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Carrying on from my last post, I said I'd answer any questions that came my way in the comments. I'm gonna take them one at a time and if you've got any questions, fire them into the comments or email me through the website and I'll do my absolute bestest to answer them on here in case anyone else finds what I have to say useful (no guarantees the 'useful' part will happen, you understand).
So, the person to blame for my latest War & Peace length Blog (go get coffee before you start reading!), is Jill who asked: Trish, Do you have a critique partner or a critique group? If you don't have one, how do you re-read your work and critique your own work? Sorry if this is something you've covered before! I know a lot of my writing needs work and I have a good friend who is an excellent writer and she wants to critique my work. The problem is she doesn't read category romance or much romance at all! She keeps telling me she can critique my work b/c "a story is a story" but I'm not so sure it's that simple. Part of me wants to go it alone, but another part of me is worried I'm being stubborn and just don't want to listen to a friend that's trying to be helpful.
Another GREAT QUESTION! The short answer is, no I don't. Didn't when I started out, either. Though in fairness, when I started out I wouldn't have had the faintest idea what a CP was. I had a real life (read as not a writer) friend who read what I wrote and told me what she thought. She wasn't 'critiquing' per-se, but she had read romance novels and she told me whether or not she liked it, if it made sense, and when she had questions about the story they made me think about what I could put in to answer those questions. It was a comment on wanting to know more about their past relationship that made me put in the flashbacks in The Bridal Bet, for example. Without that comment they wouldn't have been there.
When it comes to a critique partner I've swapped work with, I've only really done it with the one person and it wasn't something we did for long. Maybe a couple of books? It's been a while now so I can't remember - sorry! I knew her in passing from EHarlequin, read a competition excerpt she had written and saw something in her work I really liked, so I emailed her to ask if she wanted someone to read through it and we swapped WIP's so we could see things from both sides of the fence. It was an interesting experience and taught me several things about the way I work and the personality traits I need to warn people about but while I ended up with a really good friend out of the experience, would I try it again? No... but I hasten to add that wasn't her fault!
Now for the long explanation of why...And I'm going to play devil's advocate here and try to see things from ALL sides, so bear with me...
- The friendship clause:
Any time you ask anyone for advice on anything, you risk hearing something you might not want to hear. When you disagree with that advice, you risk hurting the other person's feelings. And no matter how we try to avoid it, the fact is, writing a book is personal. You have to care about what you're writing or it shows in your work. So when someone 'critiques' your work, it's the equivalent of being told your child is far from perfect, and while we may be fully aware of that fact, it's not always easy to hear. We can become defensive, may find ourselves molding the story to suit someone else's vision if we're 'people pleasers'; it's all very dependent on your personality and your relationship with the person doing the 'critiquing'. But the main thing to remember is the word critique.
critique (def.) ~ the act or art of criticizing.
You have to remember you are asking your friend to find fault. They're going to go looking for it, so you shouldn't be surprised - or hurt - when they do. How they report it to you will then come down to their personality type. Will they sugar coat it? Be blunt to the point where they may leave you in tears wondering why you ever thought you could do this in the first place? Will they be able to separate their personal preferences and reading expectations from the impartial eye they will need in order to allow your voice to remain yours? Will they be too nice to tell you what you need to hear and will you later resent that and blame them for not being honest with you when someone else points out the faults you realize should have been caught, if not by you then by your friend? Bottom line: Your friendship may not survive in the same form it had before you began. It's up to you whether or not you're both prepared to take that risk.
On the plus side: Dealing with criticism and filtering the advice of others to improve your work for the better, is good preparation for some of the things you will have to deal with as a professional writer. The second you send your work to an editor, they will critique it. If you get revisions you will have to take their suggestions on board and put your own twist on them to maintain your voice while doing what you've been asked to do to get the story as close to publishable as possible. The second you're published, the book will come under the scrutiny of reviewers who will critique it again and more than likely have comments you will take to heart. A bad review can be devastating - TRUST ME! And as if that wasn't enough there's the even more scary thought of thousands upon thousands of readers world-wide reading your work and a percentage of them not liking it (some may even hate it and worse still, feel the need to email and tell you they did). Writers need to develop a pretty damn thick skin. So working with a critique partner can help prepare you for some of the harsh comments that will inevitably come your way and crush your muse into a sobbing basket-case in the corner... in my case, with cake... lots and lots of cake.
- The 'Voice' clause.
When you're taking on board the advice of anyone, you need to remain true to who you are. The story is your vision, told in your voice, and while many stories are versions of stories that have been told time and time again in the past (and will be told time and time again in the future), the one thing that will make your version of the story different from the rest is your voice. NO-ONE has the exact same voice as you. Editors will frequently talk about how a fresh voice is what attracts them to a manuscript. Problems with the story itself - plot, setting, characters and structure - can be solved with revisions and the guiding hand of an editor, but voice is something that can't be taught, replaced or forced. So even if your CP is a fellow writer, their voice (and the way they would do things) isn't necessarily the same as yours. Problem is: They'll see things through their eyes and from their POV as an individual. That's human nature. What BOTH OF YOU have to learn is, when you're crossing the line into the territory of someone else's voice, you can't drown out their voice with yours. And this is a tricky one, particularly if you're unsure of your voice or it's still 'in development'.
The one alarm bell for me from Jill's comment would be the fact her friend isn't a romance reader. Writing, as we all know, has genres, and readers of a particular genre will have certain expectations of their reading material. If they're not a professional writer or at the very least aware of the reader expectations of the genre the story they are critiquing is aimed at, then they may be actively looking for - and be disappointed by the lack of - development in an element of the story that there simply isn't room for in a romance. This, for example, may be where the reader would be disappointed by the lack of a complex external plot versus the internal journey we have to focus on (as per the subject of the last blog). Add a 'people pleaser' author to a CP who isn't aware of the kind of things we discussed in the external versus internal dilemma and the author may take on board the advice their CP is giving them and add more plot than they need to get the job done. See what I mean? Yes, a story is a story and a good story, well told, will stand on its own merits, but there are different types of stories aimed at different types of readers and different authors with different voices.
This is where I think you have to have a long talk with a potential CP before you start sending them your work. You have to be up front about your expectations of the partnership and what you hope to achieve. For me, a CP should be looking for certain things when they read your story. Continuity would be a big one. If your hero was left handed in chapter three he shouldn't suddenly be right handed by chapter eight. If your heroine's mother was dead in chapter one she shouldn't be phoning her daughter for a chat in chapter five. Okay, so those are extreme examples, but you'd be surprised how many little details can escape you as you worry about the 547699834 other things you're sure should be in your story. It's a 'can't see the wood for the trees' scenario. Having someone there to look for those little details and point them out can be a HUGE help. It's one less thing to worry about, right? And that to me is the crux of a CP relationship. It's supposed to help, not bring additional angst your way. TRUST ME when I tell you angst is a given for ANY WRITER. We don't need ANY help in that department! So with that in mind...
On the plus side: Having someone to look for the little details when you can no longer see the proverbial wood for the trees can be incredibly helpful and prevent many of those moments when you mentally kick yourself for the stupid things you should have spotted. You'd be amazed how easy it is to use the wrong words - words that a run with a spell checker won't spot - there instead of they're or their. Then there are things like an unclear POV or who is speaking a particular line of dialogue; things that simply might not make sense to the reader. There are research details that might need checked, foreign language phrases that might mean something completely different to what you'd intended them to mean, grammar mistakes that might make you crazy if you're usually an active officer for the Grammar Police. None of those things have anything to do with your voice so there isn't any danger of a CP unwittingly trying to force their voice and personal preferences into your manuscript. In this case your CP becomes the equivalent of someone in a publisher's editing department; they are proof reading/line editing rather than making adjustments to your vision of the story.
- The Creative-Interruptus clause:
Again this goes back to having a clear idea of your expectations from a CP relationship prior to sending them your work. As is the case with different editors, different writers and CP's will have their own way of doing things. I've had five editors so far and while a lot of their working methods seem to follow a pattern, they are all individuals and as such some have been happy to work with a synopsis and then wait for the full MS, some prefer a phone conversation to hash out any potential problems they foresee from the synopsis before I start writing, some like to see a short pitch and then a partial; or a combination of some/all of those things. What they also do, because they're good at their job, is take into consideration what works for the author. Like every other relationship that involves two people, it takes two to make it work. It will also take consideration and understanding and a healthy dose of compromise so you can meet in the middle when necessary. It should be exactly the same for a writers relationship with a CP.
Take me for example. I suck at trying to tell the story I'm aiming for unless I write it. I suck at synopses, can be incredibly vague in a pitch (most of mine end with the line: Or something along those lines...) and if asked to explain it in a conversation I can go off at a tangent about things that might not make it onto the page. It's probably why I've never been able to adjust to using any kind of dictation program when I'm writing a story. My mind just doesn't work that way. The story goes directly from my brain to my fingertips and onto the page. The problem with this (apart from confusing the poor editor who needs to have an idea of what the heck she might get from me) is that even when adding a partial to the equation, the story I'm trying to tell might not be clear to the person reading it when they only have PART of the story. I recently likened it to seeing a scene in a movie out of context or without any knowledge of what comes next. The example I used was Notting Hill. In that film there's a scene where Julia Robert's character invites Hugh Grant's character to come see her at her hotel. When he gets there, he walks right into the middle of a press junket and as a result the heroine is 'off' with him and he's left floundering and wondering what the hell is going on. Cut the story there and look at it as a 'partial' and the reader might be left thinking 'what a cow! She's totally messing him about; keen one minute and giving him the cold shoulder the next'. Once we get the scene where she calls him back and apologizes for what happened, we understand what's going on. But if all your editor or CP has is a partial that ends with the press junket scene...
Here's the thing: I know the start of the story will change the further along I go and the better I understand my characters. If later on I change my mind about something or realize I need a better 'set up' for something that happens or can see how the reader might need a little more insight, I can go back and change it with more confidence than I had before. It's all part of the creative process to me. In the Most Common Romance Writing Mistakes series, I talked about the difference between left brain and right brain; how - simply put - the right brain controls creativity and the left brain is in charge of logic. When I'm writing a story it's RIGHT BRAIN activity. What a CP or an Editor does for me is LEFT BRAIN stuff. I shouldn't be thinking about left brain stuff until the creative part is done. Sending a partial or individual chapters for critique invites intrusion from the left brain. And that, my friends, can lead to a screeching halt in the creative process. At least it often does for me.
Again, it comes down to personality. I find it difficult to be interrupted with a critique or concerns at the partial stage of a manuscript (though obviously I've learned to compromise for my editor when she wants to do things that way). If something I know about the story isn't clear to my editor from the pitch and the partial I've sent, me bring me, it's something else to add to my angst. I also know were I to send the MS chapter by chapter for individual critique as I completed them, I would end up having to stop and explain myself. Every. Single. Time. I know what I'm trying to do. No-one else can see inside my head. But since I suck at explaining things, I run into problems. The obvious solution to this is to tell the story and THEN send it for critique. But that doesn't always work either, because sometimes my editor can catch something in a partial that would mean huge revisions and re-writes if I continued the thread throughout the story (been there, done that with that one too). And since we all have to deal with deadlines when we're writing for a living, if it saves time in the long run...
Since I'm a proponent of not making more problems for yourself than you already have to deal with, my advice when working with a CP would again be to discuss with them what works best for both of you, and agree to be prepared to discover that what you thought would work for you, might not, and you'll need to change things so it does. Forewarned is forearmed. That way no-one is upset when you change the 'rules'. Honesty and openness is the key. So...
On the plus side: Working with a CP chapter-by-chapter or a handful of chapters at a time can save a lot of re-writing further down the line if something is going wrong and you haven't spotted it because you're too close to the story. Since you may well end up with an editor who prefers to see a partial, once again this can be viewed as preparation for your professional working life. If you feel working chapter-by-chapter or a handful of chapters at a time is going to interrupt your creative process, you can agree with your CP that you'd prefer to send them the finished manuscript before switching from the creative process to the revision/editing process (but keep in mind an editor may not want to do it that way). Either way, you're learning how to take suggestions on board and how to filter through suggestions to put your own spin on them, which again prepares you for working with an editor.
- The Too-Many-Cooks Clause:
Remember not everyone has the same expectations from a story. And just as we talked about readers of different genres having different expectations from their reading material, the same holds true with readers of different lines and categories within the romance genre. If your CP's are authors too, you need to know what line/category of romance they're targeting and, if it's different from yours, you may want to know if they have a working knowledge of the line/category you're aiming for. Yes, the same rule of thumb applies: A good story, well told, is still a good story. But what if one of your CP's is aiming for Paranormals while another is aiming for Romance and you're aiming for Medicals or Presents or Modern Heat or... well, you see where I'm going here. The chances are if someone reads and is aiming for a Paranormal category they will be used to complex world building and mythology, with some of the most Alpha of Alpha heroes and heroines who can literally kick ass. Unless that person has a broad reading spectrum, they may not appreciate reading something from, let's say the Romance line. They may read your manuscript and feel the hero is too 'weak', the heroine too 'wishy-washy', that the world your characters are living in isn't drawn richly enough or there isn't enough detail and back-story and plot. That doesn't mean a Romance is 'less' or any easier to write, it simply means it's a different beast (and I'm not making judgments when it comes to a Romance versus a Paranormal either!). I'm not saying it's an impossible working relationship - I know of many critique partnerships from different categories/lines that work beautifully and very successfully; for both partners! What I'm saying is, it might not work for you. Only you can decide.
Another thing to consider, if you're all starting out as a group of unpublished authors, is how it will feel if one-by-one the members of your group begin to sell their manuscripts while you remain unsold. While you'll celebrate their success - of course you will, as you know they would for you! - it's only human that seeing everyone else succeed while you're still receiving rejection letters (particularly if they're people you've critiqued for and therefore helped along the road to success) may prove demoralizing. Remember: Angst is a staple diet in any writers life. In many ways I think the writing game could be likened to being back in High School and the associated paranoia we all experienced there. Is their cover prettier than mine? How come their heroes are sexy bad boys while I get stuck with the 'nice' heroes? If I don't have any awards weren't my books as good as everyone else's? A reviewer told everyone she hates me, does EVERYONE hate me now? And in this case, everyone in the class is smarter than me and getting better grades than me when we all study and work just as hard, what am I doing wrong?!
Now do we understand why I resort to cake so often?
On the plus side: With a group rather than an individual there is more than one POV. If seeking constructive criticism, but still doubting the advice you're being given, having more than one opinion can lead to the answer being in the commonalities; the things the majority of them see and feel needs work. With the inevitable differing personalities you'll find in a group of people, you may be more likely to find someone whose working methods and POV is better suited to yours. And what one CP may overlook, another may see. As members of the group achieve success, you may find rather than being demoralized, their success gives you hope and while they take steps into the world of publication you may learn a lot of valuable lessons from their experiences. You may even find a group that has published authors in it and then you get to pick their brains!
Some of the things I've said may give the impression I'm anti-CP. I just want to say here and now - for the record - that is NOT the case. Like I've said several times it all comes down to personality and what works for YOU.
Writing is a lonely game so having someone or a group of like minded someone's standing side-by-side with us sharing our successes and failures, understanding what it feels like and the work involved to achieve our dream, helps combat that sense of isolation. All of us end up alone at the keyboard with only our imaginary characters to keep us company. While isolated, it's all too easy to succumb to paranoia (and cake) while we obsess over every word we've written (while eating cake) and become more and more demoralized by any lack of success (and the fact we can no longer fit into last summers clothes thanks to the cake).The romance writing community is one of the friendliest communities out there and ALL OF US had to start somewhere so we've ALL had the same hopes, fears and 901 questions you do. Anyone who says they didn't is telling porkies! Take it from Trish.
As to the question of how I re-read and critique my work without the help of a CP. Well, the first thing I'll say is what I said to a good friend recently; I consider my Editor to be my CP. As far as I'm concerned, the buck stops with her - only SHE can judge whether or not the story I've written is suitable for publication. Having had several discussions with her over time, the agreement is I'll tell the best story I can and then leave her to do her job (which theoretically makes me the right brain and her the left in this partnership...). If I go too far 'out there', she'll rein me back in during revisions.
Any day now I might heed that advice and stop worrying so damn much...
Keep in mind from this point on, that what I've said and what I DO, aren't always the same thing... (you'll see what I mean by that as I explain my self-editing process)...
First thing I always look when self-editing is DOES IT MAKE SENSE? The way I can see the story in my head doesn't always translate onto the page so one of the first things I'll always do when I sit down at the keyboard to write is read the last chapter to ensure it makes sense and to see where I left off. That puts me 'back in the zone' and allows me to pick the story back up in a way that still makes sense. I won't fully EDIT A SCENE until I've finished WRITING IT. Right brain/left brain. While I think it's virtually impossible to turn off your left brain 100% of the time, there are times you have to ignore it and just get the damn words on the damn page. If I find I'm editing a scene over and over and over again, 9 times out of 10 I know I'm procrastinating. You can't edit a blank page, right? So if I find myself stuck and editing every word to within an inch of it's little life, I have to ask myself WHY?
The majority of the time - and with some experience under my belt - I know the answer to that question is there's something wrong. Maybe I left off at a place that's a dead end. If that's the case I need to go back and leave some unanswered questions so I have something to work with. Maybe I've had my characters do or say something that deep down I know they wouldn't have done or said. To be honest, the majority of the time I find it's a character problem. It means taking a step back in order to move forwards; sometimes that's a scene or chapter back, sometimes its a literal step away from the keyboard while I clear my mind and have a think about it. Sometimes - and pardon my bluntness here - I just have to write crap until I pick up speed again. Then, when I'm done telling the story, I go back and either fix or delete the crap.
But, I can hear you ask, those are all 'while writing' scenarios, aren't they? Isn't that going against the whole right brain/left brain thing? Well, yeah, it is. See the 'what I say compared to what I do' caveat. Over time, I've discovered self-editing a little as I go along (and before I start writing a new scene) can save some time in the long run. It can be reasurring, particularly when your confidence is low, to know that what you already have isn't crap followed by more crap with a lone scene that is only slightly less crap than the rest of the crap. It's the 'can't edit a blank page' rule meets 'press the delete key and hold it down until you get a blank page' fear. The trick is not to over-edit at this point. Because TRUST ME again - that one can lead to zero productivity in the word count while you spend hours moving one word up and down the page trying to decide where it 'fits' best (been there, done that too)
- Does it make sense? Yes, I'm there again. For me it's the first, most important rule.
- Does it need to be there? If it's something I've said somewhere else, do I need to say it twice, or worse still three, four or five times for my reader to 'get it'? If it's back-story is it absolutely, vitally necessary to what's happening in the here and now?
- Is everything clear? I know this will come as a shock to those of you who read this blog on a regular basis, but sometimes I can be too subtle. Something important may need a heavier hint earlier in the story to sew the seed in the readers mind. Then there are things like POV, who is speaking a particular line of dialogue, what hand is where and whose hand it is; making sure the reader doesn't have to mentally count on their fingers because one of the characters would appear to have three hands. It's an extension of the 'does it make sense?' question, but it's more to do with logistics than storyline. I'm notorious in my house for having a scene where a character has both arms around the other character and yet somehow manages to touch their face (see - three hands!). When I find those mistakes I slap myself severely. But sometimes I need to close my eyes, visualize what I'm aiming for and then look at the details with fresh eyes to make sure it's clear.
- Is it too dense on the page? I'm a dialogue girl given the choice so sometimes I have to look at this the other way round, but basically I'm looking for a balance between paragraphs of inner POV, description and physical movement broken up by dialogue. Too much of one, I may need more of the other. If I can't decide what should go, I'll go back to 'Does it need to be there?' and ask myself 'Is there another way of doing it?' or 'Is there somewhere else that could go?' There should be a flow to the story, which brings me to...
- Does it slow the pace down? If a scene has left a question to be answered and I answer that question in the next scene, I need to make sure I haven't walked the reader into a wall where they're left thinking there's nothing more to sort out before the characters could have their HEA. An answered question should be followed by another question until I'm ready to wrap things up. On the flip side I also have to ask myself if something has happened too fast. Sex scenes would be a particular source of angst for me when it comes to that question. Basically everything that happens has to happen organically, and at a believable pace that doesn't slow to the speed of an octogenarian snail or speed things up to the point where everything happens in the equivalent of five seconds of foreplay so the reader is left blinking and wondering 'what just happened, did I miss something?'.
- Would he/she really do/say that? In other words is everything they do and say in character? Usually these stick out like a sore thumb when the story is finished and I know them better. During the creative process getting it wrong can stop me dead in my tracks and I won't always know why.
- Are all of the threads in place from beginning to end? This is both a continuity issue and an issue of 'symbolism'. I don't always start the story with some kind of symbolism or specific 'theme' but they tend to pop up out of nowhere as I go along and then, in the end, I have to go back in and make sure it looks like they were there from the beginning. That way I look smart!
- Did I do something my editor told me not to do last time? In fairness, this one is something I seem to forget lots during the creative process. With some experience under my belt I know I need to focus primarily on my first chapters, my deep seated need to justify my hero's Alpha male tendencies and heroines who come across as 'argumentative'. If in doubt, I dig out old revision emails and read what my editor had to say to remind me what to look for. Having said all that, I still get the same kind of comments in revisions. We all have our weaknesses, right? The trick is to be aware of them. Without the aid of an editors voice ringing in your ears, my advice would be to think of the things that bug you most when you're reading a romance and make sure none of them are in your manuscript. Your story should be one you'd like to read.
- Were all the conflicts resolved? This has to do with all the questions I've asked throughout the story. Sometimes questions will be asked and answered from one scene to the next, sometimes it's a 'bigger question' that remains unanswered throughout the story, causing conflict and holding the hero and heroine apart until the end when they have their answer. Either way, I can't leave any loose ends. So I'll go looking for them and I'll either tie them up in a neat little bow or I'll yank them out, tidy up around them and pretend they were never there...*whistles innocently*
- Spelling and Grammar decisions tend to be the last thing I do. Running spell checker will catch the obvious ones you may have missed the wriggly red line under as you read, but it's worth keeping an eye out while you're reading for the there/their/they're problem the wriggly red line won't find. The wriggly green line that indicates a grammar problem in Word, I tend to be more selective with. I can hear gasps from the crowd. It's not that I disregard grammar, it's just there are times I choose not to change it to the way the computer would like me to. This is particularly true when it comes to dialogue. Simple fact is: People don't tend to check their grammar while they're speaking. The order they say their words in and the words they use are dependent on the character speaking them. So while I try not to over-use abbreviations and slang, I do use them. It's a small problem in the greater scheme of things because - at the end of the day - the copy editing department will make changes where they want them. The rebel in me will often change them back during line edits, then, when the book arrives at my door, I'll go looking to see how many I 'won'. I'm not advising you to do this, I hasten to add, it's just something I do. Let's call it a Trish-ism. I also know I'm watched closely for the number of 'damns' I use in a story; the majority of them magically becoming 'darn' when the manuscript gets to me for line editing. Wanna guess what I do with those? Sometimes darn just doesn't do it for me. Some I win, some I lose, c'est la vie. But because I know I have a tendency to over-use certain words, I'll go looking for them when I'm self-editing. Starting sentences with 'And' is a regular sin, over-use of ellipses, the word 'just', the word 'apparently' in this manuscript, apparently... Some words are quite simply, superfluous, so they gotta go.
And when I've done all that and am sick of the sight of the manuscript, I send it to my lovely editor and she points out all the things I missed...
Like I said, it all comes down to what works for you and your personality. So when Jill says: "Part of me wants to go it alone, but another part of me is worried I'm being stubborn and just don't want to listen to a friend that's trying to be helpful."
A big part of the final decision will come down to confidence. Personally, I think if you've never finished a manuscript the first hurdle is to sit down and write one from beginning to end to make sure you can do it. Once you know you can, if you'd like an opinion from someone with a fresh pair of eyes who isn't as close to the story as you'll be by the end, then make sure it isn't someone who will tell you exactly what you want to hear or smile and say 'it's great'. Hint: They'll tend to be family members and close/non-writer friends. If you decide to try a CP, make sure you have a long talk before you enter into it so you both understand what your individual expectations are and are both prepared to be flexible when it comes to disagreeing, seeing things from a different perspective, compromising and possibly deciding the working relationship doesn't work for one, the other, or even both of you. With or without a CP the romance writing community will remain supportive and answer many, if not all, of the questions you have; I think that's the most reassuring thing. It won't make a difference to an Editor if you do or don't have a CP either, their only concern is to get the best possible story. At the end of the day, a CP won't write the book for you. You'll always be alone when you're at the keyboard.
But a CP can end up as a lifelong friend as well as a work colleague. If you're both writers you'll have someone who 'gets it' in a way your family and friends just never will (unless they're w-a-y more understanding than my friends and family; e.g.: 'Is that book still not finished yet? You're on a deadline, that means I can come in for coffee and tell you all my problems for the next four hours, right?'). A good CP will be there on the roller-coaster ride you'll experience on the road to publication, they'll commiserate with you when it doesn't go well and cheer for your successes. Having said that, it simply doesn't work for some people. I'm one of them. But you might not be.
So, do you have a Critique Partner? Do you prefer to go it alone? Did you have a CP and it didn't go well? Have a great working relationship with your CP but then decide to stand on your own two feet? Are you part of a Critique Group? Like everything on this Blog, what I've said here is my take on things, you might see it differently or have an experience you'd like to share with Jill to help her make up her mind...
In the meantime, while I fight my way through yet another (hopefully temporary) block with my WIP, let me know if you have any questions or topics you'd like to see answered or discussed.
As to the little contest I had in the last Blog, the winner is... drum-roll please.... Becca! Guess that security word was a good sign, huh Becca? Let me know what you'd like from my current book list and email me your postal address through the website and I'll pop a signed copy in the post box for you.
Back to the grindstone I go...


text:
JUNEAU, Alaska (AP) — A black bear in Juneau, Alaska, didn't let a few floorboards keep him from getting at some honey.
The male bear walked up the stairs of a porch at the home of Janet and Donald Kussart and tore through the floorboards and some insulation to get his treat, the Juneau Empire reported (http://is.gd/su9At7 ).
The bear was wearing an Alaska Department of Fish and Game tag.
A neighbor, Ira Winograd, said the bear must have smelled a beehive the wall of the house, so he tore it up to get to his meal. Afterward, the bear ambled along a walkway and eventually darted into the forest.
Janet Kussart said people are used to having bears in the Starr Hill neighborhood.
On Saturday, a different bear fell through a skylight at the Juneau home of Alice Bishop and Glenn Merrill as they prepared for their son's first birthday party.
The dazed bear recovered enough to help itself to the cupcakes before the couple were able to shoo the bear outside. The animal retreated to the woods when Merrill used some bear spray.
Authorities believe that bear was killed 30 minutes later when it entered another home.
Information from: Juneau (Alaska) Empire, http://www.juneauempire.com

subset: commoncrawl


text: I think you have to really look deep inside on what you are looking for in a log. If you are putting caches out and the reason is to see how many creative logs people will give you, then I relate that to volunteer work. If you are doing volunteer work for inner peace and happiness or if you are doing volunteer work to gain public thanks from others. I think you should look inside for your reason for geocaching.......if you want more from your log entries then maybe you shouild put in your write-up that you want meaningful log entries and if the searcher does not have time to write one then please do not search for my geocache.......NOT.....be real, come on folks enjoy the sport, enjoy the hobby.....let it be what it will be, let's not make this great sport so hard that we run off people becasue they can't or don't write a good enough log entry. Just my thoughts!!


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UED6068, New November 1980
Missouri CourthousesContact and other information about this county is available on the National Association of Counties website, http://explorer.naco.org/.
Monroe County, organized in 1831, selected Paris as the county seat. Officials paid $100 for suitable land for a square, and in November 1831 they appropriated $3,000 for their first courthouse. The 50-foot-square, two-story, brick building, with white stone foundation and hipped roof was in the center of the square. An 8-foot, shuttered, octagonal cupola was supported by a 10-foot-square base. Its roof was covered with tin; a brass ball, fish and Franklin rod adorned the top.
The superintendent, who also provided the plan, was Sylvester Hagan; builders were Pavey and Orr. Three sides had doors with fanlights, flanked by a pair of windows. The first floor was laid with brick up to the bar in the courtroom. The wood bar was raised 4 feet. The second floor was not finished when first built. The Missouri Intelligencer reported it a very handsome brick courthouse, neatly finished. Other sources report the dimensions as 50 by 80 feet; the building may have been enlarged. The courthouse burned in December 1861.
The second courthouse, built in 1867-69 by Burton Edwards of Macon, cost $37,452 (Figures 1 and 2). John Parsons and Henry Davis were superintendents. It, too, was a two-story, brick, domed structure, but larger, measuring 60 by 102 feet. It contained nine rooms, two vaults, and Circuit and County Court rooms. This building was razed in 1912.
Figure 1Monroe County Courthouse, 1867-1912. (From: St. Louis Republic, Dec. 23, 1895)
Figure 2Monroe County Courthouse, 1867-1912. (Courtesy: State Historical Society of Missouri, gift of Ralph Gregory)
Monroe County voted three times before passing a bond issue in 1911 enabling them to build their third courthouse. It was said the committee visited almost every county seat in Missouri to examine recently constructed buildings. For the architect, they selected the Kansas City, Kansas, firm of William W. Rose and David B. Peterson. Rose had served as mayor of Kansas City, Kansas, in 1905. The committee also inspected other buildings erected by the firm before making their decision about design and plan.
This building, Monroe County's present courthouse, measures 108 by 82 feet; on the shorter side, columns support a pediment above a rusticated basement floor entrance (Figure 3). the principal entrance on the long side has a ground-level entry with a slightly projecting pavilion, recessed columns and a parapet above. The dome, with clock faces, is the last domed courthouse built in Missouri. The Henning Construction Co. received the contract for $83,450 in February 1912.
Figure 3Monroe County Courthouse, 1912-. Architects: William W. Rose and David B. Peterson (Courtesy: State Historical Society of Missouri)
Order publications online at http://extension.missouri.edu/explore/shop/ or call toll-free 800-292-0969.


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Thelma E. (Cullinen) Lynch
Thelma E. (Cullinen) Lynch of Western Promenade passed away January 18, 2013 at the Village at Waterman Lake. She was the wife of Paul F. Lynch to whom she was married for 42 years.
Born in Jersey City, New Jersey, a daughter of the late George and Agnes E. (Rooney) Cullinen, she had lived in Cranston for over 40 years. Mrs. Lynch was a graduate of St. Aloysius High School and worked for Jersey Bell and New England Bell for many years. She was the secretary at St. Paul School C.C.D. in Cranston for 10 years before retiring in 1999. She enjoyed vacationing at Point Pleasant Beach, New Jersey and Key West, Florida.
Besides her husband; she leaves a son, Paul F. Lynch, Jr. of Cranston, a daughter Jennifer E. Gallagher and her husband, Frank of Warwick; two grandchildren Colin and Sean Gallagher. She was the sister of the late George Cullinen, Jr. and Helen Kostyk.
Her funeral will be Wednesday at 9 a.m. from the Frank P. Trainor & Sons Funeral Home, 982 Warwick Avenue, Warwick. Mass of Christian Burial in Saint Paul Church, One St. Paul Place, Edgewood at 10 a.m. Calling hours Tuesday 5-8 p.m. Burial will be in Saint Ann Cemetery, Cranston.
In lieu of flowers, donations in her memory to the Hope Alzheimer Center 25 Brayton Avenue Cranston, RI 02920 will be appreciated. Special Thanks to the staff at Village of Waterman Lake and the Hope Alzheimer Center. Condolences please visit www.trainorfh.com.


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First Californian Gray Wolf in Nearly 80 Years Named 'Journey'
The gray wolf disappeared from California almost 80 years ago, but conservationists never stopped believin' — so it's only appropriate that the return of the species to that state should begin with a wolf named Journey.
That's the name chosen in a contest for a wolf that traveled — OK, journeyed — 800 miles from Oregon to become the first of his kind to visit the state since 1924. It's definitely a catchier name than OR7, which is what the scientists who tagged him in Oregon called him.
But after he made the trek across the California border, the conservation group Portland Wild decided a naming contest was in order. "We figured OR-7 needed a legitimate name," said Sean Stevens of Portland Wild, joking that "a celebrity of his status needed to be know by a name other than one ascribed by the collar around his neck."
The winning entry ultimately came from a pair of voters — an 11-year-old from North Dakota and a 7-year-old from Idaho. Think they both own a copy of Journey's 'Greatest Hits'? Decide while you watch Brian Williams of NBC News talk about Journey's, um, voyages in this recent segment.
In other Journey news, former vocalist Steve Perry recently explained his views on 'Don't Stop Believin"s recently uncovered lyrical "mistake" — as in, the fact that there's no such place as "South Detroit."
Learn About the Grey Wolf Named 'Journey'
Visit msnbc.com for breaking news, world news, and news about the economy


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Studying for the LSAT / DC area Lsat test sites« on: March 17, 2003, 08:11:36 AM »
For those that have taken the Lsats in the DC area, can you share the quality of the experience in the various sites? Would like to know which test sites in the area are better than others. Some of the sites for the exam I'm taking include University of the District Of Columbia, University of MD-College Park and Howard University; but feel free to comment on others in the DC area.


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As I mentioned yesterday, Bloggers' Corner is only about twenty feet from Sean Hannity's booth. The action is fast and furious. A few minutes ago, Terry McAuliffe appeared on Sean's show. They went at it pretty hard, arguing about Vietnam and the war on terror. McAuliffe was stumped when Hannity asked him whether Kerry was lying when he said he spent Christmas in Cambodia.
I posted a little footage of McAuliffe's appearance, and of the impromptu press conference he gave immediately after, right in front of us, where he talked about the protests against the RNC. McAuliffe strikes me as an amiable rogue, much like his pal Bill Clinton. As Hannity was going into a commercial break, McAuliffe got in one last cheap shot: "How's your Halliburton stock doing?" To which Sean replied, "Not bad. How's Global Crossing doing?" I loved it.
The action is so fast that it's hard to keep up with. We'll be interviewing Tommy Franks in a little while; he will be "making an announcement" in a few minutes. Presumably he's announcing that he supports President Bush for re-election.
Anyway, here is a very brief film of McAuliffe and Hannity.
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"Arise and take our stand for freedom as in the olden time." Winston Churchill
"Proclaim Liberty throughout All the land unto All the Inhabitants Thereof." Inscription on the Liberty Bell


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Ok, so it predicted snow and all London got was a very light dusting, but if the forecasters are right – and they are never wrong are they?! – there should be more snow on its way.
So now is the time to get yourself a sledge. If you order it now it ought to be delivered in plenty of time for when the real dollop of the white stuff happens later in the month (That is provided the postie can brave the snow to get through to drop it off .) Here then are five great sledges to choose from and The Beatles giving a masterclass in how to use them.
Porsche Aluminium Sledge £300ish
If you are feeling flash then this sledge is a Porsche. Yep it is designed by the same people who put the cars together and comes with a logo to prove it. It is made from very sturdy aluminum and has a fake leather seat. There are however two bits of bad news. One, it is priced like a Porsche and two, it is second hand only, they do pop up on ebay from time to time.


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Life-long learning for adults:
One of the primary missions of the Kilgore College Workforce Development and Continuing Education Department is to provide opportunities for the life-long learning for adults in the community. Workforce Development and Continuing Education non-credit courses are designed with many different goals in mind.
View Continuing Education Courses for Fall 2018 (pdf)
You may be interested in:
- Pursuing or resuming intellectual interests
- Increasing job efficiency
- Developing worthwhile hobbies
- Enriching leisure activities
- Learning a particular skill
- Retraining for a new career
- Improving self-image
Non-credit courses and programs to meet industrial needs:
We also offer many occupational courses and programs. In an effort to better serve the area, Workforce Development contracts with business and industry to provide noncredit courses and programs designed to meet specific industrial needs.
How do I get more information?
Additional information concerning Continuing Education offerings may be obtained by calling:
- Kilgore campus at (903) 983-8661
- KC-Longview at (903) 753-2642
To inquire about Workforce Development courses, call (903) 983-8288.
|WD-CE in Kilgore
|WD-CE in Longview
Bert E. Woodruff
Adult Education Center
220 N. Henderson Blvd.
Kilgore, TX 75662
(903) 983-8661
(903) 983-8288
Kilgore College – Longview
300 S. High Street
Longview, TX 75601
(903) 753-2642
Office Hours:
Office Hours:
Mailing Address:
Mailing Address:
Kilgore College-Longview
300 S. High Street
Longview, TX 75601
Don't see what you're looking for? Call us!
This page is designed to give a quick overview of types of programs offered by the KC Workforce Development-Continuing Education Department. Please download a current course schedule for more detailed information or call one of our staff members below to learn more about what we can do for your company.


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IN.gov - Skip Navigation
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Paid Internship for High School Seniors
The Emma Bowen Foundation is seeking minority high school seniors, who plan to attend a four year college, have at least a 3.0 GPA and a interest in media, business, computer science, engineering or technology. In addition to being PAID, students also receive a matching funds scholarship. The internship will last throughout their college years. Information and application are available at www.emmabowenfoundation.com. The deadline is extended until Feb. 15th.


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Style # 216023
Sheer mesh insert, wrapped design and luxury polyester chiffon drape make this bebe bodysuit a sexy way to dress up off-duty bottoms. Try yours with a denim skirt and a pair of wedge sandals.
- 98% polyester, 2% spandex
- Center back to hem: 23" (58 cm)
- Adjustable straps
- Hand wash according to care label
- Imported
- Model is 5'9" and is wearing a US size S
Mesh Insert Bodysuit is rated out of 5 by 1.
Rated 5 out of 5 by Fashionjunky from Easy wear Compare to the other bodysuits online this one to me is more suitable for us bra wearing ladies. Most of the thin strap bodysuits have no backs to hide our strapless bras and that's a problem.... This bodysuits has the option for a bra is true to size and has that's little sexy mesh in the front... I purchased the black... Size large
Date published: 2013-07-26


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|November 18, 2004, 05:52 PM
Junior member
Join Date: November 12, 2004
Posts: 449
I cannot believe Dillon!
I've owned a Square Deal press for going on 10 years. I load only medium velocity straightwall pistol calibers so this thing is perfect for me.
I haven't had a lot of trouble mainly because the thing is just made so well. And whenever I've had trouble, Dillon did everything for me short of sending a repairman to my house.
Anyway, last week I came on this forum asking for advice about my primers dropping onto the floor instead of feeding into the priming device. It was Friday night and Dillon was closed so I couldn't call them until Monday.
Monday I called them and got a live person immediately. I can't stand phone trees so this was great. I told the guy my problem. He says it's the little caps on the end of the priming tube. He says he'll send me some more, asap. I asked if I could have some more for the small tube. "No problem", says he. I said the machine's 10 years old. No sweat. Lifetime warranty.
Then I said that another little piece broke about seven years ago and could I get a replacement. He said they don't make it anymore, but they'd send the improved version.
All that was Monday afternoon. Thursday afternoon I get a package with a whole new primer feed assembly, replacement parts, and even a magazine called "Shooting Illustrated." All at no charge.
I've got to tell you, with guys like this in the shooting sports, we can't lose! Thanx Dillon!
|November 22, 2004, 10:00 PM
Senior Member
Join Date: October 28, 2004
Location: NV
Posts: 215
I've had a Dillon 550 for about 20 years and never had a problem.
I always hear Dillon takes of you. Glad to hear your story.
|November 22, 2004, 11:50 PM
Junior member
Join Date: May 31, 2004
Location: The Toll Road State, U.S.A.
Posts: 12,451
Yap, Dillon and Smith & Alexander are the most awesome gun-related companies I've dealt with.
|December 2, 2004, 11:34 PM
Senior Member
Join Date: June 19, 2004
Location: People's Republic of Massachusetts
Posts: 440
I've always had excellent experiences with Dillon, also. I own a SDB and two 550's (just got a spare on in trade). I dropped my live primers on the floor one time, under my reloading bench. After picking them up, I was standing up and hit my head on the spent primer cup on the bottom of my SDB, breaking the mounting arm.
I called Dillon to order another one. I told them what happened and they refused payment, covering it under warranty. They actually covered it when it was not a manufacturing defect, or worn part. If it was not for the contact with my big Polish head, it would have been fine for the life of the machine!
I will not buy any reloading presses except for Dillon for two reasons. Their customer support is the best in the business. But, most importantly, you rarely need them! Their products have worked flawlessly and accurately for me for hundreds of thousands of rounds, and counting.
Results of the 1998 Massachusetts gun laws:
It is important to keep in mind the ISP reports show that firearm related homicides decreased 56% from 1994 to 1998.
From 1998 to 2002, firearm related homicides increased 48%. During the same time, firearm related accidental deaths have increased 200%.
Will work for ammo.
|December 7, 2004, 06:06 PM
Senior Member
Join Date: November 29, 2004
Location: Florida
Posts: 778
Sounds like a winning combo, now if I could only find the extra $ to get one
|December 8, 2004, 12:26 AM
Senior Member
Join Date: June 19, 2004
Location: People's Republic of Massachusetts
Posts: 440
If you shoot any amount, you can't afford not to reload. I've seen several Dillon reloaders for sale at reasonable prices on AR15.com. Great thing about it is even if you buy it used, it's covered under Dillon's warranty.
If you are only going to reload handgun ammo, the Square Deal is the way to go. A little quicker since it indexes the rounds automatically instead of you having to do it manually with the 550B.
I asked them about the speeds advertised in their catalogs. They claim the 550B reloads more ammo per hour than the Square deal. They could not offer any explanation for it, either. I know the hourly round count they advertise for the SDB is lower than what you can do. So, they must intentionally lower that so the more expensive 550B doesn't have a lower hourly rate than the cheaper SDB.
I don't know, they are both excellent presses.
Results of the 1998 Massachusetts gun laws:
It is important to keep in mind the ISP reports show that firearm related homicides decreased 56% from 1994 to 1998.
From 1998 to 2002, firearm related homicides increased 48%. During the same time, firearm related accidental deaths have increased 200%.
Will work for ammo.
|August 1, 2005, 12:30 PM
Junior Member
Join Date: August 1, 2005
Location: NC
Posts: 3
I bought my Dillon 550b second hand and they still treated me with that #1 customer service! Class act for sure!
|August 4, 2005, 11:06 AM
Senior Member
Join Date: March 25, 2005
Location: Northern Wyoming
Posts: 343
I first bought a SDB 12 years ago and had the thing paid for in savings over store bought in about 9 months. After 15,000 rounds I sent the SDB in for a check up. Dillon went through the SDB and replaced several parts that were JUST starting to show some wear. Cost... no charge. I've since upgraded to a 650XL and called Dillon twice, once for missing locator pins for a second caliber, and once for a broken indexer ring. Both times the rep at Dillon had the part set for shipping within seconds and I received it within 2 days.
Great people to deal with. Drop by their place at the north end of Scottsdale airport, Scottsdale AZ and get the cook's tour. Heck, if Mike Dillon is around he might give you a look into his aircraft hangar at the back. He's got some REALLY COOL toys.
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Windham students rolling toward FIRST finals
WINDHAM -- A group of mechanically minded Windham High School students earned top honors at the district FIRST Robotics competition at the University of New Hampshire earlier this month.
The 30 members of the Windham Windup, who are in grades seven through 12, will now compete in the season's final district event at Northeastern University on March 28 before heading to the district championship event at the Agganis Arena in Boston in mid-April.
They're hoping their successful streak that began at UNH will continue over the coming months, enough to earn them a slot at the FIRST World Championship in St. Louis next month.
Anne Browne, one of the team's adult mentors, said the Windup ranked fourth out of 36 teams competing at UNH this month."They went into the event with a fair amount of practice under their belt, and it showed," Browne said. "Right off the bat the team gave a strong showing, winning the majority of their qualification matches."
Teaming up with two other top teams from Portland and Skowhegan, Maine, the three-team alliance advanced to the finals at UNH, where they lost a close first match but bounced back and won the next two matches, earning them the title of 2014 UNH District Champions.
The Windup was later presented with the Chairman's Award, which is given at each competition to a team that best represents the mission of FIRST.
Coach Scott Kukshtel said the team continues to grow each year, noting that there were only 10 or so members in fall 2010, the start of its first season.
This year's season is somewhat bittersweet, as 10 of the founding members will be graduating this spring, though a handful of seventh- and eighth-graders have been welcomed as active junior team members.
"It's a great way for them to build seniority with the team and to get a taste of the competitions," Kukshtel said.
The Windham Windup has shown great progress since its inception. During its maiden season, the team won the Rookie All-Star Award. If they make it to St. Louis next month, it will be their third time competing at the international level.
The team's challenge this year is known as "aerial assist," which tasks them with designing and building a robot that's able to toss a 24-inch exercise ball through a vertical goal, similar to one seen on football fields.
"This year there's a bit of a twist," Kukshtel said. "The robots will be passing the ball to one another, so they need to be more interactive."
On Friday afternoon, a group of teammates were hard at work on their latest robot, known affectionately as "Wingman."
Freshman team member Ken Cole, who joined the Windup earlier this year, admitted he initially joined the team "because a lot of my friends were doing it" but was pleasantly surprised.
"It just looked really cool," Cole said. "And I love it so far."
Sophomore Casen Megna, who was busy fitting some foam "wacky noodles" onto the robot's bumpers Friday afternoon, said he enjoys being part of the Windup for a variety of reasons.
"It's given me the chance both to explore engineering and to be part of a team," Megna said. "The difference here is we root for other teams as well as our own."
Junior Cassandra Salafia joined the Windup last year and is one of the team's five female members.
"I like how it builds friendships," said Salafia, who hopes to pursue an engineering degree after she finishes high school. "I also like that I never feel limited. You can do mechanical one day and electric another day."
The team is raising money to assist them in their upcoming series of competitions. For more information or to donate to the Windham Windup, visit the team's website at www.team3467.org.


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Whether you're a professional athlete or a casual gym-goer, the right protein shake can make all the difference to your performance, recovery and general wellbeing. Protein is integral for repairing and developing muscle mass, as well as for metabolising various biochemical processes that occur in the body.
Whilst the vast array of different types of protein on offer can seem overwhelming, rest assured that your perfect supplement is easier to find than you think. For those of you who are new to the world of sports nutrition, here's our comprehensive beginner's guide to protein shakes, including information on the different sources, their benefits and the best time to take them.
When it comes to gaining muscle, adapting your diet is just as important as putting in those extra hours at the gym. Protein is the only macronutrient that contributes to the development and maintenance of muscle mass, which is why it maximises your growth potential.
Regular protein consumption throughout the day ensures that your muscle tissue is provided with a sustained supply of amino acids, creating the optimum anabolic environment for development. As a starting point, try our best-selling Impact Whey, or Impact Whey Isolate for lean gains. If you're looking for sheer bulk, Hard Gainer Extreme will give you the calorie surplus you need to increase size and mass.
Supplementing your diet plan with protein shakes is a convenient way to aid fat loss, whilst also supporting muscle maintenance. Protein is the most filling of all nutrients, which means that it can suppress your appetite, helping you to feel fuller for longer. Many of our low calorie blends, also contain antioxidants and essential fatty acids, like Green Tea Extract and CLA.
Choose from several of our expertly developed products, including Impact Diet Whey and Impact Whey Isolate, to achieve your goals in the most effective way. We offer a variety of tasty flavours, so that you can reward yourself when you deserve it most.
Drinking a protein shake directly after training can significantly improve your recovery rate, as well as supporting muscle development. Our powders contain a high concentration of essential amino acids, which are necessary for the synthesis of many proteins.
A 20-30g post-workout shake will act quickly to rehydrate your body, restore glycogen levels and provide the nutrients needed for muscle repair. Try Recovery XS or Milk Protein Smooth for a concentrated boost, or Bedtime Extreme for a sustained release of amino acids.
Meal replacement protein shakes provide an ideal way to ensure that you are getting all the nutrients you need. It goes without saying that missing meals has a negative impact on general health, but it can also prevent you from losing weight effectively by slowing down your metabolism.
For convenient alternatives, check out our Total Breakfast blend and Macro:Meal. Our formulas are packed with key ingredients, including ground oats, barley and colostrum, to keep you fuelled throughout the day.


text:
Symptom Checker
Step 4: Read and complete the decision guide to learn more about your symptoms.
Nausea and Vomiting in Pregnancy
So far your answers suggest that what you are experiencing is most likely related to your pregnancy.
Just to be sure that there is not another reason for the nausea and vomiting, please continue with the guide.
- General Health
See also
- Anxiety
- Birth Control (Contraception) for Women
- Blacking Out, Fainting, or Loss of Consciousness
- Blood Magnesium Test
- Daytime Drowsiness
- Depression
- Diffuse Muscle Weakness
- Diffuse Pain
- Excessive Body and Facial Hair in Women
- Fever in Adults
- Forgetfulness Memory Loss
- Gout
- Helping Dry Skin
- Hot Flashes
- Imbalance
- Insomnia
- Insomnia During Pregnancy
- Itching Without Rash
- Jaundice in Adults
- Nausea and Vomiting in Pregnancy
- Numbness or Tingling
- Positive ANA
- Positive Rheumatoid Factor
- Raynaud's
- Unexplained Weight Gain
- Unintentional Weight Loss
- Start over
Disclaimer: This content should not be considered complete and should not be used in place of a call or visit to a health professional. Use of this content is subject to specific Terms of Use & Medical Disclaimers.


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Raley, Cubs can't slow Dodgers after four-run first
MESA, Ariz. -- Jerry Hairston Jr. drove in three runs, including a pair on a double in the second, and Brian Barden hit a two-run single in the fifth inning to lift the Dodgers to an 11-7 win over the Cubs on Wednesday.
Dodgers starter Aaron Harang gave up four runs on five hits over two innings.View Full Game Coverage
MESA, Ariz. -- Jerry Hairston Jr. drove in three runs, including a pair on a double in the second, and Brian Barden hit a two-run single in the fifth inning to lift the Dodgers to an 11-7 win over the Cubs on Wednesday.
Dodgers starter Aaron Harang gave up four runs on five hits over two innings.View Full Game Coverage
"First Spring Training game, and I felt like I was having a hard time getting loose again after warming up and then sitting there for I don't know how long it was," Harang said. "I just felt like it took me until the middle of [the first] inning to really feel like I was getting loose."
The Dodgers loaded the bases with two outs in the first and a run scored on a wild pitch by starter Brooks Raley. Chicago then batted around in the first against Harang. Luis Valbuena doubled to lead off and scored one batter later on Anthony Rizzo's single. Rizzo was forced at second on Alfonso Soriano's fielder's choice, and Nate Schierholtz hit an RBI single to give Chicago a 2-1 lead. One out later, Welington Castillo walked to load the bases and Darwin Barney followed with a two-run single.
The Dodgers loaded the bases again in the second against Raley, who was then pulled. Hairston greeted Trey McNutt with a two-run double and Alfredo Amezaga hit an RBI single to tie the game at 4. Hairston then scored on Hanley Ramirez's sacrifice fly.
The Dodgers loaded the bases again in the third, taking advantage of a fielding error by Scott Hairston, Jerry's brother, who muffed Yasiel Puig's fly ball, and Elian Herrera hit an RBI single, Jerry Hairston added a sacrifice fly and Amezaga hit an RBI single, his third hit of the game.
Herrera also had three hits.
Raley, who made five starts for the Cubs last season but spent most of the year at Triple-A Iowa, gave up three runs on four hits and one walk in one-plus innings.
A Cubs run scored on a throwing error by third baseman Omar Luna in the third, and another scored on a throwing error by shortstop Dee Gordon in the fourth.
Alex Castellanos led off the Dodgers' seventh with a home run to open an 11-7 lead.
Cubs shortstop Starlin Castro had to leave in the fourth inning because of tightness in his left hamstring.
Up next: Scott Feldman will make his Cubs debut on Thursday, when he starts against the A's in Mesa at 2:05 p.m. CT. Feldman, a free agent, who signed a one-year deal this offseason, wasn't looking forward to seeing the A's. He is 4-6 with a 6.37 ERA in 21 games, including 12 starts, in his career against Oakland. Last season with Texas, Feldman was 6-11 with a 5.09 ERA in 29 games (21 starts). Expect to see Brent Lillibridge at first base. A non-roster invitee, he's fighting for a spot as a utility player. The game will be broadcast via an exclusive webcast on cubs.com.
Carrie Muskat is a reporter for MLB.com. She writes a blog, Muskat Ramblings, and you can follow her on Twitter @CarrieMuskat.


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Oakland, Berkeley, And East Bay News, Events, Restaurants, Music, & Arts
Cliff and Charlie live boring lives in LA. In an effort to spice up their existence, Charlie suggests they go to the famous Full Moon Party in Thailand. Cliff agrees to go on the condition that they purchase around the world tickets and see the globe first. Along they way he wants to sprinkle the ashes of his recently deceased childhood friend, Paul. Together, Charlie, Cliff and the remains of Paul, embark on a trip of a lifetime as they travel to the Caribbean, South America, Europe and Asia. Shot in over 20 countries, Cliff and Charlie have unbelievable adventures in every location and their lives are changed forever! Winner of 45 film festival awards, Last Stop for Paul is the "Most Award Winning Independent Film of 2007.


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A comprehensive win in Udine for the Nerazzurri ensured they climbed up to fourth in Serie A and consigned the Zebrette to their second successive defeat at home.
First-half goals from Rodrigo Palacio and Andrea Ranocchia gave Walter Mazzarri's men a comfortable advantage they would not relinquish.
Fredy Guarin was denied by the woodwork as Inter went in search of a third and it duly arrived in the 91st minute, with Ricky Alvarez tapping home to consign Udinese to their third defeat in four matches.
Both sides made two changes from their midweek fixtures. Emmanuel Agyemang-Badu and Silvan Widmer returned for Udinese, while Ranocchia and Saphir Taider came back in to the starting XI for Inter.
After a quiet opening 20 minutes, Mazzarri's men twice went close to breaking the deadlock in the space of 60 seconds.
First, Cambiasso won the ball 30 yards from goal before unleashing a fierce drive that was tipped over the crossbar by Zeljko Brkic, then Jonathan played a clever ball in to Yuto Nagatomo, who snatched at his effort from six yards and sent the ball wide.
Inter did not have to wait long to take the lead, however, as Palacio rose highest to nod home Taider's right-wing free-kick from seven yards in the 25th minute.
The advantage was doubled four minutes later, Ranocchia volleying home Esteban Cambiasso's left-wing corner into an empty net after Brkic had misjudged the flight of the ball as he attempted to come and collect.
Udinese should have been back in the game 10 minutes before the break, Luis Muriel capitalising on a terrible mistake by Walter Samuel before dragging his angled effort horribly wide, the ball running out of play for a throw-in on the far side.
The home side began the second half strongly, former Udinese goalkeeper Samir Handanovic produced a spectacular save to deny Antonio Di Natale's dipping effort two minutes after the restart before Maurizio Domizzi sent an overhead kick narrowly wide 10 minutes later after Inter struggled to clear a ball into the box.
Despite Udinese's greater threat in the second half, it was the visitors who went closest to grabbing the next goal in the 61st minute, Guarin powering past Domizzi in the box before seeing his low effort cannon off the base of Brkic's right-hand post and away to safety.
Inter did indeed claim a third goal in stoppage time, Palacio squaring the ball for Alvarez to slot home into an empty net as the visitors closed out a win that took them to within six points of Juventus in the final Champions League qualification berth.


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Tweeting the Preview: #138 – #115Posted by rtmsf on November 5th, 2009
Ok, we've officially lost our minds, but they say the first step toward healing is recognizing the problem. As of 8am EDT last Monday, there were 347 hours until tipoff of UNC vs. FIU and Ohio State vs. Alcorn State on Opening Night, Nov. 9. Beginning that morning, we started releasing our rankings of every Division I team from worst to first as tweets on the social networking platform known as Twitter (you may have heard of it). We'll release one team preview every single hour from now until Opening Night, and in case you're not following us over there, we'll put the updated list here each night for your review. The key to tweeting, of course, is conciseness, so we'll try our best to relay some relevant information about each and every team in the requisite 140 characters or less, and hopefully some of you will be paying attention along the way. Here are Wednesday's entries, #138 to #115. What's that – a Sidney Lowe sighting??


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The unique material of Coqui clogs provides comfort and its safety is confirmed by a certificate of quality from ITC. The outsole doesn't stain and the shoes don't slip under dry nor wet. The footwear is free of heavy metals. They are also suitable as house slippers or school shoes. The ergonomic design encourages natural position of the foot and supports the healthy development of leg. Ingeniously created outsole absorbs shocks, protects the spine and joints. When polluted, the maintenance of the shoes is very easy, just wash them with water.
They are made of material CoquiAir, which is very lightweight and reduces the risk of bacteria transmission. Perforation of the shoe ensures moisture and dirt removal. Your children can play in them all day without sacrificing comfort and convenience. Our production technology cares for the health and natural development of your children. Give them quality footwear of Coqui brand.


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Tempered win
Dave D'Onofrio's Patriots Notebook: Incredible win tempered by loss of GronkowskiBY DAVE D'ONOFRIO
Special to The New Hampshire Union Leader
December 08. 2013 9:26PM
FOXBOROUGH, Mass. -- WITH 99 seconds left to play at Gillette Stadium on Sunday, things seemed to be on the cusp of disaster for a Patriots team that has been playing with fire for a month now, and finally looked as though it was going to get burned.
After failing to score in the first half, and allowing two Jason Campbell touchdown passes in the second, the Pats trailed by 12 and had just one timeout. Along the way, star tight end Rob Gronkowski had been lost for the day — and likely the season — with what is reportedly a torn ACL in his right knee. And, meanwhile, the Bengals had just beaten the Colts.
If everything had been decided there, the Patriots would've lost to a team that had dropped six of seven, would've lost Tom Brady's most important weapon, and would've lost their grip on a first-round bye in the forthcoming AFC tournament.
But as these Patriots have proven throughout this season — and proved once more Sunday — games aren't decided with 99 seconds still on the clock. Or even with one second still on the clock.
And so with the latest and maybe most remarkable in a lengthening string of incredible outcomes, the Patriots ultimately left their home stadium knowing they'd need to deal with yet another major injury to an important player — though they do so at 10-3, now only a win away from the AFC East title, still in control of the AFC's No. 2 seed, and just a Broncos' slip-up from moving into a position where they would have the inside track on home-field advantage throughout the conference playoffs after stealing a 27-26 triumph from the Browns by scoring twice in the final 1:04 of play.
"That's the attitude of our team," said Shane Vereen, who set team records for catches (12) and receiving yards (153) by a running back. "We're not done until the clock says zero. Down, but never out. When you've got Tom as your quarterback, you know you've always got a shot."
That's been evident throughout the season, and particularly over the past two months, when the Patriots have come back to beat the Saints with five seconds to go, rallied from halftime deficits of 17-3 and 24-0 to defeat the Dolphins and Broncos, and last week erased a fourth-quarter disadvantage against the Texans.
Sunday's win was even wilder, considering it required the Patriots to not only score touchdowns on passes to Julian Edelman and Danny Amendola, but in between they also had to recover an onside kick — which is something they hadn't done as a franchise since 1995, and something they'd only once ever done in a game they went on to win. That came in 1964, and the recovery came in the first half of a contest the Pats eventually claimed, 26-10.
So when Bill Belichick came striding through his locker room all smiles after the game, stopping for a hug from defensive lineman Isaac Sopoaga, then another from Brady, he certainly had plenty of reason to be pleased in the way the day finished.
"We're excited to win," said the coach. "Absolutely, we're excited to win. It's hard to win in this league. Cleveland is a good football team and they played well today. We're definitely excited to win."
That excitement was evident among his players, too, who were generally proud of their resilience, and their mental toughness, and their ability to execute when opportunity arose in the final minutes. But at the same time that satisfaction seemed tempered by the status of Gronkowski — who left the field on a stretcher, went to the hospital, and will undergo an MRI today — as well as the acknowledgment that there remains plenty of work to be done, plenty of improvements to be made, and plenty of problems that need to be corrected.
For the fourth straight week, the Patriots started out painfully slowly on offense, getting shut out before the half for a second straight home game. They clawed their way back within five points, then allowed Josh Gordon to go 80 yards with a slant on the first-play of the subsequent series. They later let the Browns go ahead by 12 at the end of an impressive march with 2:39 to go.
"If you look at us play, it's not one thing that, if we fix that, we'll be good," safety Devin McCourty said. "The biggest thing that we continue to talk about is consistency. Throughout the game we have some good stops, we string some series together, some plays together — but it's being consistent on every down. If we can do that, I think we'll be good."
They struggled to do that Sunday, and, so, we still don't know just how good this team really is. If anyone was looking for New England to validate itself against Cleveland, or to reestablish its fundamental style of play, they probably come away as uncertain as ever about what degree of contender this team really is because of the conflict between the end result and the rest of the game. With three weeks to go, it's still plenty unclear where these Patriots sit on the NFL landscape.
But there's no doubt, even without Gronkowski, they're sitting prettier than it looked like they would be with 99 seconds to play Sunday.
Dave D'Onofrio covers the Patriots for the New Hampshire Union Leader and Sunday News. His e-mail address is firstname.lastname@example.com.


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Four Ways to Make Tapered Legs
We explore methods to help you find the one that works best.
By Keith Neer, Glen D. Huey, Robert W. Lang & Christopher Schwarz
Pages: 55-59
From the February 2009 issue #174
Buy this issue now
It's true! From working with hand tools, to powering up stationary machinery, to any combination of these two woodworking disciplines, there are myriad techniques to taper legs.
Tapering work is often completed using a band saw or table saw. At times you'll see tapered legs being made at a jointer. And some woodworkers shape their legs using a thickness planer.
On a recent visit with Keith Neer, an Ohio craftsman and woodworking teacher, we settled around a table for lunch. As you might expect, when four woodworkers get together, the conversation quickly turns to woodworking.We agreed on most topics until, that is, we touched upon tapering legs. It soon became clear that we differed in our preferred technique. Each of us uses a different method to produce a leg design found on Federal, Shaker and country furniture.
Of the four techniques, one is completed using a single machine (after properly marking the legs). Another requires accurate layout on all legs before a two-step milling process completes the work. And two of the techniques require a custom-built jig that's used to produce any number of matching legs. One layout, repeatable results.
This is how it is for most woodworking techniques – many avenues lead to the same address. Try each of these techniques to find the one that best fits your tooling, experience and abilities.
From the February 2009 issue #174
Buy this issue now


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Watch The ::God Is Imaginary Videos On YouTube ::
0 Members and 1 Guest are viewing this topic.
Welcome Andy, I don't know the answer about crushed testicles but just saying those words makes me cringe. I think that would be more than a blemish. My screaming would be heard in the next county.
It mustve been fairly common to have crushed testicles in that era for them to specifically name it out of all the possible defects. But if you think about whats currently happening in the church it all makes sense now.
Schizoid you said, "Apparently, the power of procreation was very important for Leviticus and men who did nothave unblemished sexual organs, were not considered holy enough to bringofferings."


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DiverseCity onBoard bridges the diversity gap in governance and raises the standard for modern governance. It is an internationally recognized program that provides governance training for everyone and connects qualified candidates from under-represented groups to not-for-profit organizations and public agencies, boards and commissions.Our governance training is provided through an online learning campus supplemented with in-person discussions and events. Connections are made through a searchable database that matches qualified individuals with board opportunities. DiverseCity onBoard promotes full inclusion, working with individuals and organizations to create effective boards and reap the benefits inclusion provides.
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Board Matching – The Board Matching program is currently available to individuals who belong to at least one of the following groups and reside in one of our local program cities (Greater Toronto Area, London, Hamilton, Windsor, and Metro Vancouver)
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*Our governance training modules are compliant with the Accessibility for Ontarians with Disabilities Act (AODA). If you are having difficulties accessing the board matching database, please contact firstname.lastname@example.com
Governance Training – Available to not-for-profit organizations, agencies, and businesses anywhere in Canada. Learn more about this unique professional development opportunity.
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Leadership plays a key role in a country's economic outlook and social fabric. When there is diversity around the decision-making table, organizational performance improves, innovation happens and new solutions are generated. It also drives essential social networks that are the vanguard of social cohesion.
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Our vision is to enhance the standard for modern, effective governance through leadership that reflects Canada's communities. We want to improve the representation of underrepresented groups in leadership in cities across Canada and help organizations build strong, efficient, and diverse boards that meet the needs of their communities.
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Today we operate in cities across Canada working to raise the standard for modern effective governance so that all our communities benefit from decisions made around the board table.
In 2011, DiverseCity onBoard was selected from over 400 international proposals to receive second prize in the Intercultural Innovation Awards sponsored by the United Nations Alliance of Civilizations and BMW Group.
The award opened up a new chapter for DiverseCity onBoard and Maytree. It supports the replication of DiverseCity onBoard nationally and internationally and has resulted in a growing network of more than 30 cities working together to develop similar programs in countries around the world.
The international community of practice is growing and already counts organizations in Auckland, Atlanta, Barcelona, Berlin, Birmingham, Boston, Calgary, Cologne, Copenhagen, Dublin, Hamilton, London, Montreal, New York, Oakland, Ottawa, Stuttgart, Sydney, and Vienna.


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Founded: 30 August 1996
WWF Brazil office
Founded: 30 August 1996
Edificio Jade Office - SGCV Lote 15,
Salas 319 e 420
Zona Industrial
Guará - Brasília DF CEP: 71215-650
Phone: +55 61 3364 7400
Fax: +55 61 3364 7474
WWF in Brazil
WWF Conservation Projects in Brazil
Forest Conversion Programme
The Forest Conversion Initiative (FCI) was conceived in 2001 with the goal of reducing conversion of high conservation value forests (HCVFs) and other...
Community-Based Managed Floodplain Fisheries: Varzea Project Phase II
The Varzea project addresses the problem of unsustainable fisheries. Alongside logging and land clearing (for cattle ranching and agriculture), small ...
Saving the Amazon
Described by many as the "lungs of the world", the Amazon rainforest is severely threatened. Uncontrolled logging and development continue to contribu...
Latest Brazil News
Why talk about protected areas in the UN negotiations?
Delegates from around the world are now together in Bonn, Germany, at a meeting of the UN Framework ...
REDPARQUES makes good progress in getting protected areas recognized as natural solutions to climate change
REDPARQUES, the Latin American network of protected areas system directors is making progress ...
WWF: Average EU citizen consumes 61 kg of soy per year, most from soy embedded in meat, dairy, eggs and fish
A new research report commissioned by WWF concluded that the average EU citizen consumes 61 kg of ...
Amazon survey investigates fish and communities in region targeted for hydropower development
A 12-day field survey of Brazil's Juruena River will provide new information about the river's ...
Hidden soy on supermarket shelves masks assault on nature
The invisibility of soy on supermarket shelves masks the major contribution that it makes to ...
WWF tool measures cumulative impact of hydropower, mining projects in Amazon
WWF calls for a common vision for Amazonian river basins that are the site of large-scale mining ...
Keeping an eye on deforestation
Collaboration on forest monitoring outside Brazilian Amazon is announced
House reforms to Brazil's forest code open loopholes for continued deforestation
Big agribusiness gets a pass from Brazilian House of Representatives on reforestation obligations, ...
WWF Rio+20 closing statement
With negotiations at an end, WWF Director General Jim Leape today issued the following closing ...
WWF: Rio+20 Negotiating Text is colossal failure of leadership and vision
Despite a late night negotiating session, the revised text is a colossal failure of leadership and ...


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Undefeated is back with its propositions for summer 2013. The latest collection once again features the distinct blend of laid-back sportswear and military inspired pieces we came to appreciate about the California-based streetwear brand.
The collection comprises besides classic items such as oxfords, polos, coach jackets, as usual top-notch fleece sweaters in classic heather colors including grey, blue and red. Furthermore we get to see baseball inspired print shirts, as well as a range of solid headwear and accessories.
The first batch is going to drop on 6th of July.


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BETHLEHEM, Pa. -- DeMeco Ryans, the new Eagles middle linebacker, didn't need to worry about finding the way to Lehigh University. He rode with fellow linebacker Akeem Jordan, who knows how to navigate the hilly campus.
But once Ryans checked in, it was time to become the leader. When Ryans spoke about his excitement for training camp -- a seemingly universal sentiment that often carries a different tune after practicing in the heat and sleeping in the dorm rooms -- he spoke about "jelling together our team." For Ryans, who was a captain with the Houston Texans, the chemistry is an important consideration of training camp.
"Through training camp, you always have different guys coming in each year," Ryans said. "So through the process of training camp, you all get to learn each other, get to be around each other a lot more. You get used to hanging around each other. You get to know the guys. That's what training camp is all about. Especially being here in Lehigh, you get everybody, the camaraderie, guys get closer together. That's how you build a team."
"After mini-camps and organized team activities, Ryans knows the scheme and the expectations of the defense. He's been waiting for the season through the summer, when he returned home to Alabama and also trained with former Texans teammate Brian Cushing in New Jersey.
Camp will be a different experience, too. Ryans said in Houston, the Texans didn't have full-team scrimmages heavy on contact the way coach Andy Reid likes to run training camps with the Eagles. Ryans pointed out there's more than one way to be successful, and figured Reid knows what he's doing. But he's eager to see what it's like, and that's why Ryans awaited Thursday's first full-squad practice.
"I tell people all the time, I'm definitely excited to be an Eagle," Ryans said. "I'm looking to come in and do my part."


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Juan Uslé Paints to His Own Heartbeat for New Work at Cheim & Read
Juan Uslé's idiosyncratic abstractions, constructed with translucent layers of handmade saturated colors, evoke the environs and energy of his Northern Spanish homeland and New York City. Dividing his time between Spain and New York, Uslé says he has always felt a sense of displacement, which is an important theme in his work. Uslé imbues his signature sense of dynamism into his paintings by exploiting the nature of opposites: between organic and geometric forms, randomness and order, and the simultaneous physicality of paint and its ability to disappear into sheer, ethereal surfaces and illusions of light.
Spanish, b. 1954, Santander, Spain, based in Cantabria, Spain and New York, NY


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