... Varian sat alone in his cell, like the day before, and the day before that, and the day before that. Was this what he wanted? Did he want to end up rotting in a cell? Did he want to leave his dad in the amber? Did he want to lose everyone's trust? Simply put, the answer was no. He'd let himself go to far, and he was realizing that now. Waves of guilt passed over here and he felt his stomach sink, knowing that what he had done wouldn't help anyone. He was alone now, and it was his own fault. No more blame, no more blinding rage. All he could feel now was the awful mix of grief and guilt that swallowed him whole and made his skin crawl. His eyes stung and his face burned, and all he could do was curl into a ball and be alone with his thoughts. His dad was gone, Likely forever; he'd lost his only friends; he'd been the one to trap his father in the amber in the first place. It was all his fault, it was unforgivable, and he was disgusted with everything he was. Just a child blinded by rage and desperation, clawing at any chance for attention, for approval, for someone to even notice. He was a good for nothing nerd with no reason to keep going. He could just keel over and die right now, he thought. When did he start crying? His face was soaked now, and he didn't even realize it. Curled up in a ball in a cell corner, sobbing like a child. Some great and powerful alchemist he was. What a lousy excuse for a son, he thought. Even if his dad was...
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... Once he reached Star Labs Oliver sped through the doors and raced up to the cortex where you and Barry had been for the last 9 months. He didn’t want to miss the moment you woke up and according to Joe and the rest of the team it could happen any minute. There was a different atmosphere in the cortex then all the previous times he had been there, it was almost pleasant. The team was rushing around testing Barry’s blood, and hair, and urine and probably 100 other things. Oliver’s eyes drifted with haste to your bed, everything looked the same. You were still out, wires attached, monitors beeping. There was nothing different about you today except ⎯ Oliver felt different, he felt like you were present. Without talking to anyone in the room Ollie slowly made his way to your bed, he pulled up a rolling office chair and sat by your side holding your hand. He was thinking about the first time he was in this room, your mom and Thea were here with him. As the memory came back Oliver’s brain started racing try to figure out how he could possibly explain everything that’s happened to your family in the last 9 months. Slade Wilson came back, he kidnaped Thea, killed Moria, and terrorised the city. Oliver lost Queen Consolidated, and Thea was off god-knows-where “processing”. It was all too much, he couldn’t lay all of that on you after you’d been in a 9 month long coma. “Hey, Oliver…” Oliver was pulled out of his thoughts by Caitlin softly calling out to him. He regained his composure...
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...{Ext. Parking lot - Day} “Alright, now let’s take a look at you…” Dean approached Katherine’s car. The first thing he noticed was that the car was rather run-down; it had some rusted and scratched up areas, but that was nothing to be concerned about. As he took out Katherine’s keys and unlocked the driver’s side door, popping the hood open, Sam suddenly appeared beside him. Dean almost flinched, not having had heard or seen him close up on him. “Dude, don’t sneak up on me like that!” he turned to face his brother, who merely gave him a sheepish shrug in return. “Do you need any help?” “No,” “Are you sure? I could—,“ “Sam, you barely know anything about cars,” “So? That doesn’t mean I can’t help out,” Dean sighed, yielding. “Fine, fine…...
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... the problem to be solved, the goals and objectives, the methods, the evaluation criteria and the budget. Your presentation should be designed to “sell” a funder on the validity of the need and the program idea. Each learning team will develop a 10-17 page grant proposal for a real or fictional human service agency, utilizing the separate parts written and submitted in weeks 2, 3 and 4. Also needed are a letter of intent, a cover letter, title page and a summary/abstract of the proposal. These extra pages are not counted in the 10-17 page requirements. Here are the full requirements for the proposal, including all previous weekly sections. Identify the grant proposal topic. When selecting a topic, consider the following: · Identify a problem or need in which you are interested; · Identify a problem or need that is narrow enough to be addressed: · Identify a problem or need that can be documented; and · Identify a problem or need for which there is a solution. Create a 10- to 17-page grant proposal for a real or fictional human service agency. Include in the grant proposal: · Letter of intent · Cover letter · Summary or abstract · Community assessment process, and needs and problem statement ·...
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...For other uses, see Fiction (disambiguation). An illustration from Lewis Carroll's Alice's Adventures in Wonderland, depicting the fictional protagonist, Alice, playing afantastical game of croquet. Fiction is the form of any narrative or informative work that deals, in part or in whole, with information or events that are not factual, but rather, imaginary—that is, invented by the author. Although fiction describes a major branch of literary work, it may also refer to theatrical, cinematic or musical work. Fiction contrasts with non-fiction, which deals exclusively with factual (or, at least, assumed factual) events, descriptions, observations, etc. (e.g.,biographies, histories). Contents [hide] * 1 Types of fiction * 1.1 Realistic fiction * 1.2 Non-realistic fiction * 1.3 Semi-Fiction * 2 Elements of fiction * 2.1 Plot * 2.2 Exposition * 2.3 Foreshadowing * 2.4 Rising action * 2.5 Climax * 2.6 Falling action * 2.7 Resolution * 2.8 Conflict * 2.8.1 Types of conflict * 2.8.1.1 Person vs. self * 2.8.1.2 Person vs. person * 2.8.1.3 Person vs. society * 2.8.1.4 Person vs. nature * 2.8.1.5 Person vs. supernatural * 2.8.1.6 Person vs. machine/technology * 2.9 Character * 2.10 Methods of developing characters * 2.11 Symbolism * 2.12 Metaphor * 3 Types of plots * 3.1 Chronological order * 3.2 Flashback * 3.3 Setting...
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...The Christian Story and Our Stories: Narrative Pedagogy in Congregation Life In the feature article " The Christian Story and Our Stories: Narrative Pedagogy in Congregation Life" the author, Benjamin D. Espinoza, explains the educational strategy of narrative pedagogy, its characteristics and creative ways to apply it effectively in religious and secular ambits in our life. First, narrative pedagogy is an approach to teaching that involve our life stories through creative ways and another life stories (in the Christian ambit biblical stories) to form and renovate our life from the past through the present to the future. The purpose of explain the theological truths through stories is to develop a clearer understanding of the ideas, avoiding...
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...From century to century there have been many instances of people standing up against wrongdoing in the face of great danger. One good example of this was slavery in the United States and the movement to abolish it. Frederick Douglass, a famous author and former slave from the time period, wrote numerous pieces arguing for the freedom of his people. In his autobiography entitled Narrative of the Life of Frederick Douglass, he describes his experiences as a slave and how he attained education, despite overwhelming adversity. His story draws similarities to the fictional character Guy Montag created by Ray Bradbury, author of the book Fahrenheit 451’s protagonist. Both of these authors utilize characterization and conflict to develop their main...
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...economy. Germany had spent six years preparing for war, and a large portion of the economy was already devoted to military production. During the war, as Germany acquired new territories (either by direct annexation or by installing puppet governments in defeated countries), these new territories were forced to sell raw materials and agricultural products to German buyers at extremely low prices. Fiction as Reconstruction of History: Narratives of the Civil War in American Literature by Reinhard Isensee Even after more than 140 years the American Civil War continues to serve as a major source of inspiration for a plethora of literature in various genres. While only amounting to a brief period in American history in terms of years, this war has proved to be one of the central moments for defining the American nation since the second half of the nineteenth century. The facets of the Civil War, its protagonists, places, events, and political, social and cultural underpinnings seem to hold an ongoing fascination for both academic studies and fictional representations. Thus, it has been considered by many the most written-about war in the United States. The War That Never Goes Away: The Significance of the Civil War for the Cultural Imagination in the United States Despite the overwhelming body of academic work on the Civil War produced in the United States (and beyond) most of the American public (as well as the international audience) has been exposed to it through cultural...
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...structure of narrative writing. 2. Recognize how to write a narrative essay. Rhetorical modes simply mean the ways in which we can effectively communicate through language. This chapter covers nine common rhetorical modes. As you read about these nine modes, keep in mind that the rhetorical mode a writer chooses depends on his or her purpose for writing. Sometimes writers incorporate a variety of modes in one essay. In covering the nine rhetorical modes, this chapter also emphasizes these as a set of tools that will allow you greater flexibility and effectiveness in communicating with your audience and expressing your ideas. rhetorical modes The ways in which we effectively communicate through language. 1.1 The Purpose of Narrative Writing Narration means the art of storytelling, and the purpose of narrative writing is to tell stories. Any time you tell a story to a friend or family member about an event or incident in your day, you engage in a form of narration. In addition, a narrative can be factual or fictional. A factual story is one that is based on, and tries to be faithful to, actual events as they unfolded in real life. A fictional story is a made-up, or imagined, story; the writer of a fictional story can create characters and events as he or she sees fit. However, the big distinction between factual and fictional narratives is based on a writer’s purpose. The writers of factual stories try to recount events as they actually happened, but writers of fictional stories depart...
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...“And the Mountains Echoed” by Khalid Hosseini Summary It is the year 1952 and autumn is coming to a fictional village of Afghanistan called Shadbagh. The prospect is sufficiently miserable. Lacking central heating and adequate food, some small child is liable to perish. One of the villagers, Saboor, tells his children a story to this effect. A monster called a div, with horns and tail and shining red eyes, invades the village one day, according to this story “Families would pray that the div would bypass their home, for they knew that if the div taped on their roof, they would have to give it one child.” The main thread is the story of Saboor and his descendants, with Abdullah ending up in the United States owning a restaurant called Abe’s Kebab House. This last part of the novel is narrated by Abdullah’s American-born daughter, a familiar type in this sort of literature — the child torn between America and the restrictive culture of her parents. In this case Abdullah insists on his daughter learning Farsi and undergoing instruction in the tenets of Islam, much against her inclination. Abdullah and his wife can hardly be blamed for this. Back in Afghanistan, even the poorest of villages has a mosque and a mullah (Islamic priest) to impart literacy and the teachings of the Quran. While no one in the novel is at all religious, it is clear that such village institutions supply the sinews and backbone of a culture — a culture almost sufficiently powerful to resist the allure...
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...Critical Thinking: Independent Book Reflection *Use this space to review and consider the choices your author made. Nearly every choice is for a purpose; so reflect on and muse over his/her choices! Write your OWN, brief, yet descriptive plot summary (overall or structure summary for certain nonfiction pieces). The main character Beatrice lives in a future Chicago in where people are divided into factions based upon their personalities. Abnegation, for the selfless, Amity, for the peaceful, Candor, for the honest, Dauntless, for the brave, and Erudite, for the intellectual. When it comes time for the choosing day, Beatrice discovers that she is Divergent, a very special case in where a person is no set faction. After surprising her family with the choice of dauntless, Beatrice is sent into the initiation protocol for the faction. Starting with jumping onto a moving train. From that moving train she then must jump off of that train onto a roof, then down into a pitch black hole. After that part they must go through three initiation trials which she goes through and is injected with this serum thing that the eurdites activate to take control of the dauntless, all except the divergents who are surprisingly revealed to us that four and tris’ (Beatrice’s dauntless name) mother are. Then all of the action starts to kick in. We have death all around us. To get to the final control room to stop this brainwashing experience tris loses her mother and father. But after all that is...
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...Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory:...
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...anti-conventions of the art film model. Truffaut’s treatment of story, character, image, and space conform to the generally recognized set of characteristics that typify the genre. In the film the life of the protagonist, Antoine Doinel, accords with the filmmaker’s conscious attempt at creating a film that challenges commonly held notions of narrative, character, and style. As such, Les Quatre Cents Coups is a film in which the central character’s motives are ambiguous, narrative events are loosely connected, and degrees of closure are limited. These characteristics will later form the basic structure of the art film model and can be used to understand the film and art films, in general. An understanding of Les Quatre Cents Coups proves a difficult task without some understanding of the French New Wave, an influential film movement falling roughly between 1959 and 1964. During this era, directors such as: Godard, Chabrol, Truffaut, sought to produce films with a casual style and ambiguous but psychologically developed characters; these directors were opposed to studio filmmaking and the norms of “classical style” and story, which promoted narrative clarity and unity. According to James Monaco, the “aesthetic of the New Wave cinema was improvisational and its photography and editing were far less mannered than its predecessors” (Monaco). Truffaut’s attempt to grapple with the “poetry of childhood” in the story of Antoine Doinel is replete with the methods of the New Wave. Doinel’s...
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...English 2328 Spring 2011 Unit Two: Early Twentieth Century Review Sheets |Survey Highlights |Modernism in American Literature |Imagism, Imagery, Image | |Major Authors |Some distinguishing characteristics— |From Pound's "A Retrospect": | |Historical Context |Rejection of traditional values and assumptions, in society and art. |—Three principles of Imagism: | |Intellectual Movements |Strong break with traditional literary forms and techniques of |1. Direct treatment of 'thing' whether subjective or objective. | |Genres, Elements of Literature |expression. |2. To use absolutely no word that does not contribute to the | |Authors |—Avant-garde, innovative |presentation. | |Robert Frost, Ezra Pound, and T. S. Eliot |—Frost's "old-fashioned way to be new" |3. As regarding...
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...You should write the case study in such a way that you start your answers from line 1. That is, there is no need for large introductions that we see in essays. You should apply the principles you have learned from lecture material/tutorials/readings that are specific to the case study. Case study 1 answers should be written in narrative form (i.e. sentences not bullet points), and should be 2000 words long, single spaced. Each case study should be referenced and show evidence of recommended readings as set out in the Guidelines to Case Study 1. You should use a minimum of 10 references for your case study. Questions for the case can be found at the conclusion of the case. Individual case study 1 You need to clearly demonstrate how you will solve the following problem. Problem statement: John Tomey (fictional name) is a business manager that is responsible for several divisions of Wesfarmers, a large Australian conglomerate of mixed businesses. Some facts include over 30 managers and 500 factory and distribution staff. Approximately half the managers work in Head Office on normal functions such as marketing, accounting, technical, and HRM functions. The other half of managers work in the factories. In a new restructure, John will lead up Wesfarmers Chemicals, Energy and Fertilisers. John’s CEO has asked him to grow the business by more than 20 per cent over the next three years. His other tasks include taking the existing business which just ‘plodded along’ to new heights by...
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