat % climb up a bit (under the supervision of a very open minded OBGYN in our small community). It may really depend on your background/hormonal levels, but it really seemed to help these girls get pregnant. As an ICU nurse my mom also recalls in the late 80s/90s she saw a lot of aerobic instructors (it was that kind of time!) in with their babies, enough that the doctors were suspicious that their extremely high activity levels of prolonged, high intensity aerobic exercise may have taken enough resources away from their pregnancy that it caused birth defects (lots of the babies were in for breathing problems and heart fluttering).
I also know that when I was rowing for the varsity team, I had to maintain lightweight status (128 lbs, I normally weigh in at 137 lbs), and no matter how slim I got I always had a little belly. Not like a swollen belly, just an extra fat pad on my lower stomach. My waist circumference was very slim, but on my lower stomach and hips I always had a bit of extra fat. I was also one of the few lightweight rowers that maintained a regular menstrual cycle throughout the rowing seasons. Most of the girls would have a normal menstrual cycle, then they would really slim out before regatta season, and their periods would disappear right around when their 6-packs appeared. They also probably had quite a few nutritional deficiencies however, from having to lose weight so quickly.
I think this is probably very variable between cultures (my Chinese relatives have little concave bellies, my Lithuanian friends have very slim hips with a lower belly fat pad, my Inuit friends have wide set ribs/bellies/hips) and doesn't seem like the end of the world! If you are healthy and fit, but have a little extra for baby-time, should be all good!
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Answer by Anne Luck 317 · Nov 30, 2011 at 06:40 AM
The woman's bodies look like insulin resistance or wheat belly. No that is not good!
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Answer by Futureboy 6403 · Nov 30, 2011 at 04:35 PM
So how do you explain this:
That's a very recent mother. She doesn't look "fat" to my eyes. None of the pictures of the Hadza I've seen lead me to believe that the Pururambo are very healthy. BUT...culturally, the women may have a different role, may do less work, may be allotted more food, I don't really know, as I haven't done the research, and I'm making assumptions.
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Answer by dzone 1325 · Nov 30, 2011 at 01:03 PM
These people are mal-nourished and don't have a proper diet to burn the fat. Also they don't do cardio exercise frequently and for that reason the belly will remain fat.
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Bernardo Bertolucci
Birth Name: Bernardo Bertolucci
Born: 03/16/1940
Birth Place: Parma, IT
Born: 03/16/1940
Birth Place: Parma, IT
Born on March 16, 1940 in Parma, Italy, Bertolucci was raised in idyllic surroundings by his father, Attilio, a famed poet and film critic, and his mother, Nina, a poetry scholar. But despite the comfortable house, the servants and an atmosphere that encouraged creativity, he grew up a disaffected youth, chafing against his life of privilege and the tradition of his father's poetry, which he eventually viewed as being based on repression. Having been fed poetry as part of his daily diet, Bertolucci naturally ventured into the father's arena, publishing his first poems by the age of 12. He later won the prestigious Viareggio Prize for his first book of verse, In Cerca del Mistero/In Search... Continue Bio >>
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Crusaders Hold Off Western Illinois To Win Mid-Con Opener
Tuesday, January 04, 2005Valparaiso, Ind. - Four Valpo players scored in double figures and the Crusaders withstood two missed 3-point attempts in the last two seconds to defeat Western Illinois 54-51 in the Mid-Continent Conference opener for both teams.
With Valpo leading 52-51 with 11 seconds remaining, Dan Oppland was fouled and drained two free throws to extend the Crusaders' advantage to 54-51. Following a Leatherneck timeout, Troy Okeson missed a potential-game-tying 3-pointer with two seconds left and Nathan Koster's trey was off target at the buzzer.
Oppland, the reigning Mid-Con Player of the Week, led Valpo (5-8, 1-0) with 13 points and eight rebounds. Freshman Shawn Huff came off the bench to score a career-high 12 points, while Ron Howard and Seth Colclasure added 11 each. Eulis Baez topped Western Illinois (4-8, 0-1) with 22 points and 11 boards.
Valpo led by as many as 12 (49-37) with 6 minutes remaining and by 10 (52-42) at the 2:43 mark before the Leathernecks went on a 9-0 run to pull within 52-51 on Fred Oguns' layup with 20 seconds left. After a Valpo timeout, the Crusaders broke the WIU pressure and Oppland was fouled in the frontcourt prior to his clutch charity tosses.
Western Illinois led 7-2 in the first three minutes before Valpo tied the contest at 8-8 with 12:34 left in the first half. The Crusaders, behind Howard's five points, took a 17-12 lead with 9 minutes left before WIU tied the game at 17-17 and took a 23-17 lead at the 1:06 mark on two consecutive 3-pointers by TJ Gray in a span of 21 seconds.
The Crusaders responded with an 8-0 run behind five straight points by Oppland, including a three-point play with three seconds left. WIU's inbounds pass was stolen by Colclasure, who swished a 3-pointer from the left wing at the buzzer to give Valpo a 25-23 lead at the intermission.
In the second half, another trey by Colclasure increased Valpo's lead to 31-25 with 18 minutes left before the Leathernecks trimmed their deficit to 33-32 with 5:10 remaining. Valpo used a 6-0 run to lead 39-32 and expanded the advantage to 12 with a 10-5 run. Colclasure made a long 3-pointer - his third of the game - as the shot clock was expiring to highlight the stretch.
Defense was featured in the game as Valpo finished shooting 38 percent overall (20-53) to 40 percent (20-50) for WIU. The Crusaders made 7 of 19 3-point attempts (37 percent) and 7 of 11 free throws. WIU made 5 of 16 treys and converted 6 of 12 free throws. Valpo held a 37-34 edge on the boards. Each team committed 16 turnovers.
Colclasure grabbed a career-high six rebounds and tied Howard and Jimmie Miles with four assists. Baez made 10 of 17 shots for the Leathernecks.
Valpo hosts Oral Roberts on Saturday at 7:05 p.m.
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