The apartheid system in South Africa Essay Example for Free

The politically-sanctioned racial segregation framework in South Africa Essay The term politically-sanctioned racial segregation was one of the most politically charged words in the second 50% of the twentieth century, and still stays infamous today. Politically-sanctioned racial segregation interpreted from Afrikaans methods separateness or apartness. Anyway when the National Party came to control in South Africa in 1948, it took on a considerably more vile importance and today is related with racial and ethnic separation. The underlying foundations of politically-sanctioned racial segregation stem profound into South African history. It began route back during European settlement, and was authorized and kept up until the finish of the twentieth Century. It will everlastingly leave an imprint on South Africa and to be sure the world; a dim period in mankind's history from which we have and will keep on learning. Strains among Europeans and local Africans have existed since the main long periods of settlement and the most punctual indications of what might snowball to become politically-sanctioned racial segregation can be followed to these occasions. In 1488, the Portuguese originally cruised past the Cape of Good Hope, inevitably arriving there and exchanging for food with individuals who called themselves Khoikhoi. It wasnt until the 1600s however, when the Dutch East India Company set up a base in Southern Africa, that the roots for what is today known as South Africa were put down. At first contacts between the Khoikhoi and the new Europeans were quiet, yet after some time the circumstance developed unfriendly. Supported by their weapons, just as the ailments they carried with them, the Europeans took increasingly more land and disturbed the locals way of life. By 1795 15000 Europeans and their slaves were dissipated all through the Cape settlement. Savagery between the locals and the Europeans was unavoidable. There had been battles between the gatherings in little fights, however it wasnt until the late eighteenth Century that there was a huge scope boondocks war between them. The locals were driven back, however in 1806 Britain assumed control over the Dutch Cape Colony, carrying British pilgrims to the territory. This wasnt a genuine issue to the Boers, the most punctual European pioneers, from the start, however strife before long followed. In 1833 Britain finished subjugation all through its realm, including the Cape. The Boers unequivocally couldn't help contradicting this and they needed to keep their freedom as they accepted they had a natural option to possess African land and slaves. In the late 1830s they relocated north and eastwards a long way from British Rule to build up their own autonomous republics, in the Transvaal and the Orange Free State. Anyway when jewels and gold were discovered later in the nineteenth Century the British enthusiasm for these inside territories was re-initiated. The Anglo-Boer War was battled therefore during the years 1899-1902. This war was one of the epic clashes in the structure of an Afrikaner belief system and feeling of personality. The loathe of the British subsequently enormously added to the firm Afrikaner conviction that they were picked by God to govern the land, a conviction that would be appeared and executed in the politically-sanctioned racial segregation framework. Paving the way to the First World War, South Africa stayed a profoundly separated nation. Just 21.5 percent of the populace were white, Boers were as yet angry over the Anglo-Boer war and the greater part dark populace was separated among itself. It was likewise during this time and after the war that the underlying foundations of politically-sanctioned racial segregation started to rise. Strategies, for example, the Mine and Works Act of 1911, which constrained blacks into the class of modest work, and the Natives Land Act of 1913, cleared the beginning of the pathway that would prompt politically-sanctioned racial segregation. Indeed, even restraint from the police was clear in this time, when in 1920 African diggers picketed and were killed in Port Elizabeth for their endeavors. Indeed, even before the National Party, that would actualize politically-sanctioned racial segregation to its extraordinary, was chosen, politically-sanctioned racial segregation was happening and existed all through the nation. In outline the strategy of politically-sanctioned racial segregation was a result of the late pioneer period and appeared because of occasions during early settlement, and occasions later, for example, the Anglo-Boer, that started and touched off a mindset that couldnt be stifled. In1948 a Nationalist Party government under Dr Daniel Malan was chosen, promising a white South Africa and a complete arrangement of politically-sanctioned racial segregation among blacks and whites. Politically-sanctioned racial segregation occurred in South Africa due to an Afrikaner conviction of their inherent right to Africa, which was additionally a supremacist one. Politically-sanctioned racial segregation was consequently a way to help and regulate their view on how the nation ought to be run. Politically-sanctioned racial segregation was kept set up through different methods, chiefly the utilization of enactment and innovation. The fundamental way that the administration implementâ apartheid was through enactment. There were endless laws and bills spent, which after some time stripped dark Africans of their privileges, at the same time preferring the white world class of South Africa. Race laws influenced each social part of life in politically-sanctioned racial segregation South Africa. The early arrangements that were made when the National Party previously came into power set the base for the later approaches to produce results and branch off. These strategies typified what the politically-sanctioned racial segregation system was about, strikingly two of the most punctual approaches made, being the Population Registration Act and the Group Areas Act. Both were made in 1950, with the Population Registration Act requiring al South Africans to be racially ordered into ei ther white, dark or hued, and the Group Areas Act which geologically isolated the racial gatherings. These laws and arrangements forestalled the dark populace having similar benefits, ways of life and status as the white South Africans. Under the politically-sanctioned racial segregation framework regular day to day existence was incredibly influenced by such laws. For instance, under the Reservation of Separate Amenities Act in 1953, individuals of various races were restricted from utilizing a similar open offices, for example, cafés, transport administrations, bathrooms and so forth. Under the Population Registration Act various individuals from a similar family ended up in various race gatherings. A portion of these laws basically made dark Africans outsiders; the right term was visitor workers who were possibly permitted to work in South Africa on the off chance that they held an impermanent work license. The Bantu Education Act of 1953 implied the administration took over control everything being equal and establishments. The accentuation in dark schools was intensely on horticulture and this was another method of controlling dark Africans just as maintaining the politically-sanctioned racial segregation framework. The yearly consumption on instruction from the administration per understudy was $45 for blacks and $696 for whites. These are only a couple of instances of laws and strategies that were executed to keep up the politically-sanctioned racial segregation framework. Another way the legislature had the option to uphold politically-sanctioned racial segregation was through innovation, fundamentally PCs. More than some other single innovative headway; the PC encouraged the grouping of authoritative force in the possession of Africas white elite.1 Computers were utilized in pretty much every administration organization, especially in the police framework and the military. Theâ vast dominant part of these PCs originated from America and IBM was the biggest PC provider in South Africa during when politically-sanctioned racial segregation was dynamic. The principal PC shipped from the US to South Africa was an electric tabulator to IBM South Africa, in 1952. Through PCs and innovation the politically-sanctioned racial segregation system had the option to control each part of life, especially for dark Africans. It implied that the administration and its associations could follow individuals their history, their development, and so forth and through this shut down fights and quietness dissidents. The mechanized populace register is viewed as the instrument that made the greatest commitment to the politically-sanctioned racial segregation framework. It was liable for the passbook framework that influenced in excess of 25 million dark Africans. Through these gadgets, data on a people racial order, name, sex, date of birth, dates of takeoff and come back to the nation, fingerprints and work environments and study could all be recorded onto a database. The passbooks and the PC database implied an individual could immediately be distinguished and checked for a past filled with government restriction. The populace vault wasnt the main automated asset the administration used to control its residents there were other remote and imported items utilized also. X-Ray machines, passbook fingerprinting gear and interchanges logging recorders were likewise accessible to the police. Different government offices utilized PCs for money related and other non oppressive purposes, when actually they utilized them to follow rivals of politically-sanctioned racial segregation, and once they discovered them, police ruthlessness and torment were utilized and the adversaries were frequently held political detainees without preliminary. Likewise, as the biggest piece of the administration, a lion's share of the PC gear bought by the state unavoidably more likely than not discovered its way into the military, which used this hardware against its kin. Politically-sanctioned racial segregation was considered and controlled as a philosophy for the absolute association of the South African culture for the restrictive advantage of the white piece of the populace. This framework was actualized and authorized carefully and with fierceness for over forty years. In that time the National Party government accomplished a high level of achievement in creatingâ apartheid on an individual, urban and state level. In spite of the fact that this framework eventually fizzled (in 1991 laws authorizing politically-sanctioned racial segregation were nullified) its imprint on South Africa and the world will be available for an extremely prolonged stretch of time and the politically-sanctioned racial segregation time will be a huge inheritance to be completely defeated for people in the future of South Africans and to be sure the world. References: 1 Automating Apartheid U.S. PC fares to South Africa and the Arms Embargo. Omega Press, Philadelphia, 1982Bibliography:Books:Meisel,J. (1994) South Africa At The Crossroads. Cape Town; The Millbrook PressChristopher,A. (1994) The Atlas of Changing South Africa. London; RoutledgeTames,R. (2000) The End of Apartheid: a New

Close Reading Essay Example for Free

Close Reading Essay The responses to these inquiries develop more from the doing than the talking. Quickly, close perusing is an essential apparatus for understanding, enjoying, and conveying one’s translation of an artistic work. The abilities utilized in close perusing loan themselves to a wide range of social translation and examination. Close perusing accepts language as its subject since language can work in various manners to pass on significance. Perusing delicately permits one to stay open to the numerous ways language takes a shot at the psyche and heart. At the point when a task calls for close perusing, it’s best to begin by picking a brief however encouraging entry and checking your suppositions about its substance at the entryway. Close perusing regularly uncovers the gaps between what the speaker or storyteller says and how she or he says it. You know from your own experience that life includes steady, frequently oblivious filtering of these subtleties. Here are some helpful advances. 1. Pick a short section that permits you to explore the subtleties intently. Here, for instance, is the main section of Jane Austen’s Northanger Abbey, Chapter 2. Notwithstanding what has just been said of Catherine Morland’s individual and mental enrichments, when going to be propelled into all the challenges and risks of a six weeks’ home in Bath, it might be expressed, for the reader’s progressively certain data, in case the accompanying pages should in any case come up short of giving any thought of what her character is intended to be; that her heart was friendly, her aura merry and open, without arrogance or gesture of any kindâ€her habits simply expelled from the ungainliness and modesty of a young lady; her individual satisfying, and when in great looks, prettyâ€and her psyche about as oblivious and ignorant as the female brain at seventeen generally may be. This single sentence will give us bounty to work with. 2. Take a gander at expression. What sorts of words does Austen use? Does she focus on grand style (utilized for extraordinary events) or normal word usage? Are the words long or short, Latinate or Anglo-Saxon, particular (for example legalistic, clinical, language, world class) or standard? Recall that the standards for lingual authority are diverse at various occasions ever. 3. Next, see sentence structure. Would you be able to outline sentence (locate the subject and action word, find expressions and provisos)? Is it a straightforward, compound, or complex sentence? How does the structure of the sentence identify with its substance? Does the creator use dynamic or aloof action words? What rhythms does the sentence structure createâ€long streaming ones, short rough onesâ€and how do these identify with the significance? 4. After you have taken a gander at language (and there are other specialized issues one may focus on), you can start to break down tone. Is the storyteller being clear, verifiable, open? Or on the other hand would she say she is taking a less immediate course toward her significance? Does the voice convey any feeling? Or then again is it withdrawn from its subject? Do you hear incongruity? Where? Provided that this is true, what complexities does the incongruity produce? 5. Now, you may find some contrast between what the creator seems, by all accounts, to be doing (giving you a total, fair-minded image of her character) and what she additionally achieves (raising questions about whether these characteristics merit having, regardless of whether her character is a courageous woman all things considered, whether ladies have minds by any stretch of the imagination, along these lines whether this storyteller can be trusted by any means, and so on.). You would now be able to start to discuss the ways Austen’s language, which appears to welcome our certainty, is additionally muddling its message by raising these questions. 6. Now, you can propose a nonexclusive theory, something like, â€Å"In this entry, Austen raises questions about Catherine Morland’s character through her utilization of intentionally dull lingual authority, her stressed sentence structure, and her unexpected utilization of the terms of character portrayal for heroines.† 7. You can continue to fill in the layouts of this point by clarifying what you mean, utilizing subtleties and citations from the section to help your point. 8. You still, nonetheless, need a contention and should return to your opening to hone the theory. The inquiry is Why? Or then again to what impact? Your postulation may expand on what you’ve effectively composed by proposing: Austen makes this incongruity from the get-go in the novel to make the peruser aware of the ways she’s sabotaging story shows. Or then again: The impact of this portrayal of Catherine is to sabotage any idea of her forces as a courageous woman and to present Austen’s topic that genuine character rises up out of shortcoming instead of solidarity. Or on the other hand: Austen’s careless treatment of her courageous woman proposes that she has little regard for the normal instruction of young ladies. 9. Indeed, even with these increasingly evolved explanations, you should clarify and bolster your point further. However, you will have accomplished some significant things, to be specific: 1) you have picked a particular bit of the content to work with, consequently evading enormous speculations and reflections that will in general turn a peruser off; 2) you have moved from article (clarifying what’s thereâ€and truly, shouldn’t a peruser have the option to make sense of these things for oneself?) to contending a point, which will include your peruser in an increasingly intuitive and dangerous experience; 3) you have cut out your own perusing of the content as opposed to taking the more all around worn way; 4) you have recognized something about Austen’s technique that may well open up different territories of the content for study and discussion. Bravo! 10. With your increasingly refined proposition set up, you can return and ensure your supporting contention clarifies the inquiries you’ve raised, finishes on your contention, and arrives at a provocative resolution. Before the end, you might have the option to grow from your underlying section to a bigger point, however utilize your association to keep the peruser concentrated as far as possible. The most energizing thing for a peruser, and the most helpful for a writer, is that nearby perusing for the most part offers shocks. Your venture isn't such a great amount about mentioning to perusers what they most likely can see with their own eyes yet what they may have missed that could please them. It’s accommodating, at that point, to go into the paper with a receptive outlook and be prepared to modify your theory to the proof you find in the content. Have a ton of fun!

The Power of Winning Even When it Looks Like Youre Losing

The Power of Winning Even When it Looks Like You’re Losing Competitive nature I was a late bloomer when it came to the on-line Scrabble game Words with Friends, somehow not discovering the game until last fall. Not surprisingly, I was immediately hooked. As of this writing, I’ve played 136 games, 105 of which I won, 30 of which I lost, and 1 of which I tied (that was my 15-year-old very precocious nephew). I’m a competitive person, and have been since playing backgammon with my dad at a young age. He would never let me win. I like to play to win, and expect others to do the same. When I first started playing Words with Friends, I lost about one out of every three games. Then I discovered the Word Strength tool that tells me if I’ve found the highest possible scoring word. That kicked my level of playing (and my average word score) up a few notches. I always attempt to identify that high-scoring word, even if I don’t end up playing it. If I don’t find it, I feel defeated. Tempted to quit? I have learned something about myself as a competitor: I don’t like to quit. Not finding the highest scoring word feels like quitting. If I’m losing a game, I create a new game for myself to try to close the gap. Sometimes I succeed. I’ll tell you one thing: I have never resigned a game because my opponent played a 100+ point word, or because I was behind by 100 points, or for any other reason. I will always finish my games, and if I lose, I lose fair and square. In fact, as much as I don’t like to lose, winning all the time is almost worse. At one point I amassed a 34-game winning streak and actually complained about it. What was the point of playing if I always won? I am motivated by challenge. I will keep playing someone who beats me every time, because one day I will win and I will feel awesome about that. Not everyone is like me. I had one opponent last week who beat me two games in a row. I was celebrating having a worthy opponent and was excited to keep playing with her; then when I started to beat her by a significant margin in our third game, she abruptly resigned. Similarly, another opponent who pulled out ahead early in our game resigned when I overtook her by changing her word, AZINE, into HYDRAZINE on a triple-word score. What happened to the thrill of the fight? I shared my experience with my hairdresser and she told me about a friend who started a competition amongst her friends as to who could take the most steps in a day. When her friend felt sick the first morning of the challenge, she quit the whole thing. She was that unwilling to lose, or to work hard to come from behind. I’ve heard of people who quit while they’re ahead, which to me means building on your wins and not letting yourself go stale. I’ve recently heard this called “flipping on the up” â€" making a strong move when you’re at a peak to amplify your success. But quitting when you start to fall behind is, to me, a sign of someone who is not willing to feel hurt or to fight through the tough times. Setting yourself up for a comeback In sports, comebacks are the most thrilling stories. You may recall the 2004 Boston Red Sox, the first team ever to come back from a 0-3 record in the American League Championshipâ€"and to then clinch the World Series in a sweep. This was their first World Series win in 86 years. Similarly, in the resume writing world, some of the most powerful bullets are the ones that report a turnaround. Someone who pulled a company, a department or a team out of a slump is a valuable person to have around. That’s a person who doesn’t let bad news get them down. From what I can tell, the best way to stay motivated to win when you’re losing is to believe it’s possible to winâ€"and at the same time that there’s a real possibility of losing. Convincing yourself there’s no way you’ll win will not motivate you, and thinking you’ll always win will also not motivate you. Studies show that teams who are slightly behind are actually more likely to win than the ones slightly ahead. That’s the point where the possibility of winning is real, and so is the possibility of losing. That edge is what gets the adrenaline going and pushes people into high gear. How do you respond when you start falling behind? Do you quit while you’re ahead and use your success to reach your next goal, or do you quit when you think you will lose? How does this show up in your life? Invite me So… Who wants to play Words with Friends with me? Invite me at brandyesq.

Recycling Composite Materials

Composite materials, known for their durability, high strength, excellent quality, low maintenance, and low weight, are widely being used in automotive, construction, transport, aerospace and renewable energy industries. Their use in  numerous  engineering applications is a result of the edge composites provides over traditional materials. Recycling and disposal of composite materials is an issue that is being increasingly addressed, as it should with any widely used material. Previously, there were very limited commercial recycling operations for mainstream composite materials due to technological and economic constraints but RD activities are on the rise. Recycling Fiberglass Fiberglass is a versatile material that provides  tangible  potential over conventional materials such as wood, aluminum, and steel. Fiberglass is produced by using less energy and is used in products which result in fewer carbon emissions. Fiberglass offers advantages of being light weight yet has high mechanical strength, impact resistant, is chemical, fire and corrosion resistant, and a good thermal and electrical insulator. Even though fiberglass is extremely useful for the reasons previously listed, an end of life solution is needed. Current FRP composites with thermoset resins do not biodegrade. For many applications where fiberglass is used, this is a good thing. However, in landfills, this is not.   Research has lead to methods such as grinding, incineration, and pyrolysis being used for recycling fiberglass. The recycled fiberglass finds its way in various industries and can be used in various end products. For instance, recycled fibers have been effective in reducing shrinkage in concrete thereby increasing its durability. This concrete can be used best in freezing temperate zones for concrete floors, pavements, sidewalks, and curbs. Other uses for recycled fiberglass include being used as a filler in resin, which can increase  mechanical  properties in certain applications. Recycled fiberglass has also found its use together with other products such as recycled tire products, plastic wood products, asphalt, roofing tar and cast polymer  countertops. Recycling Carbon Fiber Carbon fiber composite materials are ten times stronger than steel and eight times that of aluminum, along with being much lighter than both materials. Carbon fiber composites have found their way into the manufacturing of aircraft and spacecraft parts, automobile springs, golf club shafts, racing car bodies, fishing rods, and more. With the current annual worldwide carbon fiber consumption being at 30,000 tons, most waste goes to the landfill. Research has been conducted to extract the high-value carbon fiber from end-of-life components and from manufacturing scrap, with the goal to use them for creating other carbon fiber composites. Recycled carbon fibers are used in bulk molding compounds for smaller, nonload-bearing components, as a sheet-molding compound and as recycled materials in load-bearing shell structures. The recycled carbon fiber is also finding uses in phone cases, laptop shells and even water bottle cages for bicycles. Future of Recycling Composite Materials Composite materials are preferred for many engineering applications because of its durability and superior strength. Proper waste disposal and recycling at the end of the useful life of composite materials is necessary.  Many current and future waste management and environmental legislation will mandate engineering materials to be properly recovered and recycled, from products such as automobiles, wind turbines, and aircraft that have lived their useful life. Although many technologies have been developed such as mechanical recycling, thermal recycling, and chemical recycling; they are on the brink of being fully commercialized. Extensive research and development are being done to develop better recyclable composites and recycling technologies for composite materials. This will contribute to the sustainable development of composites industry.

Common French Mistake Explained Ces vs. Ses

Ces (these) and ses (his, her, its) are homophones, so no one would ever know if you mixed them up when speaking. Writing, however, is another matter. Whether out of ignorance or carelessness, its easy* to confuse ces and ses but its just as easy to figure out which one is correct. All you have to do is think about what youd say if the noun were singular, since the singular adjectives are not homophones. For example: Il a perdu (ces/ses  ?) clà ©s. While both possibilities are grammatically and logically correct, which one to use depends on what youre trying to express. If clà © were singular, would you use cette (the singular demonstrative adjective) or sa (the singular possessive adjective)? The answer to that makes it crystal clear whether you want to write ces (plural demonstrative) or ses (plural possessive): l a perdu cette clà © (He lost this key) Il a perdu ces clà ©s (He lost these keys)Il a perdu sa clà © (He lost his key) Il a perdu ses clà ©s (He lost his keys

The Bad Influences of Television Free Essays

Let’s admit it. We love watching television. In fact, we love it so much that we can spend hours just sitting in front of our small boxes just to get our dose of must-see TV. We will write a custom essay sample on The Bad Influences of Television or any similar topic only for you Order Now Television offers us all kinds of things to keep our eyes glued to the small screen such as late night talk shows, hit comedy sitcoms, and games shows that keep you guessing which briefcase contains a million dollars. With all the hours we spend on watching television, there is no doubt that somehow it has influenced us somehow. Although that it can influence attitudes of adults, older audiences can discard certain themes since we already have our own preferences. However, television can be a very dangerous influence to young children who are still developing their brains. This paper shall discuss the negative influences of television on children and how these problems can be solved. Sex is a common problem that parents encounter with television. Some shows usually have sexual themes that are not suitable for young audiences. These images may stay with the child as they grow up and lead them to become sexually active in a very early age. Since they do not have adequate information about sex in early ages, this can cause a child to become pregnant or get infected with STDs. Aside from seeing these images, television shows may also have scenes wherein the characters are discussing sex. This is just as dangerous as seeing these images for they can also affect the child by making them more curious about what the characters are talking about. To give you an idea how violence can be a great influence on children, American viewers see an average of â€Å"200,000 acts of violence before they reach the age of 18† (How TV affects your Child) and this can be a very serious problem in the future if it is not addressed properly. Violence on television causes some problems such as emulating the images they see, traumatic stress on the child, and loss of sympathy to those who are suffering. Protagonists in TV shows have great influence on children. Whenever children see their favorite superhero kicking or punching the â€Å"bad guy† and save eventually â€Å"saving the day† they will think that these actions are correct as long as the superhero does it. Aside from suggesting violent actions to children, children may imitate these actions for fun because they would imagine themselves as these superheroes. Aside from causing children to imitate violent actions, these images may also cause trauma to a child. Frightening images of monsters may have some traumatic side effects on children since they still cannot distinguish the difference between the real world and a fictional one. Finally, watching too much violence on television can lead to a loss of sympathy towards people who are suffering. Just like an antagonist who fails in the end of the show, children would think that those who are suffering deserve it since they have done something bad before. Finally obesity is another problem that parents may face with television. TV can cause children to reduce their time to play and exercise since they will be sitting down for hours. Aside from becoming very passive, children usually tend to have snacks while watching due to the commercial of the famous brand potato chips they just saw. So not only will they lack exercise, children will also begin to eat kinds of food that do not have any nutritional value, which is a very important factor in growing up. Aside from obesity, television can also cause a child to become anti-social since they would usually spend more hours watching rather than interacting or playing with others. As we have seen in this paper, television can be a very dangerous influence on children. However, there are things that we can do solve this dilemma. First of all, parents need to always monitor what their children are watching. This will allow the parent to keep their child from watching shows that are inappropriate for their age. Parents should also be familiar with the shows that their children are watching so they could see immediately whether or not their child can watch the show. Parents should also reason out to the child whenever they are watching television. They need to explain to their child the images they see on television to prevent them from imitating these images or seeing them in the wrong light. Works Cited â€Å"How TV affects your child. † KidsHealth. org. 20 Sept. 2007 http://www. kidshealth. org/parent/positive/family/tv_affects_child. html â€Å"Facts and Statistics. † Parentstv. org. 20 Sept. 2007 http://www. parentstv. org/PTC/facts/mediafacts. asp How to cite The Bad Influences of Television, Papers

Three Step Writing Process Essay Example

Three Step Writing Process Essay TAfter studying this chapter, you will be able to â€Å"People have just gone ahead and experimented. There are some very interesting models emerging. † —Ben Edwards Manager of Investor Communications, IBM www. ibm. com 1 Describe the three-step writing process 2 List four questions that can help you test the purpose of your message 3 Describe the importance of analyzing your audience and identify the six factors you should consider when developing an audience profile 4 Discuss gathering information for simple messages and identify three attributes of quality information List factors to consider when choosing the most appropriate medium for your message 6 Explain why good organization is important to both you and your audience 7 Summarize the process for organizing business messages effectively After launching a breakthrough podcasting series called â€Å"IBM and the Future of . . . † as a way of letting IBM experts share knowledge on a wide range of topics with customers and investors, the company made podcasting tools available to all its employees, then sat back to see how they might take advantage of this exciting new medium. Not surprisingly for a company full of bright, creative people, IBM staffers began distributing a wide variety of messages via podcast. One gained an instant following by podcasting about the daily challenges and rewards of being a mobile information worker. Another saved hundreds of thousands of dollars a year in telephone charges simply by replacing a massive weekly teleconference with podcasts. No matter what the technology, innovators such as IBM are constantly looking for new ways to reach their audiences with effective messages. 1 Understanding the Three-Step Writing Process Choosing the medium is one of the most important steps in planning your business messages, and as IBM demonstrates, the options seem to multiply all the time. Whether you’re creating simple e-mails and instant messages or complex reports and presentations that may require weeks of planning and writing, your goal is to create messages that have a clear purpose, meet the needs of your audience, and communicate efficiently. For every 52 FIGURE 3. 1 The Three-Step Writing Process This three-step process will help you create more effective messages in any medium. We will write a custom essay sample on Three Step Writing Process specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Three Step Writing Process specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Three Step Writing Process specifically for you FOR ONLY $16.38 $13.9/page Hire Writer As you get more practice with the process, it will become easier and more automatic. Planning Analyze the Situation Define your purpose and develop an audience profile. Writing Adapt to Your Audience Be sensitive to audience needs with a â€Å"you† attitude, politeness, positive emphasis, and bias-free language. Build a strong relationship with your audience by establishing your credibility and projecting your company’s image. Control your style with a conversational tone, plain English, and appropriate voice. Completing Revise the Message Evaluate content and review readability, then edit and rewrite for conciseness and clarity. Gather Information Determine audience needs and obtain the information necessary to satisfy those needs. Produce the Message Use effective design elements and suitable layout for a clean, professional appearance. Select the Right Medium Choose the best medium for delivering your message. Proofread the Message Review for errors in layout, spelling, and mechanics. Compose the Message Choose strong words that will help you create effective sentences and coherent paragraphs. Organize the Information Define your main idea, limit your scope, select a direct or an indirect approach, and outline your content. Distribute the Message Deliver your message using the chosen medium; make sure all documents and all relevant files are distributed successfully. 1 2 3 message you send, you can reduce the time and energy it takes to achieve this goal by following a clear and proven three-step process (see Figure 3. 1):  ¦  ¦  ¦ Planning business messages. To plan any message, first analyze the situation by defining your purpose and developing a profile of your audience. With that in mind, you can gather information that will meet your audience’s needs. Next, select the right medium (oral, written, or electronic) to deliver your message. With those three factors in place, you’re ready to organize the information by defining your main idea, limiting your scope, selecting an approach, and outlining your content. Planning messages is the focus of this chapter. Writing business messages. Once you’ve planned your message, adapt to your audience with sensitivity, relationship skills, and style. Then you’re ready to compose your message by choosing strong words, creating effective sentences, and developing coherent paragraphs. Writing business messages is discussed in Chapter 4. Completing business messages. After writing your first draft, revise your message to make sure it is clear, concise, and correct. Next produce your message, giving it an attractive, professional appearance. Proofread the final product for typos, spelling errors, and other mechanical problems. Finally, distribute your message using the best combination of personal and technological tools. Completing business messages is discussed in Chapter 5. The three-step writing process consists of planning, writing, and completing your messages. Throughout this book, you’ll see the three steps in this process applied to a wide variety of business messages: basic tasks for short messages (Chapters 6 through 9), additional tasks for longer messages (Chapter 10 and 11), special tasks for oral presentations (Chapter 12), and distinct tasks for employment messages (Chapter 14). The more you use the three-step writing process, the easier and faster it will become. You’ll also get better at allotting your time for each step. As a general rule, try using roughly half your time for planning, a quarter of your time for writing, and the remaining quarter for completing the project. Even for small writing projects, resist the temptation to skip the planning step. For instance, spending even just a minute or two to think As a starting point, try to use half your time for planning, one quarter for writing, and one quarter for completing your messages. 53 54 2: The Three-Step Writing Process through the purpose of an e-mail message can help you write much faster because you’ll know in advance what you want to say. And leave plenty of time to complete your documents, too; you don’t want to compromise the quality of a good message by shortchanging the important steps of revising, producing, proofreading, and distributing. Analyzing Your Situation A successful message starts with a clear purpose that connects the sender’s needs with the audience’s needs. Identifying your purpose and your audience is usually a straightforward task for simple, routine messages; however, this task can be more demanding in more complex situations. For instance, if you need to communicate about a shipping problem between your Beijing and Los Angeles factories, your purpose might be simply to alert upper management to the situation, or it might involve asking the two factory managers to explore and solve the problem. These two scenarios have different purposes and different audiences; therefore, they yield dramatically different messages. If you launch directly into writing without clarifying both your purpose and your audience, you’ll waste time and energy, and you’ll probably generate a less effective message. Defining Your Purpose Business messages have both a general and a specific purpose. After defining your purpose, verify that the message will be worth the time and effort required to create, send, and receive it. All business messages have a general purpose: to inform, to persuade, or to collaborate with your audience. This purpose helps define the overall approach you’ll need to take, from gathering information to organizing your message. Within the scope of that general purpose, each message also has a specific purpose, which identifies what you hope to accomplish with your message. State your specific purpose as precisely as possible, even identifying which audience members should respond, how they should respond, and when. Once you have defined your specific purpose, make sure it merits the time and effort required for you to prepare and send the message. Ask these four questions:  ¦  ¦  ¦  ¦ Will anything change as a result of your message? Make sure you don’t contribute to information overload by sending messages that won’t change anything. Complaining about things that you have no influence over is a good example of a message that probably shouldn’t be sent. Is your purpose realistic? If your purpose involves a radical shift in action or attitude, proceed carefully. Consider proposing a first step so that your message acts as the beginning of a learning process. Is the time right? People who are busy or distracted when they receive your message are less likely to pay attention to it. Is your purpose acceptable to your organization? Your company’s business objectives and policies, and even laws that apply to your particular industry, may dictate whether a given purpose is acceptable. Once you are satisfied that you have a clear and meaningful purpose and that now is a smart time to proceed, your next step is to understand the members of your audience and their needs. Developing an Audience Profile Before an audience takes the time to read or hear your message, they need to be interested in what you’re saying. They need to see what’s in it for them—which of their needs will be met or problems will be solved by listening to your advice or doing what you ask. The more 3: Planning Business Messages 55 FIGURE 3. 2 Using Audience Analysis to Plan a Message For simple, routine messages, you usually don’t need to analyze your audience in depth. However, for complex messages or messages for indifferent or hostile audiences, take the time to study their information needs and potential reactions to your message. Audience Analysis Notes Project: A report recommending that we close down the on-site exercise facility and subsidize private memberships at local health clubs. †¢ Primary audience: Nicole Perazzo, vice president of operations, and her supervisory team. Size and geographic distribution: Nine managers total; Nicole and five of her staff are here on site; three other supervisors are based in Hong Kong. †¢ Composition: All have experience in operations management, but several are new to the company. †¢ Level of understanding: All will no doubt understand the financial considerations, but the newer managers might not und erstand the importance of the on-site exercise facility to many of our employees. †¢ Expectations and preferences. They’re expecting a firm recommendation, backed up with well-thought-out financial rationale and suggestions for communicating the bad news to employees. For a decision of this magnitude, a formal report is appropriate; e-mail distribution is expected. †¢ Probable reaction. From one-on-one discussions, I know that several of the managers receiving this report are active users of the on-site facility and won’t welcome the suggestion that we should shut it down. However, some nonexercisers generally think it’s a luxury the company can’t afford. Audience reactions will range from highly positive to highly negative; the report should focus on overcoming the highly negative reactions since they’re the ones I need to convince. ou know about your audience, their needs, and their expectations, the more effectively you’ll be able to communicate with them. For an example of the kind of information you need to compile in an audience analysis, see the planning sheet shown in Figure 3. 2. To conduct an audience analysis:  ¦ Ask yourself some key questions about your audience:  ¦ Who are they?  ¦ How ma ny people do you need to reach?  ¦  ¦  ¦  ¦ Identify your primary audience. For some messages, certain audience members might be more important than others. Don’t ignore the needs of less influential members, but make sure you address the concerns of the key decision makers. Determine audience size and geographic distribution. A message aimed at 10,000 people spread around the globe might require a different approach than one aimed at a dozen people down the hall. Determine audience composition. Look for both similarities and differences in culture, language, age, education, organizational rank and status, attitudes, experience, motivations, and any other factors that might affect the success of your message. Gauge audience members’ level of understanding. If audience members share your general background, they’ll probably understand your material without difficulty. If not, your message will need an element of education, and deciding how much information to include can be a challenge. Try to include only enough information to accomplish the specific purpose of your message. If the members of your audience have various levels of understanding, gear your coverage to your primary audience (the key decision makers). Understand audience expectations and preferences. Will members of your audience expect complete details or just a summary of the main points? Do they want an e-mail  ¦ How much do they already know about the subject?  ¦ What is their probable reaction o your message? If audience members have different levels of understanding of the topic, aim your message at the most influential decision makers. 56 2: The Three-Step Writing Process A gradual approach and plenty of evidence are required to win over a skeptical audience.  ¦ or will they expect a formal memo? In general, the higher up the organization your message goes, the fewer deta ils people want to see, simply because they have less time to read them. Forecast probable audience reaction. As you’ll read later in the chapter, audience reaction affects message organization. If you expect a favorable response, you can state conclusions and recommendations up front and offer minimal supporting evidence. If you expect skepticism, you’ll probably want to introduce conclusions gradually, with more proof along the way. Gathering Information With a clear picture of your audience, your next step is to assemble the information that you will include in your message. For simple messages, you may already have all the information at hand, but more complex messages can require considerable research and analysis before you’re ready to begin writing. Chapter 10 explores formal techniques for finding, evaluating, and processing information, but you can often use a variety of informal techniques to gather insights and focus your research efforts:  ¦  ¦  ¦  ¦ Consider other viewpoints. Putting yourself in someone else’s position helps you consider what that person might be thinking, feeling, or planning. Read reports and other company documents. Your company’s files may be a rich source of the information you need for a particular memo or e-mail message. Seek out annual reports, financial statements, news releases, memos, marketing reports, and customer surveys for helpful information. Find out whether your company has a knowledge management system, a centralized database that collects the experiences and insights of employees throughout the organization. Talk with supervisors, colleagues, or customers. Fellow workers and customers may have information you need, or they may know what your audience will be interested in. Ask your audience for input. If you’re unsure of what audience members need from your message, ask them. Admitting you don’t know but want to meet their needs will impress an audience more than guessing and getting it wrong. Uncovering Audience Needs If you’re given a vague request, ask questions to clarify it before you plan a response. Include any additional information that might be helpful, even though the requester didn’t specifically ask for it. In many situations, your audience’s information needs are readily apparent, such as when a consumer sends an e-mail asking a specific question. In other cases, your audience might be unable to articulate exactly what is needed. If someone makes a vague or broad request, ask questions to narrow the focus. If your boss says, â€Å"Find out everything you can about Interscope Records,† ask which aspect of the company and its business is most important. Asking a question or two often forces the person to think through the request and define more precisely what is required. Also, try to think of information needs that your audience may not even be aware of. Suppose your company has just hired a new employee from out of town, and you’ve been assigned to coordinate this person’s relocation. At a minimum, you would write a welcoming letter describing your company’s procedures for relocating employees. With a little extra thought, however, you might include some information about the city: perhaps a guide to residential areas, a map or two, brochures about cultural activities, or information on schools and transportation. In some cases, you may be able to tell your audience something they consider important but wouldn’t have thought to ask. Although adding information of this sort lengthens your message, it can also create goodwill. Providing Required Information Test the completeness of your document by making sure it answers all the important questions: who, what, when, where, why, and how. Once you’ve defined your audience’s information needs, your next step is to satisfy those needs completely. Use the journalistic approach to make sure your information answers who, what, when, where, why, and how. In addition to delivering the right quantity of 3: Planning Business Messages 57 required information, you are responsible for verifying the quality of that information. Ask yourself these three questions:  ¦  ¦  ¦ Is the information accurate? Inaccuracies can cause a host of problems, from embarrassment and lost productivity to serious safety and legal issues. Be sure to review any mathematical or financial calculations. Check all dates and schedules, and examine your own assumptions and conclusions to be certain they are valid. Is the information ethical? By working hard to ensure the accuracy of the information you gather, you’ll also avoid many ethical problems in your messages. However, messages can also be unethical if important information is omitted or obscured. Is the information pertinent? Remember that some points will be more important to your audience than others. Moreover, by focusing on the information that concerns your audience the most, you increase your chances of sending an effective message. Selecting the Right Medium Selecting the best medium for your message can make the difference between effective and ineffective communication. 3 A medium is the form through which you choose to communicate your message. You may choose to talk with someone face-to-face, write a letter, send an e-mail message, or record a podcast—with today’s ever-expanding technology, you often have a variety of media options from which to choose. In fact, media categories have become increasingly blurred in recent years with so many options that include multimedia formats. For the sake of discussion, you can think of media as traditionally being either oral or written, and electronic media extend the reach of both. Each type of medium has advantages and disadvantages. Oral Media Primary oral media include face-to-face conversations, interviews, speeches, in-person presentations, and meetings. Being able to see, hear, and react to each other can benefit communicators, giving oral media several advantages:  ¦  ¦  ¦  ¦ They provide immediate feedback. They allow a certain ease of interaction. They involve rich nonverbal cues (both physical gestures and vocal inflections). They help you express the emotion behind your message. Oral communication is best when you need to encourage interaction, express emotions, or monitor emotional responses. Traditional oral media are useful for getting people to ask questions, make comments, and work together to reach a consensus or decision. However, if you don’t want or need all that interaction, then oral media can have several disadvantages:  ¦  ¦  ¦  ¦ They restrict participation to those physically present. Unless recorded, they provide no permanent, verifiable record of the communication. They can reduce the communicator’s control over the message, if people interrupt or ask unanticipated questions. They often rule out the chance to revise or edit your spoken words. Oral media limit participation to those who are present, reduce your control over the message, and make it difficult to revise or edit your message. Written Media Written messages take many forms, from traditional memos to glossy reports that rival magazines in production quality. Memos are used for the routine, day-to-day exchange of information within an organization. E-mail continues to replace traditional paper memos in many circumstances, although writers who want more formality or permanence can still opt for paper memos. Letters are written messages sent to recipients outside the organization, so in addition to conveying a particular message, they perform an important 58 2: The Three-Step Writing Process public relations function in fostering good working relationships. Reports may be distributed to insiders or outsiders, depending on their purpose and subject. They come in many formats, including preprinted forms, letters, memos, and manuscripts, in lengths from a few pages to several hundred. Written media have a number of advantages over oral media: Written media increase your control, help you reach dispersed audiences, and minimize distortion.  ¦  ¦  ¦  ¦  ¦ They allow you to plan and control your message. They offer a permanent, verifiable record. They help you reach an audience that is geographically dispersed. They minimize the distortion that can accompany oral messages. They can be used to avoid immediate interactions, including emotional confrontations when communicating controversial messages. Disadvantages of written media include the following: The disadvantages of written media include difficulty of feedback, lack of nonverbal cues, and the time and skill sometimes required to prepare written messages.  ¦  ¦  ¦  ¦ Many are not conducive to speedy feedback. They lack the rich nonverbal cues provided by oral media. They often take more time and more resources to create and distribute. Elaborate printed documents can require special skills in preparation and production. Electronic Media Electronic media span a diverse and expanding range of technologies, from e-mail and IM to blogs and podcasts. The growth of electronic communication options is both a blessing and a curse. You have more tools than ever to choose from, but you need to choose the right tools for each message. Although no hard rules dictate which tool to use in each case, here are a few pointers that will help you determine when to select electronic over more traditional forms:4  ¦  ¦  ¦  ¦  ¦  ¦ Telephone calls are still the lifeblood of many organizations, for both internal and external communication. But even the humble telephone has joined the Internet age, thanks to the emerging capability to place phone calls over the Internet. Known by the technical term VoIP (which stands for Voice over IP, the Internet Protocol), Internetbased phone service promises to offer cheaper long-distance service for businesses worldwide, and companies such as Skype even offer free basic phone service between computers. 5 Through the use of webcams, video phone service is now an inexpensive option for one-to-one phone calls, teleconferences, and online meetings. Voice mail can replace short memos and phone calls when an immediate response isn’t crucial. However, voice mail is a poor choice for lengthy, complex messages, since the information is more difficult for receivers to process. Teleconferencing, videoconferencing, and online meetings are best for informational meetings and are less effective for highly interactive meetings such as negotiation. DVDs (and to a declining extent, videotapes) are effective for sending audiovisual messages to a large number of people. With the growing availability of high-speed Internet service, many video messages once delivered on tape or disk are now delivered online. Electronic documents include both word processor files and Adobe’s widely popular Portable Document Format (PDF). Computer users can view PDFs on screen with free reader software, and PDFs are more secure and less vulnerable to viruses than word processor files. Faxes have been replaced by e-mail and PDF files in many cases, but they still play an important role in many companies. Internet-based fax services, such as eFax (www. efax. com), lower the cost by eliminating the need for a dedicated fax line and fax machine. 3: Planning Business Messages 59  ¦  ¦  ¦  ¦ E-mail offers speed, low cost, portability, and convenience. It’s best for brief, noncomplex information that is time sensitive. With such a quick turnaround time, e-mail tends to be more conversational than traditional media, but not as conversational as instant messaging. Instant messaging (IM) allows real-time, one-on-one and small-group text conversations via personal computer. At technology giant IBM, for instance, employees send more than 5 million instant messages a month. 6 IM is more versatile than a phone call and quicker than e-mail, and newer IM systems offer file attachments, streaming audio and video, and other enhancements. Text messaging, a phone-based medium that has long been popular with consumers in Asia and Europe, is finally catching on in the United States. 7 Although it lacks many of the capabilities of IM, text messaging does give businesses an easy way to transmit simple messages between mobile workers. Websites and blogs have become vital communication platforms for many businesses. A well-designed website can tailor the same information for numerous readers by steering each audience group to specific sections on a website. Blogs have become common in business in recent years as communicators search for fast, informal ways to reach customers and other audiences. Video blogs (vlogs) and mobile blogs (moblogs) extend the blogging concept in intriguing new ways. 8 Blog content is often distributed through RSS (Really Simple Syndication), which automatically sends new content to subscribers. Podcasts are one of the newest and most exciting media choices for business communicators. Both audio and video podcasts give you a means to reach customers and colleagues with a human touch that isn’t always easy to replicate in text-only media. You’ll read more about e-mail, IM, blogs, and podcasting in Chapter 6. As you can see, electronic messages offer considerable advantages:  ¦  ¦  ¦  ¦  ¦ They deliver messages with great speed. They reach audiences physically separated from you. They reach a dispersed audience personally. They offer he persuasive power of multimedia formats. They can increase accessibility and openness in an organization. In general, use electronic media to deliver messages quickly, to reach widely dispersed audiences, and to take advantage of rich multimedia formats. For all their good points, electronic media are not problem-free. Consider some of these disadvantages:  ¦  ¦  ¦  ¦ They can inadvertently create tension and conf lict. Electronic messages can give the illusion of anonymity, so people sometimes say things online that they would never say in person or in a traditional document. Blogs have been a particularly controversial medium in this respect, with several companies firing employees for their blog postings. Many companies are still wrestling with the phenomenon of employee blogs, as they try to find the appropriate balance between protecting confidential information and corporate reputations and respecting the free-speech rights of their employees. 9 They are easy to overuse. The ability to send or forward messages to multiple recipients has become a major cause of information overload. They expose companies to data security threats and malicious software. Connecting computers to the Internet exposes companies to a host of potential security problems, including computer viruses, information theft, and spyware (malicious software that sneaks onto personal computers to capture credit card numbers and other confidential information). They often lack privacy. More than a few businesspeople have discovered to their embarrassment that IMs, e-mails, and voice mails can wind up in places they never envisioned. In addition, employers can legally monitor electronic messages, and these messages can be subpoenaed for court cases. Electronic media can suffer from a lack of privacy and can reduce productivity when people send too many low-value messages. 60 2: The Three-Step Writing Process  ¦ They can seriously drain employee productivity. Employees can be easily distracted by the constant streams of e-mail, IM, voice mail, conference calls, and faxes or the temptation to surf nonbusiness-related websites during working hours. Factors to Consider When Choosing Media When choosing a medium for your message, select the medium that balances your needs and your audience’s needs (see Figure 3. 3). Just as critical, however, is considering how your message is affected by important factors such as the following: The more complicated the message, the richer the medium required.  ¦  ¦  ¦ Media richness. Richness is a medium’s ability to (1) convey a message through more than one informational cue (visual, verbal, vocal), (2) facilitate feedback, and (3) establish personal focus. The richest medium is face-to-face communication; it’s personal, it provides immediate feedback (verbal and nonverbal), and it conveys the emotion behind a message. 10 Multimedia presentations and multimedia webpages are also quite rich. At the other extreme are the leanest media—those that communicate in the simplest ways, provide no opportunity for audience feedback, and aren’t personalized, such as memos, posters, and podcasts. Generally speaking, use the richest media to send more complex messages and to help communicate emotion. Use leaner media to send simple, routine messages. Message formality. Your media choice governs the style and tone of your message. For instance, IM and e-mail can be considered inappropriate for formal messages. Media limitations. Every medium has limitations. For example, although face-to-face communication is a rich medium, it’s one of the most restrictive because you and your FIGURE 3. 3 Choosing the Most Appropriate Medium With so many media choices at your disposal today, make sure you choose the most efficient and most effective medium for every message. Use Written Media When †¢ You dont need or want immediate feedback †¢ You dont want or need immediate interaction with the audience †¢ Your message is complex †¢ You need a permanent, verifiable record †¢ Your audience is large and geographically dispersed †¢ You need to ensure that the message cannot be altered after you send it †¢ Your message has limited emotional content †¢ The situation calls for more formality Use Oral Media When †¢ You want immediate feedback from the audience †¢ Your message is straightforward and easy to accept †¢ You dont need a permanent record †¢ You can gather your audience conveniently and economically †¢ You want to encourage interaction to solve a problem or reach a group decision †¢ You want to read the audience’s body language or hear the tone of their response †¢ Your message has an emotional content Use Electronic Media When †¢ You need to deliver a message quickly †¢ You’re physically separated from your audience †¢ You want to give the audience an opportunity to edit the message (such as editing a word processing document) †¢ Your message can benefit from multiple media, such as audio and video †¢ You want to take advantage of electronic media 3: Planning Business Messages 61  ¦  ¦  ¦ audience must be in the same place at the same time. 11 Similarly, instant messaging is perfect for communicating short, simple messages, but it is ineffective for sending complex ones. Sender intentions. Your choice of medium also influences audience perceptions of your intentions. For instance, to emphasize formality, use a more formal medium, such as a memo or a letter. Or, to let people know that you welcome feedback, meet face-toface, make a phone call, or use IM. 12 Audience preferences. Make sure to consider which media your audience expects or prefers . 3 For example, the United States, Canada, and Germany emphasize written messages, whereas Japan emphasizes oral messages—perhaps because its high-context culture carries so much of the message in nonverbal cues and â€Å"between the lines† interpretation. 14 Urgency and cost. Various media have different costs and time requirements, so you often need to balance urgency and expense. Newer media options such as blogs and podcasting make it easier to deliver messages quickly at low cost. Your intentions heavily influence your choice of medium. When choosing the appropriate medium, don’t forget to consider your audience’s expectations. Time and cost also affect medium selection. Once you select the best medium for your purpose, situation, and audience, you are ready to start thinking about the organization of your message. Organizing Your Message Misinterpreted messages waste time, lead to poor decision making, and shatter business relationships. So you can see how valuable clear writing and good organization can be. 15 Successful communicators rely on good organization to make their messages meaningful. 16 What exactly makes a particular organization â€Å"good†? Although the definition of good organization varies from country to country, in the United States and Canada it generally means creating a linear message that proceeds point by point (see Figure 3. 4). What does good organization do for you? First and foremost, it saves you time. Your draft goes more quickly because you’re not putting ideas in the wrong places or composing material you don’t need. In addition, you can use your organizational plan to get some advance input from your audience, making sure you’re on the right track before spending hours working on your draft. And, if your project is large and complex, you can even use your organization plan to divide the writing job among coworkers. In addition to helping you, good organization helps your audience:  ¦ Good message organization helps you by reducing the time and energy needed to create messages and by making your messages more effective.  ¦  ¦ Good organization helps your audience understand your message. By making your main point clear at the outset, and by stating your needs precisely, your well-organized message will satisfy your audience’s need for information. Good organization helps your audience accept your message. Even when your message is logical, you need to select and organize your points in a diplomatic way. Softening refusals and leaving a good impression enhances credibility and adds authority to your messages. Good organization saves your audience time. Audience members receive only the information they need, and because that information is relevant, brief, and logically placed, your audience can follow your thought pattern without a struggle. Good organization helps your audiences by helping them understand and accept your message in less time. You can achieve good organization by clearly defining your main idea, limiting the scope of your message, grouping supporting points, and establishing their sequence by selecting either a direct or an indirect approach. To organize a message,  ¦ Define your main idea  ¦ Limit the scope  ¦ Choose the direct or indirect approach Defining Your Main Idea The broad subject, or topic, of every business message is condensed to one idea, whether it’s soliciting the executive committee for a larger budget or apologizing to a client for an incident of poor customer service. Your entire message supports, explains, or demonstrates your main idea—a specific statement about the topic of your message.  ¦ Group your points The topic is the broad subject; the main idea makes a statement about the topic. 62 2: The Three-Step Writing Process FIGURE 3. 4 Improving the Organization of a Message The poorly written draft displays weak organization, while the organization is much improved in the revised version. Before you begin to write, think about what you’re going to say and how you’re going to say it. Poor Fails to explain the purpose of the letter and immediately gets bogged down in irrelevant details Waits until the second paragraph to even introduce the main idea Fails to provide specific information about the problem Fails to specify what she wants the reader to do oved Impr Opens with her request and immediately follows that with relevant details Provides details in the body so that the reader can understand why Saunders thinks a problem exists Provides a detailed history of the problem so that the reader clearly understands her frustration Emphasizes (in a calm, respectful way) that GNC won’t be buying anything else until this problem is resolved Requests a specific action from the reader Pointers for Good Organization †¢ Get to the point right away, and make the subject and purpose clear. †¢ Include only information that is related to the subject and purpose. †¢ Group related ideas and present them in a logical order. †¢ Include all the information your audience needs. : Planning Business Messages 63 Defining your main idea is more difficult when you’re trying to persuade someone or convey disappointing information. Your main idea may be obvious when you’re preparing a brief message with simple facts that have little emotional impact on your audience. If you’re responding to a request for information, your main idea may be simply, â€Å"Here is what you wanted. † However, defining your main idea is more complicated when you’re trying to persuade someone or when you have disappointing information to convey. In these situations, try to define a main idea that will establish a good relationship between you and your audience. In longer documents and presentations, you often need to unify a mass of material, so you’ll need to define a main idea that encompasses all the individual points you want to make. Sometimes you won’t even be sure what your main idea is until you sort through the information. For tough assignments like these, consider a variety of techniques to generate creative ideas:  ¦  ¦  ¦  ¦ Brainstorming. Working alone or with others, generate as many ideas and questions as you can, without stopping to criticize or organize. After you capture all these pieces, look for patterns and connections to help identify the main idea and the groups of supporting ideas. Journalistic approach. The journalistic approach asks who, what, when, where, why, and how questions to distill major ideas from piles of unorganized information. Question-and-answer chain. Start with a key question, from the audience’s perspective, and work back toward your message. In most cases, you’ll find that each answer generates new questions, until you identify the information that needs to be in your message. Storyteller’s tour. Some writers find it easier to talk through a communication challenge before they try to write. Describe what you intend to write and capture it on tape or disk. Then listen to your talk, identify ways to tighten and clarify the message, and repeat the process until you distill the main idea down to a single, concise message. Limiting Your Scope The scope of your message is the range of information you present, the overall length, and the level of detail—all of which need to correspond to your main idea. Many business documents have a preset length limit, either from a boss’s instructions, a technological limit, or a time frame such as individual speaker slots during a seminar. Even if you don’t have a preset limit, it’s vital to limit yourself to the scope needed to convey your message—and no more. Whatever the length of your message, limit the number of major support points to half a dozen or so—and if you can get your idea across with fewer points, all the better. Listing 20 or 30 support points might feel as if you’re being thorough, but your audience will view such detail as rambling and mind-numbing. Instead, look for ways to group supporting points under major headings, such as finance, customers, competitors, employees, or whatever is appropriate for your subject. You may need to refine your major support points so that you have a smaller number with greater impact. If your message is brief (say, a 4-minute speech or a 1-page letter), plan on only 1 minute or one paragraph each for the introduction, conclusion, and major points. Because the amount of evidence you can present is limited, your main idea will have to be both easy to understand and easy to accept. However, if your message is long (say, 60 minutes or 20 pages), you can develop the major points in considerable detail. You can spend about 10 minutes or 10 paragraphs (more than 3 pages of double-spaced, typewritten text) on each of your key points, and you’ll still have room for your introduction and conclusion. Choosing Between Direct and Indirect Approaches After you’ve defined your ideas, you’re ready to decide on the sequence you will use to present your points. You have two basic options:  ¦ Direct approach (deductive). When you know your audience will be receptive to your message, start with the main idea (such as a recommendation, a conclusion, or a request), and follow that with your supporting evidence. 64 2: The Three-Step Writing Process FIGURE 3. 5 Choosing Between the Direct and Indirect Approaches Think about the way your audience is likely to respond before choosing your approach. ed d er es te d ed re s tra as p le er as nt Ea g Pl e In Di N U Direct approach Audience Reaction Message Opening Message Body Eager/interested/ pleased/neutral Start with the main id ea, the request, or the good news. Provide necessary details. Displeased Indirect approach Uninterested/unwilling Start with a statement or question that captures attention. Arouse the audience’s interest in the subject. Build the audience’s desire to comply. Request action. Start with a neutral statement that acts as a transition to the reasons for the bad news. Give reasons to justify a negative answer. State or imply the bad news, and make a positive suggestion. Close cordially. Message Close Close with a cordial comment, a reference to the good news, or a statement about the specific action desired.  ¦ Indirect approach (inductive). When your audience will be skeptical about or even resistant to your message, start with the evidence first and build your case before presenting the main idea. Use a direct approach if the audience’s reaction is likely to be positive and the indirect approach if it is likely to be negative. To choose between these two alternatives, analyze your audience’s likely reaction to your purpose and message. Bear in mind, however, that each message is unique. No simple formula will solve all your communication problems. For example, although an indirect approach may be best when you’re sending bad news to outsiders, if you’re writing a memo to an associate, you may want to get directly to the point, even if your message is unpleasant. The direct approach might also be a good choice for long messages, regardless of your audience’s attitude—because delaying the main idea could cause confusion and frustration. Figure 3. 5 summarizes how your approach may differ depending on the likely audience reaction. The type of message also influences the choice of a direct or indirect approach. In the coming chapters, you’ll get specific advice on choosing the best approach for a variety of different communication challenges. Outlining Your Content Once you have chosen the right approach, it’s time to figure out the most logical and effective way to provide your supporting details. Even if you’ve resisted creating outlines in your school assignments over the years, try to get into the habit when you’re preparing business documents and presentations. You’ll save time, get better results, and do a better job of navigating through complicated business situations. Whether you use a specialized outlining and idea-mapping software, use the outlining features provided with word-processing software, or simply jot down three or four points on paper, making a plan and sticking to it will help you cover the important details. You’re no doubt familiar with the basic outline formats that identify each point with a number or letter and that indent certain points to show which ones are of equal status. U nw eu te ni illi ng te l 3: Planning Business Messages 65 FIGURE 3. 6 Two Common Outline Forms Your company may have a tradition of using a particular outline form for formal reports and other documents. If not, either of these two approaches will work for most any writing project. ALPHANUMERIC OUTLINE I. First Major Point A. First subpoint B. Second subpoint 1. Evidence 2. Evidence a. Detail b. Detail 3. Evidence C. Third subpoint II. Second Major Point A. First subpoint 1. Evidence 2. Evidence B. Second subpoint DECIMAL OUTLINE I. First Major Point 1. 1 First subpoint 1. 2 Second subpoint 1. 2. 1 Evidence 1. 2. 2 Evidence 1. 2. 2. 1 Detail 1. 2. 2. 2 Detail 1. 2. 3 Evidence 1. 3 Third subpoint 2. 0 Second Major Point 2. 1 First subpoint 2. 1. 1 Evidence 2. 1. 2 Evidence 2. 2 Second subpoint A good ou tline divides a topic into at least two parts, restricts each subdivision to one category, and ensures that each subdivision is separate and distinct (see Figure 3. 6). Whichever outlining or organizing scheme you use, start your message with the main idea, follow that with major supporting points, and then illustrate these points with evidence:  ¦  ¦  ¦ Start with the main idea. The main idea helps you establish the goals and general strategy of the message, and it summarizes two things: (1) what you want your audience to do or think and (2) why they should do so. Everything in your message either supports the main idea or explains its implications. State the major points. Now it’s time to support your main idea with the major points that clarify and explain your ideas in more concrete terms. If your purpose is to inform, your major points might be based on something physical or financial, for instance. When you’re describing a process, the major points are almost inevitably steps in the process. When you’re describing an object, the major points correspond to the components of the object. When you’re giving a historical account, major points represent events in the chronological chain. If your purpose is to persuade or to collaborate, select major points that develop a line of reasoning or a logical argument that proves your central message and motivates your audience to act. Illustrate with evidence. After you’ve defined the main idea and identified supporting points, you’re ready to illustrate each point with specific evidence that helps audience members understand and remember the more abstract concepts you’re presenting. Provide enough evidence to make your message convincing, but don’t overload the audience with too many minor support points. Up to a point, the more evidence you provide, the more conclusive your case will be. If your subject is complex and unfamiliar, or if your audience is skeptical, you’ll need a lot of facts and figures to demonstrate your points. On the other hand, if your subject is routine and your audience is positively inclined, you can be more sparing with the evidence. You want to provide enough support to be convincing but not so much that your message becomes boring or difficult to read. Reviewing Key Points This chapter introduces the three-step writing process: planning, writing, and completing business messages. It discusses how the process works and how to schedule your time for each step. The majority of this chapter covers the first step of the three-step writing 66 2: The Three-Step Writing Process Improve This Letter To practice correcting drafts of actual documents, visit your online course or the access-code-protected portion of the Companion Website. Click â€Å"Document Makeovers,† then click Chapter 3. You will find a letter that contains problems and errors relating to what you’ve learned in this chapter about planning and organizing business messages. Use the Final Draft decision tool to create an improved version of this letter. Check the document for audience focus, the right choice of medium, and the proper choice of direct or indirect approach. process, which includes four planning tasks. The first of these is analyzing your situation, which includes defining both a general and a specific purpose and developing a profile of your audience by identifying the primary audience, determining audience size, determining audience composition, gauging your audience’s level of understanding, projecting your audience’s expectations and preferences, and estimating your audience’s probable reaction. The second task is gathering necessary information by exploring audience needs then collecting information that will meet those needs. The third task is selecting the right medium; the chapter offered an overview of oral, written, and electronic media. The fourth and final task is how to organize your message by defining the main idea, limiting the scope, grouping your points, choosing the direct or indirect approach, then crafting an outline. The next chapter focuses on the second step of the writing process: writing business messages. There you’ll explore two major tasks, adapting to your audience by being sensitive to their needs and building a strong relationship with them and then composing your messages. You will learn about controlling your style and tone, selecting the best words, creating effective sentences, and developing coherent paragraphs. Test Your Knowledge 1. What are the three steps in the writing process? 2. What two types of purposes do all business messages have? 3: Planning Business Messages 67 3. What do you need to know in order to develop an audience profile? 4. When including information in your message, what three conditions must you satisfy? 5. What are the main advantages of oral media? Of written media? Apply Your Knowledge 1. Some writers argue that planning messages wastes time because they inevitably change their plans as they go along. How would you respond to this argument? Briefly explain. 2. As a member of the public relations department, which medium (or media) would you recommend using to inform the local community that your toxic-waste cleanup program has been successful? Justify your choice. 3. Would you use a direct or an indirect approach to ask employees to work overtime to meet an important deadline? Please explain. 4. Considering how fast, easy, inexpensive, they are, should e-mail, instant messages, blogs, and podcasts completely replace meetings and other face-to-face communication in your company? Why or why not? 68 : The Three-Step Writing Process 5. Ethical Choices The company president has asked you to draft a memo for her signature to the board of directors, informing them that sales in the new line of gourmet fruit jams have far exceeded anyone’s expectations. As a member of the purchasing department, you happen to know that sales of moderately priced jams have declined quite a bit (many customers have switched to the more expensive jams). You were not directed to add that tidbit of information. Should you write the memo and limit your information to the expensive gourmet jams? Or should you include the information about the decline in moderately priced jams? Please explain.

Gender Stereotyping Generates Identity Confusion In Contemporary Australia

Gender Stereotyping Generates Identity Confusion In Contemporary Australia Gender is a mixture of sexual divergence, sociological concerns and human behaviors such as being masculine or feminine. Gender identity refers to communally accustomed characteristics or conventional behaviors.We are born as Male or Female, though we learn to be masculine or feminine. (Foucault). Contemporary Australian society has developed to be a great deal more nonchalant attitude about gender roles, although there are, however, stereotypes that people uphold which creates identity confusion. This argument will be discussed below.Gender identity is taught through gender socialization. There are six key foundations of gender socialization recognized by Wearing (1996) they are; “family, peers, media, education, leisure and employment. The customary “masculine stereotype includes strength, dominance, independence and insensitivity” (Avery and Baker 1990, Psychology at Work, Prentice Hall). The feminine stereotype includes male dependency modesty, sincerity, and emotiona l expression. Barky (1988) argues that femininity and masculinity are essential elements to who one is, and brings meaning to ones life.English: Gender identity law Espaà ±ol: Ley de iden...She argues that those who do not conform to the ‘norm will find themselves isolated from there peers. In contrast French (1999) argues that boys are willing to change and establish behaviors that are against the stereotypes formed, in order to establish relationships with their peers.Children are taught from the moment of birth appropriate behavior for their gender. For example boys are applauded for rough play and girls are often praised on looks. Children, therefore, learn to differentiate on suitable behaviors and thus form a gender identity. Barsky claims that Australians fall into gender roles, which are almost impossible to overcome. If one chooses to be dissimilar in behavior they excluded and incapable to develop relationships within society and thus lead an unsuccessful life. French however, through his studies, proved that through teaching boys that it is alright to be sensitive and...

The House of Atreus in Classical Greek Tragedy

The House of Atreus in Classical Greek Tragedy Today we are so familiar with plays and movies that it may be difficult to imagine a time when theatrical productions were still new. Like many of the public gatherings in the ancient world, the original productions in Greek theaters were rooted in religion. The City Dionysia Festival It didnt matter that they already knew how the story ended. Athenian audiences of up to 18,000 spectators expected to watch familiar old stories when they attended the Great or City Dionysia festival in March. It was the job of the playwright to interpret familiar myth, slices (temache) from the great banquets of Homer, in such a way as to win the dramatic contest that was the center of the festival. Tragedy lacks a spirit of revelry, so each of 3 competing playwrights produced a lighter, farcical satyr play in addition to three tragedies. Aeschylus, Sophocles, and Euripides, the three tragedians whose works survive, won first prizes between 480 B.C. and the end of the 5th century. All three wrote plays that depended on thorough familiarity with a central myth, the House of Atreus: Aeschylus Agamemnon, Libation Bearers (Choephoroi), and EumenidesSophocles ElectraEuripides ElectraEuripides OrestesEuripides Iphigenia in Aulis The House of Atreus For generations, these god-defying descendants of Tantalus committed unspeakable crimes that cried out for revenge: brother against brother, father against son, father against daughter, son against mother. It all began with Tantalus- whose name is preserved in the English word tantalize, which describes the punishment he suffered in the Underworld. Tantalus served up his son Pelops as a meal to the gods to test their omniscience. Demeter alone failed the test and so  when Pelops was restored to life, he had to make do with an ivory shoulder. The sister of Pelops happens to have been Niobe who was turned to a weeping rock when  her hubris led to the death of all 14 of her children. When it came time for Pelops to marry, he chose Hippodamia, the daughter of Oenomaus, king of Pisa (near the site of the future ancient Olympics). Unfortunately, the king lusted after his own daughter and contrived to murder all her more appropriate suitors during a (fixed) race. Pelops had to win this race to Mt. Olympus in order to win his bride, and he did- by loosening the lynchpins in Oenomaus chariot, thereby killing his would-be father-in-law. In the process, he added more curses to the family inheritance. Pelops and Hippodamia had two sons, Thyestes and Atreus, who murdered an illegitimate son of Pelops to please their mother. Then they went into exile in Mycenae, where their brother-in-law held the throne. When he died, Atreus finagled control of the kingdom, but Thyestes seduced Atreus wife, Aerope, and stole Atreus golden fleece. Thyestes went into exile, again. Eventually, believing himself forgiven, he returned and ate the meal to which his brother had invited him. When the final course was brought in, the identity of Thyestes meal was revealed, for the platter contained the heads of all his children except the infant, Aegisthus. Adding another creepy element to the mix, Aegisthus may have been Thyestes son by his own daughter. Thyestes cursed his brother and fled. The Next Generation Atreus had two sons, Menelaus and Agamemnon, who married the royal Spartan sisters, Helen and Clytemnestra. Helen was captured by Paris (or left willingly), thereby starting the Trojan War. Unfortunately, the king of Mycenae, Agamemnon, and the cuckolded king of Sparta, Menelaus, couldnt get the warships moving across the Aegean. They were stuck at Aulis because of adverse winds. Their seer explained that Agamemnon had offended Artemis and must sacrifice his daughter to propitiate the deity. Agamemnon was willing, but his wife wasnt, so he had to trick her into sending their daughter Iphigenia, whom he then sacrificed to the goddess. After the sacrifice, the winds came up and the ships sailed to Troy. The war lasted 10 years during which time Clytemnestra took a lover, Aegisthus, the lone survivor of Atreus feast, and sent her son, Orestes, away. Agamemnon took a war prize mistress, as well, Cassandra, whom he brought home with him at the end of the war. Cassandra and Agamemnon were murdered upon their return by either Clytemnestra or Aegisthus. Orestes, having first obtained the blessing of Apollo, returned home to exact revenge on his mother. But the Eumenides (Furies)- only doing their job with respect to a matricide- pursued Orestes and drove him mad. Orestes and his divine protector turned to Athena to arbitrate the dispute. Athena appealed to a human court, the Areopagus, whose jurors were split. Athena cast the deciding vote in favor of Orestes. This decision is upsetting to modern women because Athena, who had been born from the head of her father, judged mothers less important than fathers in the production of children. However we might feel about it, what was important was that it put an end to the chain of cursed events.

History 1112 Essay Example | Topics and Well Written Essays - 250 words - 2

History 1112 - Essay Example On the contrary, Russia advocated for communism, and thus wanted its allies and other of its friendly countries to adapt this (49). Consequently, Joseph Stalin, the then Russian president issued a very hostile speech in February 1946, postulating that capitalism and communism were not compatible, and that communism was more superior and public friendly. This was followed by a requirement by the then USA president Truman, that Russia leaves Iran, on March of the same year (65). The subsequent periods were marked by an arms race between the two countries, each launching major nuclear bomb tests by Russia in 1949 and USA in 1953 (38). The hostility continued for the better of the 1960-1970s, with each country seeking to contain the spread of the other countries ideology and dominance. This period was marked by among others the Cuban Missile Crisis of 1962 and the Afghan war of 1979 to 1989 (51). While the Soviet Union blocked the access to West Berlin, the USA and its allies sought to supply it through air. This greatly increased the tension. Several agreements were entered to throughout the period to stop any breakout of a physical war, since it would have seen nuclear weapons used, which would have caused untold damage

Assessing HRD Need is Important in Developing Strategic HRD Essay

Assessing HRD Need is Important in Developing Strategic HRD - Essay Example Current paper focuses on the examination of a particular aspect of HRD: the development of strategic HRD process. Reference is made specifically to the relationship between this process and the assessment of HRD need. The examination of the literature published in the particular field has revealed that indeed the accurate and appropriate assessment of HRD need can increase the chances for the successful development of strategic HRD process; however, the terms under which the interaction between the above two activities/ processes can be developed are not always clear. It seems that the conditions in the internal and the external organizational environment can affect the level at which the assessment of HR need affects the development of strategic HRD process. All the potential aspects of the above relationship are examined and critically analyzed in this paper using examples – as possible – from relevant organizational practices.   This paper stresses that  the establishment of HRD policies in the workplace has been proved to be a challenging task; despite their value, these policies have also important requirements, which have to be appropriately addressed so that the targets set by the planners of these policies to be achieved. The challenges that HRD policies have to face in the modern market can be understood by referring to their characteristics and common forms.  In this way also, the requirements of these policies will be clearer understood and justified.  

The Life Of Walt Disney Film Studies Essay

The Life Of Walt Disney Film Studies Essay When he arrived back to the United States, Walt moved back to Kansas City where he worked on several different jobs as a commercial artist and a cartoonist. One of these jobs was a temporary contract with the Pesmen-Rubin Art Studio where he created ads for newspapers, magazines and movie theatres. It was at the Pesmen-Rubin Art Studio where Walt met Ubbe Iwerks with whom he set up Iwerks-Disney Commercial Artists, which Disney soon left and began working at Kansas City Film Ad Company where he made cut out animation commercials. Disney decided he wanted to become an animator, he read a book called Animated Cartoons: How They Are Made, Their Origin and Development through which he learned about cel animation which he found to be much more promising then cutout animation. He was allowed to borrow a camera from work to experiment at home. He recruited fellow Kansas City Film Ad Company employee, Fred Harman as his own first employee and the two secured a deal with local theatre owner F rank L. Newman to screen their cartoons which they titled Laugh-O-Grams. The cartoons were hugely successful in the Kansas City area and from their success Disney was able to set up his own studio also called Laugh-O-Gram and also hire a number of animators including Fred Harman and Ubbe Iwerks. The company soon went bankrupt as the studios profits were unable to pay for the animators high salaries and Walt was unable to manage the money. After the failure of Laugh-O-Grams, Walt set his sights on Hollywood, where he met up with his older brother Roy and using the twos collective funds they set up a cartoon studio. At this stage a New York distributor Margaret Winkler signed a deal for some live-action/animated shorts based upon Alices Wonderland, which Walt had worked on in Kansas City with Iwerks. Walt and Roy had now set up Disney Brothers Studio, a single story building on Hyperion Avenue, LA where the company remained until 1939. The Alice Comedies were quite successful until finishing up in 1927 by which time the focus was mostly on the animated characters in the series rather than the live action Alice, especially Julius, a black cat that resembled Felix the Cat. In 1925, Disney had hired Lillian Bounds to ink and paint celluloid, Walt dated Lillian for a brief time and two got married in the same year. In 1927, Margaret Winklers husband, Charles B. Mintz had taken over her business and ordered Disney Studios to make a new animated series to be distributed through Universal Pictures. Oswald the Lucky Rabbit was the new series and was an instant success. Oswald, a character drawn and created by Iwerks became a popular figure. The company was doing so well that Walt hired 4 more animators. In February 1928, Mintz and Disney met to discuss a new fee for the shorts. Disney was looking for a higher payment but Mintz informed him that not only was he reducing the fee per short but that he had taken most of his main animators (except notably Iwerks) under contract and could begin his own studio if Disney did not accept the cuts and that Universal, not Disney, owned the trademark of Oswald the Rabbit so they could continue to make the films without Disney. Disney declined Charles Mintzs offer and lost the majority of his animation staff and his beloved Oswald the Rabbit. After losing Oswald, Walt Disney felt like he needed a new approach to his cartoons and new character to replace Oswald. The new character was based on a mouse that Walt had adopted as a pet while working in Kansas City. Ub Iwerks took Disneys rough sketches of the mouse, making it easier to animate. The mouse was originally called Mortimer, but later christened Mickey by Lillian Disney who thought the name Mortimer was too stiff and convinced him to go with Mickey instead. Mortimer later became Mickeys rival for Minnie. Mickey first starred in two silent films called Plane Crazy and The Gallopin Gaucho, both these films failed to find a distributor. By this time other film studios in Hollywood had began using sound in their movies and after Walt had seen The Jazz Singer, the first movie with sound, Disney decided to make the fist all-sound, talking and music cartoon with Mickey Mouse starring as Steamboat Willie which was distributed by Cinephone (1928). Eight years later, in 1936 c ritics and fans all over the world agreed that Mickey Mouse was the most recognized figure on the planet. It was Walt himself that provided Mickeys voice until 1946. Although he had stopped actually drawing the cartoons himself in 1927, Disney relied on his animators to implement his ideas which included launching many other successful cartoon characters over this time including Donald Duck, Goofy and Pluto. In 1932, Disney received a special Academy Award for the creation of Mickey Mouse. Disneys Success continued to soar throughout the 30s and 40s, with 1937 1941 being known as The Golden Age of Animation. In 1934 Disney began making plans for a full length feature animation, Snow White and the Seven Dwarfs with an estimated budget of $150,000 that ended up costing Disney $1.5 million. The studio actually ran out of money mid 1937 and had to show a rough cut of the film to loan officers at the Bank of America who gave them money to finish production. The premiere on the 21st December 1937 was met with a standing ovation. The film was released in February 1938 and earned over $8 million on its first theatrical release, at a time when the average ticket price was 25 cents. On the success of Snow White, Disney was able to build brand new studios in Burbank, which opened for business in December 1939. Over the next four years, Disney produced Pinocchio, Fantasia, Bambi and Dumbo and early production work had started on Peter Pan and Alice in Wonderland. Although the ear ly forties proved difficult for Disney as many of the top animators went on strike. Personal Politics Throughout his life Walt Disney gave off the perfect public persona, but Walt has had many critics during his life and since his death. In the studios in Hyperion Ave, his employees knew him as Uncle Walt which at the time was a term of endearment and it seemed like a privilege to them not to have to call their boss Sir or Mr. Disney. The animators worked long hard hours to meet Disneys high standard of perfection, Everybody loved the studio, everybody joyfully worked over-time putting in all the hours needed without any pay, everybody liked each other and liked Walt Bill Melendez, animator at Disney Studios 1937-1941. But when the studios moved to the new location at Burbank, Disney introduced a high degree of specialization among his work force transforming animation into a production line process, here at last was the rationally planned factory Disney had dreamed of. Walt showed off the studio is a film called the reluctant dragon in which smiley white coated worked go happily abo ut their day. But reality at the new studios wasnt all that it seemed. The workers had been promised that the move from Hyperion was good for them as well as Walt, but this was not the case, in fact some workers fell that is was in some ways a deterioration in their working conditions. Marie Beardsley was one of the artists who made the move everything was segregated, everything got too big and too impersonal and I think thats where the trouble started. Through using this factory like method in the studio had created a hierarchy of jobs, at the top being the animators, all male and all hand picked by Disney beneath them was hundred of inkers and painters, who coloured in the thousands of pictures that made each scene. They were all women. Marie Beardsley said it probably never even occurred to Walt to put a man in the inking and paintingà ¢Ã¢â€š ¬Ã‚ ¦ That was demeaning work, she recall supervisors walking around and standing behind and other women to see how well they were inking and how fast they were painting. They were timed to see were they worth keeping on. Bill Melendez recalls Walt saying that women were Ok to be used in a menial capacity because once they reached the age of thirty the hand got shaky so it was time to get rid of them. Things had changed in the new studio and Disneys increasingly tyrannical style of management meant for some that the words Uncle Walt took on a much more sinister meaning. Disney was unusually straight-laced for a Hollywood big shot; Marie Beardsley recalls a memo being sent around to all the girls in inking and painting saying that The married men in Disney were happily married and we want all of the girls to understand that, he disliked any sort of sexuality or even socialising amongst his employees. He and Lillian were together for forty years until his death and no one at Disney Studios recalls him ever showing any interest in any other women. He actually told one of his animators that he loved Mickey Mouse more than any girl hed ever known. On Walts 35th Birthday two of the animators made a film of Mickey and Minnie consummating their relationship, at the end of the film Walt stood up and said that it was great animation, he then asked who had made it, the animators who made it stood up and Walt fired them on the spot. Case Study: Disney Corporation vs Fitzpatrick In 2001, Denise and Francis Fitzpatrick, a young professional couple from Ireland did the impossible and defeated The Walt Disney Company in a legal battle over the rights to the name of their character Piggley Pooh for a TV series they wanted to develop. In 1999 Denise and Francis received a letter from Disney saying that the company was opposing their application for the trademark of Piggley Pooh in Europe because of Disneys character Winnie The Pooh. The Fitzpatricks faced an almost 3 year long battle with one of the biggest entertainment corporations in the world. In which they became emotionally, physically and financially broken. Winnie the Pooh is character from books written by A.A Milne in 1926.in 1930 Steven Slesinger purchased the rights to Winnie the Pooh from Milne for a $1000 advance and 66% of Slesingers income, by November 1931 Slesinger had turned Winnie the pooh into a $50 million a year business. Walt Disney bought Winnie the Pooh off Slesinger in 1961 and was paying twice yearly royalties to A.A Milnes beneficiaries until 2001 when they paid a lump sum of $350 million. The lump sum was spread out between the Royal Literary Society, the Westminster School and the Garrick Club and family of A.A Milne. Winnie the Pooh now raises at least $6 billion revenues for Disney each year. As a young girl on her grandmothers farm in Co Meath, Denise had a fascination with the pigs that were there, she used to visit them every time she was on her grandmothers farm and loved to make up stories about them. The main character in all her stories was Piggley Pooh. Denise says she had never heard of Winnie the Pooh or Piglet or any of the animals in 100 Acre Wood during her childhood in the 1960s and 1970s, like most Irish children she read Enid Blyton and other English wirters. Her imagination ran wild throughout her childhood as to what this marvellous little Pigley Pooh would be getting up to. Denise also had a love for stories from Celtic mythology and old Irish seanchaà ­s throughout her life. This is what she wanted the Piggley Pooh TV series to be based on, a simple story for children, with a moral lesson behind it. Disney were adamant the Fitzpatricks stop the production of the Piggley Pooh TV series, or at least change the name, something Denise was thoroughly against, she would not even hear of having the h at the end of pooh dropped. After the letter in January in 1999, they decided not to let the giant corporation ruin Denises childhood dreams. Piggley Pooh was already a registered trademark in the U.S, but they were objecting to the name becoming a registered trademark in Japan and Europe. Francis met with their Trademark Agents who were quite confident that they has a pretty strong case. Disney were trying to prove that their ownership of the name Winnie the Pooh was being stolen by the use of the word pooh in Piggley Poohs name. In 2000, Denise and Francis flew over to L.A for a meeting with Steve Ackerman, Disneys chief counsel worldwide. After many attempts to postpone their meeting, Francis arrived at the Burbank Studios where Ackerman showed up 40 minutes late for their meeting without a word of apology. Ackerman straight out told Francis that the problem they had was one of theft, they had stolen two names from Disney. Pooh and Piglet. Although they had slightly altered Piglet, they had still put it side by side with Pooh, and hoped to make millions from it. This is what the Disney Corporation thought about Francis and his wife and family and it looked as if they were not going to stop at anything to get their names back. The meeting was a hostile one, with Ackerman claiming that Disney could prove that there were Winnie the Pooh books in circulation in Ireland at the time of Denises childhood. Francis was called a thief many times and an Irish bastard. But things came to a head when Ackerman threatened the Fitzpatricks children Listen Francisà ¢Ã¢â€š ¬Ã‚ ¦ Youre not going to get the better of the Disney Corporation. Nobody gets the better of Disney. We got the recourses. We got the time. We got right on our side. Well go after you all around the world and bankrupt you. Youre a family man. You got children. You need to think again Youve got young childrenà ¢Ã¢â€š ¬Ã‚ ¦ You and your wife have to look after them, not waste their future Francis flipped telling the corporate giant never to mention his children again. Telling him that Disney were the thieves in all this, stealing peoples dreams, peoples rights to tell stories and stealing something that had been a part of Denises life since she was a child. After this outburst, Ackerman realised that the Fitzpatricks were serious about this and would not be backing down anytime soon. The two men continued the meeting in a civil manner, with Disney proposing a settlement out of court of $500,000 for the Fitzpatricks to give up the Piggey Pooh name. They refused this offer and met the Disney Company in the European Trademark courts in Alicante, Spain in January 2001 but no oral hearing happened, it was done behind closed doors. Three months later Francis has a phone call from their Trademark Agents telling him it was good news. They had won, Disneys objection had been overruled and they were entitled to registration as owner of the trademark. But this wasnt the end for the battle for the name Piggley Pooh. In March 2002, Royal Bank of Scotland, the bank funding the TV series decided that the name Pooh must come out of the name Piggley Pooh because of Disneys powerful stance in the marketplace was too threatening to the brand of Piggley Pooh. If a Piggley Pooh soft toy were on sale for $10 in childrens shops, Disney would sell Winnie the Pooh for $8. The Fitzpatricks were back to square one. Although they had beat the Disney Corporation in the courts they had not fully won. Out of this Piggley Winks was born and turned into a successful animated TV series.