Muthia

2009-10-24T06:06:00.000-07:00

PROMOTING
RESPONSIBILITY
& LEARNING
Character Education

Dear Dr. Marshall,

I am the principal at Winter Park Elementary in Wilmington, North Carolina. Four years ago I was looking for a structure or paradigm of some sort to help explain to parents and community members our reliance on intrinsic motivation to manage our student body. I came your "Raise Responsibility System" and I was thrilled.

The entire staff met to discuss how to make "The Raise Responsibility System" work for us. We created a visual poster, wrote a parent-friendly version for distribution, and renamed our structure, "Action Zones." Everyday we talk about being in the "D Zone" where you are doing what is right even if no one is looking.

I am delighted to let you know our "Action Zones" has been selected as a "promising character education practice" by the Character Education Partnership. We were selected from 206 applications across the U.S. and other countries. Our application included mention of your work as our structure and how we adapted the "Raise Responsibility System" framework.

Thank you for your inspiration and wonderful work.

Sincerely,
Lynn W. Fulton, Principal
Winter Park Elementary School

The most wonderful tool I know of for teaching about "character" is the Hierarchy of Social Development from Dr. Marvin Marshall's Raise Responsibility System (RRSystem). It is a K-12 program, originally developed for classroom discipline but now is also used to promote academic achievement and character development.

Dr. Marshall’s hierarchy is most certainly the BEST tool that I, personally, have ever seen for helping young people understand what "character" is and for concretely showing them how to achieve a higher level of personal development with regard to any of the character traits.

Although incorporating the RRSystem into every aspect of the school day is the intended and most effective use of this program, you wouldn’t necessarily need to implement it so extensively in order to take advantage of the hierarchy and use it as a teaching tool for character education.

The hierarchy describes four levels of personal and social development that can be taught to students of any age (It is often an eye-opener for many adults as well!) Below is the basic hierarchy that focuses on responsible classroom behaviour.

As in any hierarchy, the highest level is at the top:

Level D - Democracy (Motivation is INTERNAL.)

* Develops self-discipline
* Shows kindness to others
* Develops self-reliance
* Demonstrates responsibility
* Does good because it is the right thing to do.

Level C - Cooperation/Conformity (Motivation is EXTERNAL.)

* Cooperates
* Does what is expected
* Exhibits self-discipline, kindness, responsibility, reliance, etc.—when someone else is present to provide the motivation

Level B - Bossing/Bullying (Needs to be bossed to behave.)

* Bothers others
* Bullies others
* Breaks classroom standards
(This level is never acceptable.)

Level A - Anarchy

* Noisy
* Out of control
* Unsafe
(This level is never acceptable, It is the lowest level of personal and social development.)

To help you more fully understand, following is a brief explanation of the higher two levels of the hierarchy as they relate to character education.

At Level D, a person is kind, (or tolerant, respectful, diligent, etc.), because he/she is motivated INTERNALLY. A person operating at this highest level of development acts kindly (tolerantly, respectfully, with diligence, etc.), WHETHER OR NOT someone is watching or supervising. At Level D, there is no desire to impress, be rewarded, or even be noticed. When operating at this very high level, a person acts in a kind, tolerant, respectful or diligent way without any EXTERNAL incentive to do so.

In contrast, a person operating at a slightly lower (but still acceptable level), Level C, does all of the same things as someone operating at Level D, but is motivated by EXTERNAL influences, rather than INTERNAL ones. In other words, an adult (or perhaps a peer that the young person wants to impress) is watching or directly supervising, and this influences the young person to do the kind, tolerant or respectful, or responsible thing.

At Level C, a person is not acting from an entirely genuine desire to be kind or respectful, tolerant, etc. Rather, at Level C, a person acts due to the presence or influence of someone else. Although this level is certainly acceptable (and even many adults never move past it in their own development), it is important for young people to understand that this is not the highest level of personal or social development.

The main purpose of teaching the hierarchy to young people is to give them a reference that will enable them to evaluate and assess behaviour in any situation or circumstance. Even very young children can learn to do this quickly and accurately. In so doing, students gradually develop a clear vision of what constitutes highly evolved social/personal behaviour.

The basic RRSystem hierarchy can be adapted to any situation that might arise in a school day and can also be used in conjunction with literature, current events, or social studies. When used specifically for character education, it can be modified to highlight any particular character trait that a teacher might choose as a focus.

Because the students, rather than the teacher, assume responsibility for using this assessment tool, they must actively engage in a process of critical thinking each time they are asked to examine behaviour. This thinking process naturally leads to reflection regarding personal and social development and is what makes the hierarchy such a valuable and powerful teaching/learning tool.

Here is an example of a hierarchy that might be created to highlight just one character trait, with some sample understandings that might be discussed in a classroom:

PERSEVERANCE

Level D (Motivation is INTERNAL.)

• Perseveres in spite of a challenge
• Retains an optimistic attitude toward obstacles
• Doesn't require constant adult direction or supervision to stay on task
• Independently asks for help when necessary, rather than unnecessarily worrying

Level C (Motivation is EXTERNAL.)

• Does all of the above but ONLY when an adult is nearby or when there is a desire to impress someone who is watching

Level B/A

• On task ONLY when an adult is directly supervising and even then doesn't choose to focus well
• Gives up without much effort or care
• Displays a pessimistic attitude toward obstacles
• Blames others/circumstances as an excuse for giving up
• Doesn't ask for help or accept help that is offered
• Worries but doesn't choose to take action that will help move her/him forward

As I mentioned earlier, one of the main understandings to convey to students when using the RRSystem hierarchy for any purpose is that levels C and D differ only in their motivation. This is the only program I know of that features this crucial concept.

Marshall’s reference to motivation in the hierarchy enables teachers to describe, in a very simple way, exactly what adults mean by "a person of the highest character." That is, a person of the highest character is motivated INTERNALLY to do the right thing simply because it is the right thing to do.

Another difference between the two highest and acceptable levels is the fact that each level of operation brings with it different and predictable results. Although Level C operation leads to decent relationships with others, a decision to operate more consistently at Level D naturally leads to EXCELLENT relationships and, additionally, a strong sense of self-esteem.

By focusing on the benefits of operating at Level D (the great feelings of inner satisfaction that come from knowing that you are an authentic and genuinely motivated individual), I have found that young people become inwardly motivated to WANT to reach for this highest level of personal development more and more often.

One concern I have regarding many of the character education programs designed for children these days is that they often seem to recommend that teachers institute some sort of classroom/school reward system in the hopes of motivating students to exhibit one or more of the featured character traits. Although I realize that the authors of these programs are well-intentioned, the actual fact of the situation is that by offering EXTERNAL incentives to children (and this includes praise), these programs are actually Limiting young people; they are encouraging Level C behaviour.

Kindness motivated by a desire to please an adult or a desire to receive a treat is NOT the highest level of behaviour. A program that offers a child a prize, a badge, or a raffle ticket for displaying kindness is promoting less-than-the-highest type of behaviour. (A good book to read for further information about human motivation is WHY WE DO WHAT WE DO by Edward Deci. It is available in almost any public library.)

One thing that I especially love about the RRSystem hierarchy is that it is meant to be used in real life situations, as they actually happen in the classroom, in the gym, in the line-up, or out on the playground, etc. Everyday situations provide countless opportunities to discuss kindness, tolerance, honesty, patience, responsibility, etc., in very real and, therefore, meaningful ways.

In my opinion, many character development programs fall short because, in contrast to Dr. Marshall’s hierarchy, they seem quite superficial. Character education teaching manuals routinely suggest using party games, snappy jingles, commercially prepared role-playing scenarios, artificial compliment-giving sessions, and contests or raffles to teach or encourage the development of various character traits.

Despite the fact that students might display enthusiasm for character lessons centered around games and songs, to my way of thinking such activities are all quite limited in value when it comes to building character. Being somewhat contrived and at the very least, one step removed from real life, it seems difficult to imagine that such exercises could ever be very effective in helping students to become genuine and authentic individuals.

I hope I've encouraged you to investigate the ideas I have presented here more thoroughly. If you'd like to find out more about Dr. Marshall’s hierarchy and the Raise Responsibility System, here are some resources:

The RRSystem, including the Hierarchy of Social Development, is described in Dr. Marshall's book, DISCIPLINE WITHOUT STRESS, PUNISHMENTS or REWARDS - How Teachers and Parents Promote Responsibility & Learning. It is available online at www.DisciplineWithoutStress.com, www.Amazon.com, special orders at bookstores, and at public libraries. The Amazon reviews are especially worth reading. Every one of the online reviews gives this book a 5-star rating!

Dr. Marshall's website includes a wealth of articles and information:
MarvinMarshall.com.

Dr. Marshall and I had the pleasure of having had an article published as the featured cover article in the March 2004 issue of PHI DELTA KAPPAN. It's a two-part article. The first part describes the theory and development of the hierarchy and RRSystem, and the second part shows how I use the system to promote both responsibility and motivation to put forward the effort to increase academic performance. The article is available online at www.pdkintl.org/kappan/ktoc0403.htm. Scroll down to the title, "Using a Discipline System to Promote Learning." A printable pdf version is available at Phi Detla Kappan article.

Dr. Marshall writes an informative, free monthly newsletter, “Promoting Responsibility and Learning” to which you might like to subscribe. Every issue includes ideas on each of the following topics: increasing effectiveness, improving relationships, promoting learning, and promoting responsibility. Subscription is available at MarvinMarshall.com.

You can also subscribe to Dr. Marshall's Newsletter at AboutDiscipline.com—a site that provides information about the inadequacies of external approaches.

A Yahoo mailring has been established for teachers and parents who use the RRSystem. Anyone with questions or comments is welcome. The link to join is at http://groups.yahoo.com/group/DisciplineWithoutStress.

Good luck in your teaching!

Kerry Weisner
British Columbia, Canada

MATA UNTUK JADI PENAKLUK

2009-10-15T22:22:00.000-07:00

Mata Untuk Jadi Penakluk
Di Bimbing Oleh
Ki Rahsa

Pengetahuan ilmu ini asalnya dari paman saya yg ada di madura, beliau dulu pernah
kena santet,tetapi karena kelebihannya malah medium santetnya itu yg dikuasai,
untuk memuaskan keingin tahuan maka saya cari informasi dari beliau caranya,
Menurut paman saya tersebut apabila ada orang yang hendak belajar keilmuan
supranatural maka orang tersebut harus bisa mendalami ilmu penakluk dulu,
dikarenakan untuk mendalami Ilmu Penakluk makanya beliau mengajarin dengan
latihan melihat matahari, dalam hal ini matahri adalah simbol kekuatan alam yang
paling superior di saat siang hari .
Selanjutnya pengetahuan tersebut sayang ambil dan saya padukan dengan apay
yang pernah saya terima dan pelajari dari guru-guru saya seperti Ki Sawung dan
lainya. Dan kemudian ternyata membuahkan hasilnya yang memuaskan. Makanya
dalam kesempatan ini saya hendak berbagi kepada teman-teman pengalaman yang
saya dapat tersebut..
Mendalami Ilmu ini tidak membikin seseorang sakti , tapi keilmuan ini dapat
diamalkan dalam kehidupan sehari-hari, aplikasinya dilapangan bisa sangat luas
seperti digunakan seseorang ketika mengikuti suatu wawancara kerja. Dan bagi
yang menyukai untuk dapat mengetahui alam gaib maka pengetahuan ini akan
dapat sangat membantu, seperti apabila seseorang hendak bertemu dengan saudara
gaibnya. Mudah-mudahan dengan cara ini maka akan tampak bentuk dari alam gaib
saya sedikit akan berbagi cara utk melatih mata kita agar dapat menjadi sorotan
yang 'tajam' dan ber”isi”, bahkan pada tahap tertentu nanti insya allah dapat
membuat kita mampu melihat makhluk halus atau mahluk yang lebih halus seperti
jin, dll.

Mohon yang saya paparkan nantinya tidak menjadi sebuah kemudharatan bagi
semua dan utk semua yg berkeinginan melakukannya dimohon untuk tidak salah
mempergunakan.
adapun hasil dari latihan ini apabila berhasil yaitu dari latihan ini insya allah adalah :
1. Bisa menaklukan pikiran orang lain
2. Menambah kewibawaan diri terhadap oarng yang memandang.
3. Bisa melihat kembaran sendiri atau sedulur gaib
4. Bisa melihat mahluk halus dan sebangsanya

Namun disini ada beberapa tahap latihannya yang harus dipedomani dengan disiplin,
jadi sangat di sarankan untuk mengikuti pelatihannya harus berurutan, karena kalau
tidak dapat memberikan efek yang tidak baik.
Saya akan beri penjelasan latihan demi latihan, dan bagi yang melakukannya harap
mengkonfirmasikan juga hasilnya yg dirasakan, saya sengaja tidak akan
mencantumkan apa yang mungkin akan anda rasakan karena khawatir jadi sugesti.
sebenarnya latihan ini seakan-akan hanya melatih mata, namun jika anda semua
teliti, tekun dan memantapkan diri bukan pada apa yang ingin diperoleh, maka akan
terjadi suatu perubahan pada diri.baik pada fisik, mental dan bathin anda seperti
yang dikatakan @dji_pang_kang. Yaitu
ada suatu penyatuan antara
Semangat-Rahsa-Cipta-Mata
ketika menatap..
rahsa bergerak dan terkumpul hangat (semangat)di dada...
cipta menjadi driver..
membawa rahsa menuju mata.menjalar getar dari simpul saluran di dada menuju
mata melalui kepala belakang.
menarik nafas dikumpulkan di perut lalu membangkitkan rahsa dan semangat
menyegarkan cipta seiring keluar nya nafas...
Tiada ada yang di nilai dalam memandang...
yang ada hanya apa yang di pandang.....
tiada warna dalam memandang...
yang ada hanya warna yang ada.....
semua mengalir menuju suatu titik...
titik menjadi awal yang kemudian menjadi semua...
sehingga tidak ada lagi titik..yang ada semua..
hingga hilang pengakuan...
hilang penilaian...
hilang bayangan.....
maksud saya membuka thread ini bukan saja mencari sesuatu yg biasa tapi yang
"luarbiasa", namun dengan cara yang "biasa". bagi anda yang senang mendalami
makrifat silakan temukan faedahnya untuk ruh anda.

I. Persiapan Sebelum Latihan dan Latihan Tahap I.

1. tenangkan pikiran, dan kalo bisa yg muslim di sarankan untuk ambil wudlu
dulu agar membantu pikiran supaya agak tenang.
2. Berdiri menghadap ke arah matahari dengan mata tertutup.
3. tutup kedua mata dengan tangan selama 1 menit.
4. Buka mata anda perlahan-lahan dan lihat matahari secara "sayu", jadi
pandangan mata jangan melotot karena akan membuat mata cepat lelah
karena berkonraksi berlebihan.
5. Tatapan mata tetap melihat terus ke Matahari sampai terlihat bahwa matahari
Benar-benar bulat dan terdapat atau nampak cahayanya hanya ada ada di
sekitarnya saja, seperti melihat piring yang dibelakangnya ada lampu, tapi
piringnya ikut berpendar.
6. setelah bisa lakukanlah pandangan tersebut selama 5 menit, baru pejamkan
mata selama 1 menit, baru buka kembali....
lakukanlah tahapan latihan tersebut dahulu, bagi yg belum sampai melihat
matahari bundar atau yg bagi yang matanya mengeluarkan air duluan,pejamkan
mata dan ulangi lagi latihan tersebut minimal 10 menit kemudian
Hasil yang didapat dari orang yang melakukan latihan tersebut sangat beragam
dan kadang berbeda tiap orangnya berbeda reaksi yang di perolehnya, beda
tergantung dari kekuatan matanya masing-masing.

Apabila latihan ini sudah selesai dilalui, maka nanti ada latihan tahapan
selanjutnya seperti berikut :
1. Latihan Melihat Matahari
2. Latihan Melihat Cermin
3. Latihan Melihat sekeliling

III.Latihan Melihat Cermin (Latihan Tahap 2)

terima kasih atas kesungguhan dalam melatih mata anda, walaupun dengan tujuan
yang berbeda-beda, namun saya sekedar menghimbau jikalau nantinya sudah bisa
dimanfaatkan tolong jangan terpesona oleh "permainan", maksudnya kalau ada hal
bisa melihat jin, kembaran dll. ada sesuatu yang besar selain hal-hal kecil tsb.
carilah yang besar tsb, karena itu sebenarnya tujuan saya berbagi mengenai
pelatihan ini , tentang mengenai masalah warna yang berbeda-beda tiap orang itu
jelas.
kalau sudah bisa melihat warna-warna dan bulatnya matahari. bisa dilanjutkan ke
tahap selanjutnya dengan latihan melihat cermin..
begini cara utk melihat cermin : pada malam hari (lebih baik kalau diatas jam 10
malam)

1. Duduklah di depan cermin (cermin yang cukup besar/minimal bisa
Melihat atas kepala dan dada anda)
2. Atur nafas setenang mungkin, bila perlu fokus perhatian pada keluar
Masuknya nafas dari hidung (mulut jangan kebuka)
3. Setelah tenang, hening, fokus kepada chakra ajna (diantara kedua
mata) Dengan pandangan 'sayu' persis seperti melihat matahari.
4. bagi yg beragama islam silakan wirid al an'am 103, bagi yg non muslim
silakan berdoa dengan memohon bisa melihat sejati diri anda.
5. fokus disini bukan berarti tegang, tetap santai dan sayu.
silakan dicoba latihan Tahap 2 ini dan konfirmasikan pengalamannya dan hasilnya.
untuk lamanya, biasanya min 15 menit, maks 1 jam (tergantung kemauan) yang
perlu diingat posisi tulang punggung diharapkan tegak, namun jangan sampai
mempertahankan tulang punggung akhirnya ridak konsen di mata . lakukan minimal
3 malam

sebenarnya apa yg juragan semua liat di cermin biasanya terdiri dari berikut:
1. pola energi tubuh, baik yg dipengaruhi oleh chakra, fikiran, ilmu dll
2. pola energi alam sekitar (bisa alam lain)
jadi wujud yang tampak adalah berbeda setiap orang karena perjalanan hidup yg
berbeda, mindset berbeda, ilmu yg berbeda, juga alam sekitar yg berbeda.
kalau cara membedakan antara itu wujud energi pikiran dengan yg lain memang
agak susah awalnya,tapi kalo udah terbiasa nanti akan menemukan sendiri
perbedaannya.
tambahan bagi yg belum melihat wujud secara keseluruhan coba ketika melihat
cermin dengan menekuk lidah keatas.kalo yg muslim silakan baca "Allah hu Allah"
terus menerus selama melihat cermin
Konsepnya adalah energi mengikuti pikiran, apa yg kita pikirkan itulah yang terjadi,
maka bisa terjadi namanya ilmu telepati, pukulan jarak jauh, pengobatan,
terawangan, dll.
jika kita bisa memanfaatkan energi tersebut dan "memanipulasi" sesuai dengan
hukum alam yang berlaku maka kita dapat "berkehendak selayaknya alam"
buktinya sudah banyak, misalkan saya contohkan sebuah "permainan" :
bagaimana caranya bicara dengan orang lain, sedangkan pulsa habis?
coba saja dengan membayangkan dia menelpon anda, maka tidak begitu lama dia
akan menelpon kita.ini salah satu contoh dari teknik "pemancar-receiver".
bayangkan kalau kita bisa memanipulasi sedemikian rupa energi tsb. tanpa puasa
pun rasanya kita sudah "sakti".
Melakukan aktifitas menghayal memang utk orang "sukses", krn tidak ada
kesuksesan tanpa hayalan ? kalo menghayal yang gratis aja gak berani apalagi ambil
resiko.bener kan?
hayalan (afirmasi energi) merupaka cara utk meningkatkan pita frekuensi
mempertebal panjang gelombang) kalo dalam Ilmu Fisika bilang panjang gelombang
(lamda) = 1/f (frekuensi)...
itu juga berfungsi utk memperkuat sign (isi berita), jadi manipulasi disini maksudnya
berhubungan dengan waktu, cara kirim, teknik pengiriman, teknik pemancar, dan
memperkuat isi berita tersebut.disesuaikan dengan pergerakan alam, misalnya kalau
kirimnya siang frekuensi kita biasanya "kalah" dengan frekuensi sinar matahari jadi
nyampenya sepotong-sepotonga. makanya ada cara "1/3 malam yg akhir".
IV.Latihan Melihat Lingkungan (Latihan Tahap 3)
Setelah anda semua mengikuti latihan dengan cermin, silakan ikuti latihan berikut
ini:
sekarang anda lihat sekeliling kamar anda pada jam 10 malam ke atas, kalau bisa
dikamar anda hanya ada anda sendiri. lihat dengan cara mata "sayu" ke sekeliling
kamar, lihat pola energi dari tiap-tiap benda (energi/auranya) identifikasikan
masing2 menurut warna, besaran aura dll.
bedakan masing2 benda dan makhluk hidup yang ada. setelah anda bisa
mengelompokkan masing2, silakan anda latihan di luar ruangan atau tempat lain
(bisa di tempat yang dianggap angker, melihat orang lain, ataupun kuburan
misalnya)
latihan ini dimaksudkan untuk terbiasa melihat pola energi dan kualitas energi yang
terbentuk, sehingga jika anda melihat sinar yang lewat anda bisa
mengidentifikasikan sebagai mahkluk hidup atau benda ( jadi gak bisa diboongin
orang lain yg bilang ambil pusaka, dll atau yg menyembuhkan, bahkan anda dapat
melihat tingkatan/kualitas energi dari orang lain.ini untuk membuktikan kemampuan
supranatural/ilmu dari orang tsb)
jika anda belum bisa melihat energi tersebut, pakai lidah ditekuk keatas, insya allah
dapat mempercepat "pengelihatan".namun jika ilmu ini sudah dikuasai, harap tidak
mengumbar kata2 utk orang tsb atau asal omong utk orang yang anda lihat. karena
bisa saja energi itu terjadi karena pikiran, ilmu yg dipunyai, dan sebab lainya.
pengembangan ilmu ini bisa untuk "membaca" jalan hidup (bukan meramal!), bisa
untuk mempengaruhi orang lain (untuk tujuan yg baik), untuk mengirim energi baik
utk pengobatan dll, juga telepati, dn sebaginya
selanjutnya pengembangan ilmu sangat tidak terbatas, tergantung dari keterbatasan
masing-masing

IV. Beberapa Pertanyaan yang Menjelaskan

Separatis : Bung @rahsa itu lihat mataharinya apa nggak berbahaya
liat secara langsung ? dan maksud Buka mata anda
perlahan-lahan dan lihat matahari secara "sayu" tersebut
maksudnya "sayu" gimana ? apa merem melek kepedesan,
mata sayu kayak orang abis bangun, apa mata sayu kayak
orang orgasme atau liat mataharinya sambil buka mata
tapi masih ditutup tangan, tolong bagian itu diperjelas
karena kalo salah sangat berbahaya terima kasih bozz...
Rahsa : insya allah nggak bung, kalo liatnya 'sayu', sayu itu kayak
ngeliat setengah.maksudnya jangan melek full.. kalo
katanya kisawung itu ilmu biar lawan jenis takluk, dan
sesama jenis hormat. yg penting gak ada ketegangan otot
atau urat sekitar mata, dan kelopak mata kebuka
setengah dilihat dengan mata langsung tanpa ditutupi
tangan.ane sering begitu gpp kok
Sempak : Menatap matahari nya jam brp nech ? trus gak perlu
baca2 amalan dan puasa gitu.mohon pencerahannya
Rahsa : lebih baik jam 9-10.. pagi . gak pake bacaan apa2, kalo
muslim biasakan berdoa dulu lah, kalo bisa baca juga
kunci ilmu.kalo tidak mengetahui kunci ilmu dapat
ditanyakan sama kisawung.
Dahiklimis : kalau di ganti ama lilin bisa gak bro, Soalnya dulu saya
pernah diajarin untuk menggunakan lilin di dalam ruang
yang gelap:
Caranya pandangi lilin smpai mata terasa perih, kemudian
mata di tutup dan lilin di matikan. dari situ akan tampak
seperti bola atau oval atau apalah yang bersinar dimana
warna tengahnya kuning dan warna luarnya, bisa merah
terus berganti biru atau putih, dan kita mengikuti sinar
tersebut sampai menghilang.Saya baru latihan 1 kali dan
belum diulangi lagi, katanya adayang bisa langsung bisa
melihat mahkluk gaib tuh.Mohon pencerahannya..
Rahsa : memang ada cara dengan lilin, tapi kalo menurut ane sich
itu masih kurang, soalnya yg dicari disini bukan hanya
melatih mata ngeliat alam lain, tapi juga membentuk alam
bawah sadar utk gak 'kagetan' kalo nanti liat alam tsb...
makanya dibutuhkan frekuensi yg lebih tinggi dan
pancaran cahaya yg lebih kuat.
Sitbal : Ane udah coba dan alhamdullilah berhasil, pas mata
merem ama ditutup tangan ada 3 titik merah, pokoknya
gw ikutin trus sampe matahari tuh putih kayak piring
bunder berpendar, trus gw liat selama lima menit, abis itu
merem lg, titiknya tinggal 1, abis itu yg ada badan gw jadi
pegel2 semua neh, apalagi leher gw, baru sekali doank itu
jg, gw blum berani lg soalnya takut ntar gimana2...mohon
pencerahan...
Rahsa : bagus kalo ada 1 titik pusat, warnanya apa?ada lihat
simbol di matahari? apa warna matahari, sekelilingnya
pertama dan yg keduanya?kalo pegel2 biasa, itu efek dari
u berdiri terus.tapi kalo urat leher u pegel, berarti masih
belum melihat dengan sayu yg bener,artinya masih ada
ketegangan otot. coba lagi..kalo udah keliatan yg ane
tanyakan disini baru kita lanjut ke cermin
Mr-cihuy : gw tadi pagi dah coba sekitar jam 8, pas mau berangkat
kerja , tapi cuma sekitar 1 menitan , tapi gw udah bisa
ngelihat mataharinya jadi bundar dan cahaya sekelilingnya
berpendar , gw beberapa kali harus mengedipkan mata ,
perih soalnya bro
Rahsa : kalo merah.. kan baru pertama bro, semenit lagi...coba
aja lain kali sampe lama.cara ini sebaiknya dilakukan tiap
hari, kalau soal berapa lama nanti tergantung dari 'sir'
masing2, maksudnya nanti kalau memang sudah cukup
akan ada bisikan/rasa ingin menyudahi. kalo masalah sir
ini yg lbh jelas tanyain ama kisawung aja. yg jelas tujuan
ilmu ini bukan sebagai penakluk sebenarnya, tapi untuk
mengetahui apa yang tersembunyi dalam diri agar dapat
kita lihat secara fisik, yang pada akhirnya kita bisa
memaksimalkan kelebihan untuk menutupi kekurangan
kita
Pivodirvo : apa sih fungsinya dengan menekuk lidah ke atas.
Rahsa : gunanya? banyak sekali, contohnya memperkuat aura,
memperkuat chakra, meningkatkan kualitas energi, dll
dech....banyak banget soalnya. yg jelas hal tersebutitu
sebagai tombol on/off

HOW TO WRITE A NOVEL

2009-10-15T21:52:00.000-07:00

HOW TO WRITE A NOVEL

How many times have you finished reading a novel and said, “I could have written that book.” You know what? You’re right. All of us, I believe, carry at least one novel around in our heads or our hearts. Novelist Toni Morrison put it this way: “If there’s a book you really want to read but it hasn’t been written yet, then you must write it.”
Writing a book is no easy task. Nevertheless, every day another book is published.
In 1996, according to Books in Print, 1.3 million book titles were in print. The number of books published in 1996 alone was 140,000 in the United States. So, why not you?

What you need
I believe that if you can write a simple English sentence (after all, that’s what Ernest Hemingway wrote), are alert to the world around you, and want to write a salable novel — really want to, not just kind of want to — then you can do it. I don’t think anybody ever became a writer by going to a workshop, reading a book, or even reading this article. Writing comes from something internal in a writer. However, this article will save you time, point you in the right direction, and help you write a novel in 100 days or less.

Possible?
It works. I’ve done it myself several times.
I know what it means to squeeze in an hour or two a day (or night) of writing. It is not easy to write a novel, not when you have a full time job, family, and responsibilities, but it can be done. Most writers, in fact, have had to carry on two lives while they wrote their novel. But once you sell your first book, than maybe you’ll be in the position to quit your day job and devote the rest of your life to writing full time.

Great writers have done it
Yes, you have a job. Yes, you have a family. Neither have stopped great writers in the past. The poet Wallace Stevens was a vice president of an insurance company and an expert on the bond market. The young T.S. Eliot was a banker. William Carlos Williams was a pediatrician. Robert Frost was a poultry farmer. Hart Crane packed candy in his father’s warehouse, and later wrote advertising copy. Stephen Crane was a war correspondent. Marianne Moore worked at the New York Public Library. James Dickey worked for an advertising agency. Archibald MacLeish was Director of the Office of Facts and Figures during World War II.

Drawing from pure emotion
What makes a writer? Perhaps it is a single incident — one that happens early in life and shapes the writer’s sense of wonder and self-awareness.
Take the case of José Saramago, the first Portuguese-language writer to receive the Nobel Prize in Literature. The son of a peasant father and an illiterate mother, brought up in a home with no books, he took almost 40 years to go from metalworker to civil servant to editor in a publishing house to newspaper editor. He was 60 before he earned recognition at home and abroad with Baltasar and Blimunda.
As a child, he spent vacations with his grandparents in a village called Azinhaga. When his grandfather suffered a stroke and was to be taken to Lisbon for treatment, Saramago recalls, "He went into the yard of his house, where there were a few trees, fig trees, olive trees. And he went one by one, embracing the trees and crying, saying good-bye to them because he knew he would not return. To see this, to live this, if that doesn’t mark you for the rest of your life," Saramago says, "you have no feeling."
Begin with that pure emotion. Turn it into prose.

Let us begin
Sinclair Lewis was invited to talk to some students about the writer’s craft. He stood at the head of the class and asked, “How many of you here are really serious about being writers?” A sea of hands shot up. Lewis then asked, “Well, why aren't you all home writing?” And with that he walked out of the room.
So now it is time for you to be writing.
What follows is your daily log — each day may have words of encouragement, advice, or wisdom or a task for you to do to get your book written. It is what you need to do each day for the next hundred days to write your novel.

Day 1

The great New Yorker editor and writer, E.B. White, said when accepting the National Medal for Literature, “A writer’s courage can easily fail him . . . I admire anybody who has the guts to write anything at all.”
On this your first day of writing your novel, make a promise to yourself that you are going to do it. This is critical. Without that commitment, you may as well save your pencils and paper. It isn’t going to happen. Remember, write as often as you can. That’s what writers do — they write.

Day 2

Carve out specific time to write. This is important because over the course of writing a novel, you’ll get discouraged, bored, angry, or otherwise fed up, and when you start feeling that way, you’ll need clearly defined patterns to keep yourself working.
On occasion you may have to shift your writing times to deal with other demands in your life, but fight to keep them as regular as you can.
What do I mean by specific times?
Two hours each morning and each evening, and one eight-hour day every weekend, for example. Decide how much time you will spend writing each week, and then do it. Many would-be novelists defeat themselves because they set a schedule but then don’t stick to it. Be realistic in the time you plan, and then live by it.

Day 3

In the first week, decide upon the story you are going to write. You might not work out every detail, but today you are going to begin the process. You are not going to procrastinate — procrastination is your enemy. Matisse advised his students, “If you want to be a painter, cut out your tongue.” The time has come to stop merely talking about writing your novel. Get started planning it now.

Day 4

What kind of novel appeals to you? What really gets your juices flowing? Is it a good murder mystery, science fiction, a thriller, romance, general fiction?
Alice Munro is considered by many to be the best short-story writer in the English language. Her books sell about 30,000 copies a year. She is a writer other writers admire for her technical skills and the purity of her style. She is also known for the complex structure of her stories. A typical Alice Munro story might begin at a point that most writers would consider the end, then jump to a time ten years later, then back again. But what is most interesting about Alice Munro — who lives in a small town in southern Canada — is that her stories are about ordinary people: their secrets, their memories of acts of violence, their sexual longings.
Think of what to write from what is around you, from what you know and care about.

Day 5

It doesn’t matter what kind of book you decide to write. There are no rules other than that the story has to be very, very interesting. It can be exciting, scary, fun, funny or sad — but it must not bore the reader.

Day 6

Analyze and learn. Take your favorite novel of the type that you want to write and read it again, as if it were a how-to manual for becoming a millionaire. Then read it again, breaking the book down into sections. Outline the action on large sheets of paper that you pin to your office wall.

Day 7

Although there are no rules about story ideas, I would offer you one caution: think small. One of the worst mistakes most beginning novelists make is thinking big, trying to come up with an end-of-the-world story, in the belief that big is better. That’s not true. Keep your story idea small and focused.
Look into your creative soul and search for a little story but one that has real meaning to you. We are all part of the human family. If you create a story that has deep meaning to you, chances are it will have deep meaning for the rest of us.

Day 8

Imitation can lead to originality. Do short exercises imitating different styles. Try on a dozen voices until you find one that fits. Ape the sure hand of a master. But remember this: write from your own experience. Your experience is unique. As John Braine, author of Room at the Top, wrote, “If you’re to be heard out of all those thousands of voices, if your name is going to mean something out of all those thousands of names, it will only be because you’ve presented your own experience truthfully.”

Day 9

Don’t be afraid to write down scenes or sections that don’t lead anywhere. Don’t discard them if they aren’t leading anywhere. Follow the advice of Joan Didion. She pins them on a board with the idea of picking them up later. Quite early in her novel, A Book of Common Prayer, she says, she wrote about Charlotte Douglas going to the airport. It was a couple of pages of prose that she liked, but she couldn’t find a place for it. “I kept picking this part up and putting it in different places,” she writes, “but it kept stopping the narrative; it was wrong everywhere, but I was determined to use it.” She finally found a spot for it in the middle of the book. “Sometimes you can get away with things in the middle of the book.”

Day 10

Before we leave the problem of finding your story, let me debunk another cliché about novel writing: Write only about something you know.
You’re heard that before. It’s nonsense. Tom Clancy had never been a submarine commander before he wrote The Hunt For Red October. And it’s a safe bet that Richard Bach had never been a seagull before he wrote Jonathan Livingston Seagull.
Instead of writing about something you know, you can write about something you love. It doesn’t matter what it is, just love it. For example, Arthur Golden, author of Memoirs of a Geisha, had lived in Japan and was working for an English-language magazine in Tokyo when in 1982 he got the idea for Memoirs. In 1986, after earning a creative writing degree from Boston University, he began researching geishas and discovered “a subculture with its own strange rules.” It took him ten years and several drafts before he sold the book to Alfred A. Knopf for $250,000.

Day 11

Begin by writing about what you know, if not the novel itself, then something about the place or people in your novel. It’s a lot easier to get started on your book if you are writing about people, places, and things with which you have already grown familiar.
Day 12

Pick your characters first, as they are harder to pick than a story.
When writing, the plot may or may not change, but the characters will develop and have a life of their own. As your characters develop, they’ll take on distinct personalities, and as with good friends, you’ll know in certain situations what they will or will not do.
Mystery writer Oakley Hall says that a writer must “listen to the demands of his characters, who, as they begin to come to life, may insist upon a different fate than the givens seem to require.”

Day 13

Get a bunch of 5 by 7 cards and put each character’s name at the top. Next, think about the role each plays in your story, and what kind of person each is: age, education, place of birth, hot-headed, funny, fat, ugly. What are their quirks? Do they wash their hands 500 times a day? Do they hear voices? Are they kind to kids but love to torture cats? Put it down, put down so much that you finally come to know these characters intimately. Alfred Hitchcock would write down his scenes on index cards, one scene to a card. That way, as he said, by the time he was ready to shoot the film, he was already done.
Some characters will be major ones, around whom the story will pivot; others will play bit parts, but these will be critical too, as every player must have a reason for being in the story. If they don’t have a reason for being in your novel, they’ll slow down the story, and slowness bores readers.

Day 14
Most novels are written to a formula, especially big best sellers. For example, John Baldwin, co-author of The Eleventh Plague: A Novel of Medical Terror, developed a simple formula that he used to structure his novel.
His ten-step formula is:
1. The hero is an expert.
2. The villain is an expert.
3. You must watch all of the villainy over the shoulder of the villain.
4. The hero has a team of experts in various fields behind him.
5. Two or more on the team must fall in love.
6. Two or more on the team must die.
7. The villain must turn his attention from his initial goal to the team.
8. The villain and the hero must live to do battle again in the sequel.
9. All deaths must proceed from the individual to the group: i.e., never say that the bomb exploded and 15,000 people were killed. Start with “Jamie and Suzy were walking in the park with their grandmother when the earth opened up.”
10. If you get bogged down, just kill somebody.
More about formula. When Ernest Hemminway started as a young reporter for the Kansas City Star, he was given a style sheet with four basic rules:
• Use short sentences.
• Use short first paragraphs.
• Use vigorous English.
• Be positive, never negative
Asked about these rules years later, he said, “Those were the best rules I ever learned in the business of writing. I’ve never forgotten them. No one with any talent, who feels and writes truly about the things he is trying to say, can fail to write well if he abides by them.”

Day 15

Develop your characters and your plot together. You can’t do one well without the other. Your characters are not wooden people who just dropped magically out of the sky. They are critical elements of the drama you are creating. They must do something logical or illogical (which is what plot is all about) that adds to your story, and moves it to its ultimate climax. Never, never separate characters from plot.
Day 16

The reader has to believe that your characters exist or could exist — and they need to be distinctively drawn. And nothing better defines characters than their actions, their purpose in life. Their purpose may be good or evil. It doesn’t matter. All that matters is that the reader sees their actions and purpose, believes them, and is continuously interested in them.
Do not write a story peopled with a cast of thousands. Write a tale about one, two or three memorable characters, all of them filled with purpose.
Day 17

You need a strong protagonist. Most writers have a problem with creating a character who is larger than life, fully developed, and a consistent protagonist.
Remember, your protagonist is your story’s major character. This is the person with whom your reader will identify. You want your readers to care about your protagonist. He or she is your new best friend.
Day 18

Figure out who you need in the story and what they do together or to one another, and the story does to them. Are they all pulling together in one direction? Are they pulling in six different directions? Ask yourself the critical question: Which would be most interesting to the reader? That’s the real litmus test of character development and plotting. Will the reader be interested? Will the reader care?
To be successful in character and plot development, you need to make hard choices. You need to be ruthless with your characters and your story. Who’s in, who’s out? What’s in, what’s out?
Frankly, here is where a lot of first-time novelists stop dead. They can’t bring themselves to choose. They become fascinated or paralyzed by the possibilities.
Don’t you dare do that. Be brutal. Try different choices, of course, but move the story forward event by event, bringing each character along with you. As each event unfolds, each character must react to it. Just as they would in real life.
If a child is hit and killed by a car, the driver’s life is changed forever, the parents’ lives, the lives of the brothers and sisters, friends, even the crossing guard and bystanders. You have to decide what the changes are. You must decide. This is your chance to play God — and if you’re going to write you must play that role. God is in the details, and God decides the course of the novel.
Day 19

Keep asking the question, “why?” As you reach the end of the second week of defining characters, you will have a stack of 5x7 character cards that spell out intimate details about the personal life of each and every character in your story, down to their waist measurement and favorite color. The novelist Vladimir Nabokov composed all of his novels on index cards.

Day 20

Your “voice” is your voice. Your “style” is your style. Don’t attempt to “sound like” some famous writer. Many beginning writers feel that they have to add something to their “voice” on the printed page. Who you are on the page is who you are in life, just as sophisticated, just as worldly, or not. It doesn’t matter. Keep writing and keep cutting away at the awkwardness that might creep into your writing. Be a natural. As the French novelist, Francois René de Chateaubriand wrote, “The original writer is not one who imitates nobody, but one whom nobody can imitate.”

Day 21

Prepare a rough outline of the story’s action from Chapter One through to the end.
Novelist Katherine Anne Porter put it this way, “If I didn’t know the ending of a story, I wouldn’t begin.”
Write down the last paragraph of your novel and put it in the drawer. At the end of a hundred days, lets see how close you came to following your imagination.

Day 22

Do nothing — absolutely nothing — on your novel in terms of actual writing until your plotting (along with your characters and their roles in the drama) is complete and down on paper.
Do not fall victim to that old author line: “I just start out with a basic idea and a couple of characters. I never know where I’m going. I let the characters tell the story for me.” That may work for brilliant and experienced novelists, but most of us need a clear road map if we aren’t going to get ourselves and our readers hopelessly lost.

Day 23

Hang the cards and outline you have developed around your office or room so that they can be easily read.
Day 24

A well-written page-turner that is more character- than plot-driven and has a clear beginning, middle and end is what editors (and readers) want.
Day 25

You now have made:
1. a commitment
2. a working schedule
3. a story idea
4. a cast of characters
5. a detailed plot of the entire story
6. a short description of what your novel is about.

Day 26

Set a goal for your self to write at least four pages a day. That is 300–325 words, double-spaced. Some days you’ll write one page; others you’ll write 15 pages. Try to average at least four pages a day.
Day 27

Your novel is a work of fiction, but that doesn’t mean your facts don’t need to be straight. Nothing turns a reader off quite as fast as a wrong fact. And nothing gives a story the ring of authenticity like the right fact or detail. Use the Internet for research. It’s fast, easy, and inexpensive. Every library in the world is open to you. Look, too, at magazines and newspapers published at the same time and place as the setting of your novel.
Gore Vidal used old editions of Harper’s Magazine for details when writing his historical novels.

Day 28

Conversation is not dialogue. Dialogue has a purpose. It pushes the story forward. It keeps the reader tuned in to the story, and makes a person feel at the heart of the action. Therefore, don’t describe distant events second hand. Put the reader in the middle of your story’s action and your dialogue will sing naturally. Keep your talk efficient and forceful. And always make certain the reader knows who is speaking.
Day 29

Look into the mirror and write about the person you see. Try and describe the person you see in the mirror to a man or woman you have never met. Keep the description under 300 words. Make this “person” a character in your novel, either the protagonist, the narrator, or one of the minor characters of the plot.

Day 30

Novelist Kurt Vonnegut once remarked that, “Talent is extremely common. What is rare is the willingness to endure the life of a writer. It is like making wallpaper by hand for the Sistine Chapel.”

Day 31

Commit yourself to a point of view early in your planning. This way the reader can get a footing in the story. Once you have decided which character will be the viewpoint character, stick with your decision. Do not shift point of view. If you decide on multiple points of view, show the story through one character at a time, in order to avoid confusing the reader.
Day 32

Carry a note pad with you. If you’re waiting for a meeting to begin, start writing. If you’re on an airplane, start writing. Whenever there’s a second to write, do it. Once you have written it down, you own it.

Day 33

Suspense is a basic ingredient of fiction. Because of it, readers ask: What is going to happen next? They will keep reading to find out.
Day 34

When using characters to present clues, don’t forget body language. Nonverbal signals can communicate much more effectively than words. Ask any two lovers.
Day 35

Try writing first in longhand, then on a computer. This will give you two passes at the prose before you start editing.

Day 36

Aim for one startling image on each page. For example, try and match this image of a sunrise at sea by Philip Caputo in The Voyage:

A golden shimmer appeared where the horizon was supposed to be, then a red sun pushed up, like the head of some fiery infant bulging out of the gray sea’s womb — water giving birth to its opposite element.
Day 37

Don’t overwrite just because technology lets you do it. The mechanics of the computer and the internet make everything easier, from research to writing to revising. Keep thinking small. We all think that movies and baseball games are too long. What about books? Publishers and editors will tell you: context determines length. Just remember that The Great Gatsby is only 200 pages long.
Day 38

Without descriptions the reader doesn’t have a sense of place and time and mood — all critical for your story. But with too much, your story will bog down and get boring. Get in. Give the telling detail. Then get out. Don’t drown in your descriptions (or your research). Create a world where your characters can live and breathe, but not vegetate.
Day 39

Ideas, new and unique — that’s what surprises, satisfies and pleases readers. Stay away from the tried and true. Write with imagination.
Day 40

Rick Bass, one of our finest stylists, says that fiction writers — like masons — require both power and precision to construct a good story. “You’ve got to lay the stones one on top of the other so they fit together, but you’ve got to have the strength to lug them around.”
Day 41

Shirley Jackson, as the mother of four children and wife of a college professor, rarely had time to write during the day. Yet when she sat down at her desk at night, a story like “The Lottery” flowed out in a perfect first draft. Why? Because she had been thinking about it all day. Count on your subconscious taking charge and “working over” ideas that come to you during the day.

Day 42

Good characters grow and evolve out of basically two things: their actions and their beliefs. We develop a sense and understanding of people by what they do and think in the dramatic events of the story.
Day 43

The Roman poet Horace observed around 14 B.C. that writers should attempt “to say at once what ought at once to be said.” In other words, grab your reader by the throat from your very first sentence.
Day 44

Don’t get discouraged. Keep writing. Remember the Pulitzer Prize-winning novel Ironweed by William Kennedy was rejected by 13 publishers before Saul Bellow intervened on its behalf. In rejecting Laurence J. Peter’s The Peter Principle, an editor wrote that he could “foresee no commercial possibilities in such a book.”

Day 45

Anton Chekhov’s remarkably simple advice was this: “If a gun hangs on the wall in the first act of the play, it must be discharged before the end.” You have to “look” at the total work with that piece of advice in mind and cut out anything that doesn’t help the story complete itself.
Day 46

It is emotionally costly to write well. Dancers, for example, know that they're going to have bloody feet. Pianists know that they'll have to practice until the pain in their fingers makes them cry. Writing a novel is not like writing a letter. Writing a novel is mentally exhausting, far harder than a nine-to-five job. When you write a novel, you live the lives of your characters.
Day 47

In 1979, at the age of 80, Jessie Lee Brown Foveaux began to write the story of her life. She wrote innocent tales of her past, tales of her grandmother and of a distant Aunt Clara who chewed tobacco and could spit in a cat’s eye.
Every morning she went into the kitchen of her white two-bedroom house in Manhattan, Kansas, where she had raised eight children. She sat down at the table and, aided by scrapbooks, letters and photographs, she wrote. Day after day, week after week, she wrote in longhand the story of her life, noting down the watershed events: births, deaths, one marriage, three wars, one flood, as well as the things that just struck her fancy, like the first time she saw Lawrence Welk. Having told the events of her life, she began then to write about the world that she never spoke of. Her feelings and thoughts.
Jessie Lee wrote all of this for a teacher, Charley Kempthorne, at his Harvest of Age, a program for senior citizens. Her writings were published by the local college and entitled The Life of Jessie Lee Brown From Birth Up to 80 Years. About 30 copies were printed for her family and friends. That was 20 years ago. Family, friends, and strangers are still reading her 208-page book now entitled Any Given Day: The Life and Times of Jessie Lee Brown Foveaux: A Memoir of Twentieth Century America [Warner Books, 1997].

Since writing her first memoir, Jessie Lee has written two more books. The latest, Granny’s Ramblings of This and That Two, was published in 1993. That year she wrote to the teacher who encouraged her to tell her story, “Thank you so much for not giving up on me,” she wrote. “I am not a writer, but my poor efforts have made a great difference in my life.”
If Jessie Lee Brown Foveaux isn’t a writer, who is? Everyone’s life is a book. Jessie Lee told her story. And Warner bought her story for one million dollars.
Day 48

Persistence is what is required. Novelist Harlan Ellison once said that if anybody can stop you from being a writer, then don’t be one.

Day 49

The gifted writer Jo-Ann Mapson, who has published a half dozen novels, believes that writers should have a physical hobby. “Something that takes you away from books and criticism, because it teaches you, it informs you, and it changes your writing.”
Day 50

The novelist and poet James Dickey, talking to students near the end of his life, said, “I don’t mean to sell the poet so long or at such great length, but I do this principally because the world doesn’t esteem the poet very much. They don’t understand where we are coming from. They don’t understand the use for us. They don’t understand if there is any use. We are the masters of the superior secret, not they. Not they. Remember that when you write.”
Day 51

Most successful writers have had unhappy childhoods. Dean Koontz, for example, was the only child of a physically frail mother and a violent, alcoholic father who twice tried to kill himself and was eventually committed to an institution. Instability was a constant in his family. This terrible childhood stirred a passion for books in Koontz.
One of his very first memories stemmed from a period when his mother was hospitalized for several months. At the age of 3 or 4, Koontz was kept by one of her friends, who, every night, would tuck the little boy into bed, give him an ice cream soda and read him a book. Koontz connected these sensations of safety and happiness with storytelling. This has stayed with him.
Koontz has read The Wind in the Willows by Kenneth Grahame at least 50 times, relishing the theme of “friends pulling together to overcome the bad guys.” Koontz credits books for showing him at the age of 9 that not all families were like his.
“I am a driven adult child of an alcoholic,” says Koontz. Today he works six days a week, arriving at his desk by 7:30 a.m. He writes until dinner, skipping lunch.
But what does one do who hasn’t had an unhappy childhood? Ernest Hemingway once said that writers have to have had a terrible childhood, or at least think that they did.

Day 52

F. Scott Fitzgerald said: “Character is action.”
Characters do not operate in a vacuum. Their actions usually involve other people, and these interactions are what make up scenes. Full scenes, half scenes, and narrative passages are the building blocks for constructing a unified story line.

Day 53

During the making of the film "Friendly Persuasion" — from a novel by Jessamyn West, West remembers director William Wyler, saying, "We’ve got to get one more ‘Will he? Won’t he?" into this." As a writer, West tended not to do enough of creating that tension, which is what readers want.
Day 54

Go to the library and browse through books on food and gardening. Authors of these books describe smells, tastes, touches, and even sounds in precise detail. When writing, always mention scents and tactile sensations. Good description observes all the senses.
day 55

Select your details. As Mark Twain said: “Use the right word, not its second cousin.” Remember that verbs are the strongest parts of any sentences. As Rita Mae Brown puts it, “Verbs blast you down the highway.”
Day 56

Strunk and White in The Elements of Style make this point: “If those who have studied the art of writing are in accord on one point it is on this: The surest way to arouse and hold the reader is to be specific, definite, and concrete.”

Day 57

Take a break from your novel. Take either a day off, or a week. After this period, you’ll see your work with a fresh eye.

Day 58

Remember that novels can be light on plot and short on style, but flesh-and-blood characters with believable traits and motivations can save any book by gaining the reader’s sympathy.
Day 59

There’s an old adage in writing: “Don’t tell, show.” It means, don’t tell us about anger, show us. We then will read and feel the anger. Don’t tell the reader what to feel. Show the reader the characters and situation, and that feeling of anger (or sorrow, love, honesty, justice, etc.) will awaken in them.
Day 60

If you have written five pages a day for the last 60 days, you have written about 90,000 words. It is time to begin to rewrite and edit your novel.
Day 61

You have written approximately 300 pages.
But are these pages a novel?
Do they have a beginning, a middle, and an end?
Re-read your novel and ask yourself: Have I raised a question or presented a puzzle, and then solved it?
If you can give a satisfactory answer to this question, then continue.
Day 62

Do a spell check of your book.
Day 63

Print out your book.Day 64

Place the book in a safe place and leave it alone for two weeks.

Day 65

Now that you've been away from it for a while, it is time to start editing your novel. Before you start, remember what James N. Frey says in How to Write a Damn Good Novel; “Think of a climax as the target and the rest of your story as the flight of the arrow.” It is time to review the “flight.”
Day 66

Go back and read the whole novel from start to finish, noting lines and phrases that are awkward, but keep reading. Don’t bother to rewrite, not yet.
Day 67

Do chunk editing. Cut away from the bone of the story. Go chapter by chapter and get rid of “all your darlings” as William Faulkner called excessive prose.

Day 68

Re-read your pages — one at a time — out loud to “hear” any awkward sentence structure.
Day 69

Go back and cut out one excessive metaphor or simile from each page. As F. Scott Fitzgerald put it, “You never cut anything out of a book you regret later.”
Day 70

Cut out one adjective or adverb in each paragraph.

Day 71

Re-read your novel again and look just for the cliches. Cut: “one fell swoop,” “pretty as a picture,” “in my mind’s eye,” “right as rain.”
Day 72

Get rid of unnecessary question marks, exclamation marks and parentheses.
Day 73

Get rid of excessive use of foreign words or phrases, the inappropriate use of fancy words, vulgar language or images, or graphic blood and sex.
Day 74

Get rid of meaningless phrases and jargon such as: coming from, networking, furthermore.
Day 75

Read your novel into a tape recorder and then play it back while following the written text. Look for scenes that don’t work, language that draws too much attention to itself. Cut and cut and cut towards the core of the novel, the essence of what your novel is about. Remember the “flight” of your novel.
Day 76

In this, your rewriting period, make the opening of your novel as strong as possible. The first few pages show an editor just how talented your are. Rewrite your opening scene. You’ll see that now, having written the novel, you are a much better writer than you were when you started writing it.
Day 77

Pick up a half dozen great novels and read just the first sentences of each.
Day 78

Go to a good book store and read the opening sentences of novels that have just been published.
Day 79

Re-read your own opening sentence. How does it hold up?
Day 80

Review your manuscript and make sure you have given your readers a picture of your characters early in the story. Readers don’t need to know everything, but they do need to know what is physically important about each character. Use the five senses to get your characters down on paper.

Day 81

You need a climactic scene at the end of your book, a scene that resolves the conflict.
Day 82

Re-read the endings of your favorite novels. How does your book match up?
Day 83

The short story writer Raymond Carver said he knew a story was finished when he found himself going through it once and putting commas in, then going through it again and taking the commas out. Is that how you feel?
Day 84

Write a one-paragraph description of your novel.
Day 85

Write one paragraph about yourself.
Day 86

Presenting your book.
Follow these instructions closely:
• Printed on 8 1/2-by-11, standard 20-pound bond white (not high-gloss) paper.
• No three-hole-punched paper.
• Pages not bound in any way.
• Printed on a laser or ink-jet printer — no dot-matrix.
• 12-point-type font.
• Double-spaced, with one-inch margins..
• Number the pages consecutively from title page to last page of text.
• All new chapters start halfway down a new page.
• No mention of rights or “copyright.” Mentioning “copyright” labels you as an amateur.
Day 87

Print out your novel.
Day 88

Don’t mail your novel yet. It is now time to research and find the right agent to represent you.
Day 89

To begin the agent search:
• Check the acknowledgement pages of books similar to yours to look for the names of the author’s agent.
• Ask other writers for recommendations.
• Use the “Friendly Agents” list in the Resources of this newsletter .
• Use the Internet and key in such words as “writer,” “author representation,” “agent.”

Day 90

Select a few agents and send each a letter which begins — as appropriate:

I recently read ____, which is a wonderful book, and saw that you are ____’s agent.

Or:

My friend/acquaintance______, who is represented by you, suggested you as a possible agent for my book.

Or:

I read your article in______ about the book business, and was hoping that you might consider me as a future client.

Add the paragraph you’ve written about yourself, and then the paragraph about your novel.

Day 91

In seeking an agent, remember that you’re an unknown quantity and the top agents are loaded with clients. Aim at those in the middle of any listing of agents. And be sure they actually represent the genre of novel you have written.
Day 92

Write a brief synopsis — one paragraph, no more — of your novel. Make it strong and lively. This is an important sales tool.
Day 93

Make a photocopy or print out the first fifty pages or so of your novel. Try to leave off at a point where the reader will want to know more of the story.
Day 94

Buy a sturdy, padded jiffy bag. Look in an office supply store, Kinko's, etc.
Day 95

Write a very brief letter to the agent. Include the one-paragraph description of your novel that you wrote earlier. And include one brief paragraph about yourself. Do sound professional. Do not say, “I always wanted to be a writer . . .” or “I can write better than the junk I see . . .”
If you are sending your manuscript to more than one agent at the same time, you MUST tell them that this is “a multiple submission.” Either an agent will read it quicker or not at all; either way, you'll get an answer sooner.
In the jiffy bag, put A) the fifty pages or so of your novel, B) your letter to the agent, and C) a #10 SASE for the agent's reply. (You will not get the fifty pages back.)
Day 96

Get a FedEx mailer of the right size and put your jiffy bag in it. Don’t cut corners here. Look professional.
Day 97

Entrust your manuscript to FedEx. Keep your receipt. Note the date on your calendar. Don't expect to hear anything for two months.
Day 98

Buy yourself a drink. Amuse yourself by thinking about who who should star in the blockbuster movie.
Day 99

Remind yourself that you still have to wait for two months minus a day. Do not call the agent. If two full months pass and you hear nothing, then you can write a brief note of inquiry.

Day 100

Remind yourself that everyone — everyone! — gets rejected. The stories are endless. Margaret Mitchell (Gone With the Wind), Daphne du Maurier (Rebecca), Joseph Heller (Catch-22), Stephen King (his first four novels), and on and on.
Day 101

Start your next novel.

peluang usaha dengan modal 25rb

2009-10-15T21:16:00.000-07:00

Program ini ditujukan bagi siapa saja yang sedang membutuhkan DANA. Namun tidak memiliki modal yang besar untuk memulainya. Dengan nilai investasi yang sangat murah sehingga terjangkau untuk semua lapisan masyarakat.

Terdapat jumlah DANA tak terbatas yang berasal dari ribuan bahkan jutaan sumber dalam program ini sehingga memungkinkan bagi siapa saja untuk bergabung dan berpeluang mendapatkan DANA tanpa harus mengembalikan dan tanpa syarat apapun !!

Program ini ditujukan bagi siapa saja yang saat ini membutuhkan bantuan dana untuk keperluan yang positif seperti :

*

Investasi Passive Income / Tabungan Masa Depan
*

Modal Membuka/mengembangkan usaha
*

Biaya sekolah atau kuliah (Beasiswa)
*

Kegiatan sosial, termasuk LSM
*

Dan Termasuk kegiatan Positif lainnya

Dapatkan DANA Hingga
Rp. 337.300.000,- plus plus
Bahkan Tak Terbatas,
Dengan Sedikit Modal Hanya
Rp. 25.000,- saja.
Sekali bayar untuk Selamanya.

Ya.. anda tidak membutuhkan modal besar bergabung bersama kami, cukup dengan Rp.25.000,- saja anda sudah bisa memulai sebuah investasi dengan keuntungan nyata Rp.337.300.000,- lebih dan hanya di raih dalam waktu singkat.

Sistem kami memberikan keleluasaan kepada semua member untuk meraih profit tersebut, bisa dalam waktu 1 bulan, 1 minggu bahkan dalam waktu 1 hari pun bisa dicapai, yang diperlukan hanyalah sedikit investasi dan kesungguhan.

Benar-benar sistem yang sangat mudah dan menguntungkan, member tidak harus berlama-lama menunggu terpenuhinya group tertentu yang akan melelahkan. Kapan saja member bebas melakukan penarikan komisi sesuai dengan keinginan member. Untuk melihat sistim kami, klik di sini

sukses

Siapapun anda, apapun profesi anda dan di manapun anda bisa meraih kesuksesan bersama kami, Tanpa harus memiliki keahlian khusus.

Cukup disini saja, anda tidak perlu berlama-lama dan mencari-cari bisnis online yang rumit yang hasilnya belum pasti. anda tidak perlu membutuhkan keahlian khusus di bidang internet maupun bisnis online. Siapapun anda dan apapun profesi anda tetap bisa meraih total income Rp.2.400.000.000,- lebih bersama kami.

Hanya dengan sekali join anda bisa memperoleh hasil berkali-kali. Sukses bersama tanpa harus pintar berbisnis, cukup ikuti sistem dan jalankan sesuai panduan. Sukses dalam waktu singkat bukan millik seseorang tetapi milik kita semua, dan dapatkan aneka produk berkualitas yang sangat bermanfaat untuk anda, untuk melihat produk kami, klik di sini

Berikut sebagian Produk yang bisa didownload di member area

produk

Jangan tunda waktu lebih lama lagi untuk bergabung bersama kami, dengan hanya modal 25 ribu saja
anda akan mendapatkan fasilitas :

Total penghasilan Rp.337.300.000,- dalam waktu singkat dengan hak yang sama setiap member.

Virtual office di website ini, dimana anda bisa login di member area untuk melihat perkembangan jaringan anda sekaligus melihat pertambahan komisi setiap saat, anda juga bisa melakukan penarikan komisi kapan saja.

Website replika / website pribadi atas nama anda persis dengan website ini. Dimana jika calon member mendaftarakan melalui website replika anda maka akan mengakibatkan bonus sponsor untuk anda.

Fasilitas Join Multi Account bergabung beberapa ID. Dengan fasilitas ini anda bisa mendapatkan beberapa klai lipat Rp.337.000.300,- dalam waktu yang bersamaan.

Produk dan Bonus Beberapa ebook dan software bermutu tinggi dunia bisnis online yang bisa di download di member area.

Bonus Sponsor. Bonus yang terjadi setiap ada member bergabung melalui website replika anda, otomatis tercatat di member area dan bisa dicairkan kapan saja.

Bonus level Bonus yang terjadi setiap terjadi perkembangan di jaringan anda baik dari rekrut anda, pelimpahan ataupun dari randomizer, bonus level sampai kedalaman 3 level. Bonus level juga tercatat langsung di member area setiap terjadi perkembangan dan bisa dicairkan kapan saja.

Fasilitas Withdrawal, Fasilitas penarikan bonus yang bisa dilakukan kapan saja melalui menu di member area dengan akumulasi bonus minimal Rp.50.000,-

Hanya dengan bergabung dan ajak minimal 2 rekan saja,
modal anda sudah kembali bahkan lebih..!!!
Serahkan sisanya Pada jaringan dibawah anda
Total Penghasilan 337.300.000,00 sudah berada
di genggaman anda
Murah...Mudah.. Praktis...Dahsyat , dan... LUAR BIASA...!!!

JADI.... TUNGGU APA LAGI...???
JANGAN SIA-SIAKAN KESEMPATAN...!!

http://www.dana-bca.com/?id=cute_tia
sertakan id=cute_tia pada penulisan alamat url...thx

children library - fairy tales

2009-10-15T18:27:00.000-07:00

Fairy stories (or fairy tales) are traditional stories for children. Magical things often happen in the stories, and sometimes there are magical or imaginary creatures too. Read and listen to some traditional stories, and find lots of activities to do.
wanna know more interesting book story????come n visit the link below :
http://www.britishcouncil.org/kids-stories-fairy-tales.htm
http://www.enchildrenslibrary.org
http://www.storynory.com

program affiliansi gratis

2009-10-15T18:10:00.000-07:00

PROGRAM AFFILIASI GRATIS

(TANPA HARUS ORDER SOFTWARE)

BURUAN GABUNG GRATIS ..... AYO Gunakan kesempatan anda untuk mengikuti program Affiliasi Surya Promo GRATIS kami dengan menggunakan kode URL khusus yang telah kami sediakan di member area dan anda berhak untuk mendapatkan komisi bagi Hasil @Rp.10.000,- per ORDER & PERPANJANGAN dari setiap member yang Anda rekrut melalui program affiliasi Surya Promo. Jumlah yang lumayan untuk pendapatan sampingan bukan?.

Hanya 1 penjualan per hari selama sebulan, Anda akan memperoleh:
Rp 10.000 x 30 = Rp 300.000 / bulan
J ika terjadi 10 penjualan per hari selama sebulan, Komisi anda :
Rp 10.000 x 10 member x 30 hari = Rp 3.000.000 / bulan

Penjualan software ini Sangat Mudah saat ini bisnis online sedang booming / bertebaran dimana-mana, sehingga para pelaku bisnis internet tersebut pasti membutuhkan alat untuk berpromosi dan Software Surya Promo ini dapat diandalkan karena terbukti cepat, efektif, praktis, mudah dan juga Super MURAH !

Jadi Tunggu Apalagi?Ayo Gabung Sekarang juga!!

DAFTAR KLIK DISINI http://www.suryapromo.com/muthia

INFORMASI LEBIH JELAS-NYA DI MEMBER AREA

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