A Brilliant Madness Book Report essays

A Brilliant Madness Book Report essays Bipolar disorder, also known as manic-depressive illness, is a brain disorder that causes unusual shifts in a person's mood, energy, and ability to function. Different from the normal ups and downs that everyone goes through, the symptoms of bipolar disorder are severe. They can result in damaged relationships, poor job or school performance, and even suicide. But, on the up side, bipolar disorder can be treated, and people with this illness can lead full and productive lives. In her book, A Brilliant Madness, Patty Duke shares her life with bipolar disorder. Undiagnosed until age 35, Patty experienced her share of manic episodes and depressions. She states, I knew from a very young age that there was something very wrong with me, but I thought it was just that I was not a good person, that I didnt try hard enough. From panic attacks to crying spells to verbal abuse, Patty lived a life of desperation for many years. Patty remembers the disease starting at about 8 years of age. She is taking Lithium twice daily. Section Two: Main Characteristics/Symptoms of Bipolar Disorder (from text). What behavior (in the book) of Patty Duke illustrated these characteristics? Bipolar symptoms are a cause of great distress or difficulty in functioning at home, work, or other important areas. Or, symptoms require the person to be hospitalized to protect the person from harming himself/herself or others. Or, symptoms include psychotic features (hallucinations, delusions). However, the manic phase is the most extreme part of bipolar disorder. A person becomes euphoric, ideas come much too fast, and concentration is nearly impossible. Anger, irritability, fear, and a sense of being out of control are overwhelming. A person's judgment is impaired, and he or she may behave recklessly without a sense of consequence. Some people lose touch with reality and experience delusions and hallucinations (Nolen-Hoeksema, 2001, pag...

Talking Writing, Music and Editing with Tom Flood

Talking Writing, Music and Editing with Tom Flood Talking Writing, Music and Editing with Tom Flood Tom Flood helped us refine Reedsy from our earliest days. Now we want to share his amazing story. From songwriting to novels and finally manuscript editing, Tom has honed his knowledge of the writing craft over the years, and contributes today to our (aspirationally) literary blog.In one of our most in-depth interviews so far, what started as a conversation about Tom’s agency Flood Manuscripts moved on to cover his work as an editor, a writer, and an independent musician.Tom analyses the oft-invoked parallel between book and music publishing and what the future holds for both these industries. He also shares his own experience as a writer - he made this great observation about identifying oneself as a writer:â€Å"When people ask, ‘What do you do?’ and I answer, ‘Writer, editor, musician,’ the next question is invariably ‘Oh, what do you play?’ Writing is both less and more mysterious. Nearly everyone writes, so it engenders the second q uestion ‘What do you write?’ way less often. The more revealing ‘How do you write like that?’ comes rarely. People think skill in musicianship comes with practice and dexterity, but skill in creative writing? Like art, they believe it’s a gift. The reality is they’re the same.†His tripartite career gives Tom a unique lens through which to see what’s happening right now in the new world of publishing. His advice to writers is both practical / motivating - persevere, keep going - and informed by years of experience editing self-published authors.Hi Tom, you have an impressive portfolio and experience in writing, editing and proofreading. Which one came first in your career? In other words, what made you become an editor?Thanks, Ricardo. I came to editing via writing. I have always been a songwriter but in the 80s, buoyed by a boom of new Australian fiction engendered by the infrastructure built by the short-lived, ground-breaking Le ft government of the 70s, I began to try my pen at short stories, got one published in a short-lived journal, and finding that slow going, switched to the big picture of the novel. The success of that move (three national awards) led to connections in the world of publishing and I began occasional award judging, assessment through our major residential writers’ centre, and some editing for publishers throughout the 90s, also being commissioned to write a theatre piece and a feature film. That all petered out as I moved back towards music performance and had a stab at academia.In 2003, with a string of part-time jobs, and looking to find new income streams, I began working through the net for a few large assessment/appraisal services in other states, a relatively new industry, reading and advising across a wide range of prose writing. A year later my artist partner suggested I start my own to fund living through a PhD, and a writing client created the first Flood Manuscripts w ebsite. Within a year it was full-time assessment and clients began to ask if I would mentor them, act as agent, ghostwriter and all manner of services I had no intention of taking up. Dumping the doctorate to ride the growing self-pub wave with Flood Manuscripts, the next step was mentoring, structural editing and copy editing, and finally proofreading, as Aussie writers began to become impatient with the trade publishers and adept at dealing with the digital, their needs evolving. I keep the service personal, despite many suggestions to expand into an agency, because I like to be at the coalface.You have also both won and been a judge to major writing awards in Australia, how did that start, and what do these awards represent for you as an author? (Is that just a nice acknowledgement of your craft or something you’re genuinely proud of?)Awards! Without them Flood Manuscripts wouldn’t exist. Despite both parents writing pretty successfully (my mother, Dorothy Hewett, was a well-known poet and playwright), neither had published with a mainstream press. I made my name in fiction by winning our premier manuscript award, the prize including publication by Allen Unwin, and that novel then took out more awards, including our oldest and best known fiction prize, the Miles Franklin Award. Everything else I have been lucky enough to be involved with has stemmed from those awards. Flood Manuscripts’ clients have since taken out even more awards, mostly international, and yes, I’m very proud to be a small part of that.We are in London, and most of our audience is in the US. But you live in Australia, so can you tell us how the publishing landscape looks like over there? How â€Å"big† are ebooks and self-publishing?I think we’re trailing a decade behind USA in some aspects, particularly genre, as we are a small market and still retain a certain English literariness in our publishing landscape, largely fed by our tertiary educat ion system. That said, we were and still are ahead in acceptance of manuscript assessment /appraisal as an essential part of that landscape. Once convinced, Australians do have a fast technology take-up and self-pub is really developing into a snowball.Has the â€Å"digital revolution† truly changed your career, or do you feel you continue working with authors more or less like you did before?Flood Manuscripts is a child of the digital ‘revolution’. 98% of my work is sourced, contracted, paid and completed via the net. That has grown from about 70% over a decade. I’m receiving around one paper manuscript a year. I prefer to read and edit digitally for work, although I still like to read paper for pleasure. I like the ancient craft of bookbinding. It will be a shame if we lose that art form to the economics of the trade.Songwriting, though, has not changed for me. The pen is still mighty, the pencil mightier, and scraps of waste paper litter the study on ev ery surface. With the novel, I began handwriting it in ‘85, moved to a borrowed typewriter, then a borrowed word processor, and finally finished the last drafts on a redundant computer with bootlegged software (WordStar) from my partner’s work place. I was over 30, on the dole, and on the rebound from an art pop band in Sydney. I don’t think I actually got on the net until 2003.This is a traditional question in our interviews: does working directly with an author (indie or hybrid) make it easier or harder for you? Does the absence of a traditional publishing structure change the way you communicate with the author?Except in the early days before Flood Manuscripts, I’ve almost always worked directly with authors. I don’t court the trade publishers because there are so few here and they don’t outsource much anyway. How it continues to change is in the speed, volume and creativity of new digital ventures and what they offer to litworkers. As an assessor, keeping up with even a small part of that change is a challenge.You are also a musician, singer and songwriter in the acoustic trio Blues Angels. The music industry and the publishing one are often compared, many people proclaiming that what happened in music will happen to books. What’s your opinion on that?Conventional wisdom has had the popular music evolution in four phases: 1) sign with a big label; 2) music publishers make big money from big musicians and use some of those profits to develop new talent; 3) big musicians realise they’re leaving money on the table and set up their own labels (self-publishing), resulting in music publishers dwindling and new musicians having no corporate sponsorship; 4) digi-platforms like iTunes do the same as Amazon/KDP/Kindle and new musicians go direct to consumers (less 30%), but there is new pressure to discount or give away material for free; and we can now add phase 5) big musicians realise how much money they are leaving on the distributors’ table and abandon digital platforms (Taylor Swift/Spotify, Radiohead /iTunes). New musicians have no sponsor, make no money from Spotify and can’t sell on iTunes without a massive marketing spend.The book trade significantly differs to music in that it doesn’t have a regular large performance aspect, although writers are often performers at festivals, schools, readings, etc., and libraries aren’t really a power in the same way in the music trade, although ideas like Self-E and the digital library may significantly endanger lending rights payments in the pursuit of ‘going viral’. It’s not a matter of ‘will happen’; it already has, at least to level 4. Writing, like music, has gone digital and that digital product is being given away in the millions to create traction towards a fame of sorts and is being streamed, not quite like Spotify et al, through Kindle Owners Lending Library, but podcasting and YouTube are pushing text more into performance re audiobooks, book trailers, and even as the music industry has been digitally driven back towards the single as its principal product, so Kindle Shorts, blogging, social media publishing and other developments continue to drive fiction back towards the heyday of shorter forms. Will this be a boon to poetry? It should be, but I haven’t seen a Shorts- or YouTube-based boom in verse, though it’s early days yet. I do see bundling going on in either form by both indies and trade, both live and product-based, and I expect we’ll see even more specific-subject social media appearing, like mootis, a Twitter for legals, and new models for crowdfunding, like Patreon.This is the big picture, but as with BluesAngels, who don’t operate in the world of popular music, we do our gigs and small festivals, make our recordings and sell our music at those live gigs, then rinse and repeat. Sure, we’ve put it up digit ally on iTunes and Spotify, but we don’t expect to compete with the pop forms; we don’t have that kind of money. So far we’ve made eight cents from streaming. Indie authors can and do still exist at this same level. I have a long term client with Flood Manuscripts who self-pubbed a hardback verse novel, offset printed, and took it on the road to sell – door to door! He’s sold 15,000 over a number of years, making him a best seller in Australian poetry, and funded an audio CD, but he doesn’t register on Bookscan, nor have the poetry awards or Amazon ever heard of him.A hard question now: do you prefer being an author, and editor or a musician? Where do you feel you have more creative freedom?The last one was hard. Creative freedom might just be a curse to some. Many artists prefer a given structure within which to work, although I’m not one of them. Some like to push the boundaries of form, others to innovate within those boundaries, a nd others prefer to capitalise on proven market structures. Creative freedom is not a term I think about or relate to, perhaps because I have it? Perhaps not: like writers’ block, I don’t think you can pin down what it is. As to author, editor, musician, all three can be personally satisfying.Some say that certain media are better than others to express a particular message. Do you think music allows you to express some things that you cannot in writing, and vice-versa?As an aural form based on sound, not words, and not limited by language, only taste, music is probably capable of appealing more indefinably to the emotions, but I’m a songster, so for me it’s a vehicle to carry fewer words more urgently to the audience, kinda like poetry, but it can and does operate differently. Unlike writing, there are also visible tools, and people do appreciate visible, live craft. When people ask, ‘What do you do?’ and I answer, ‘Writer, editor, mus ician,’ the next question is invariably ‘Oh, what do you play?’ Writing is both less and more mysterious. Nearly everyone writes, so it engenders the second question ‘What do you write?’ way less often. The more revealing ‘How do you write like that?’ comes rarely. People think skill in musicianship comes with practice and dexterity, but skill in creative writing? Like art, they believe it’s a gift. The reality is they’re the same.Finally, if you had one word of advice for authors (mainstream, indie, hybrid) in 2015, what would it be?I’m a novelist! Even tweets give us more than one word, but when it comes to publishing, I shuffle between ‘Persevere’ and ‘Quit’, but ‘Time Management’ may be two words worth contemplating. Things are both worse and better for authors than at any time in the history of printing, but the history of authors is millennia older. What we’re seein g today is the very rapid furthering of the democratisation of publishing. Making money is a relatively new notion in that history. What is an author? A writer: or a writer who is published? With the rise of self-pub, ‘is published’ is changing to ‘has published’, from passive to active, but an author is simply an originator. So my advice to authors, as always, is mundane; if you enjoy writing, keep learning by reading and doing, and you will be constantly challenged to go further. It is principally a vocation. If you want to become a publisher, you’re back to square one – an ingà ©nue - set out to learn your new set of jobs thoroughly, and keep learning and doing.Thanks a lot for your time, Tom, and for sharing these fantastic insights with us.Thanks, Ricardo, for this opportunity, and thanks to the Reedsy crew for authoring this quality new service.Follow Flood Manuscripts and Reedsy on Facebook!What do you think about Tom’s story? A re we right in drawing parallels between the book and music industries? What fundamental differences do you see, and what’s the future going to look like? Leave us your thoughts, along with any question for Tom, in the comments below.

Healthcare finance Essay Example | Topics and Well Written Essays - 250 words

Healthcare finance - Essay Example Once this is understood, the organization can accurately assess the profitability of each sector, clinical management, service lines or provider relationships in order to ensure growth in revenues and scalability (Glaser & Sett). Performance of each subsector can then be analyzed hence given room for improvement. To lower costs and enhance efficiency, there is need to revise networks in order to enhance coordination across health care services delivery. Accessibility of health care records to a greater amount of staff, physicians and clinicians is vital to ensure the speed of delivery and determine the individual cost of services offered. All these can be achieved through technology. Over the past, Electronic health records, revenue cycle management and costing systems have been operating individually, hence the high cost of delivering health care services. Since relevant technology started creeping in, from the integration of data storage facilities with the internet, the flow of information has been quick and accessible at numerous places at a one moment (Glaser & Sett). When health care data is recorded and coupled with time stamps, cost can be recorded instantly and bills can be calculated faster. This data is then recorded and will be accessible anytime for

Theories of Management Essay Example | Topics and Well Written Essays - 2250 words

Theories of Management - Essay Example All the way through, they must work out responsible leadership. Management’s work is to â€Å"fit† out of the many situations faced by organizations and prepare activity plans to resolve organizational troubles. But less understood is the reality that management must carry out more than supervision what already exists. They must also make new products and services and even re-create the organization from time to time. A significant fraction of management is creative work driven by innovative knowledge and information. Information technology can offer a powerful responsibility in redirecting and redesigning the organization. It is important to note that managerial roles and decisions diverge at diverse stages of the organization (Kenneth 1999, p.11). Through out the pervious few decades, in the whole world, the business area has sought to ascertain its environmental classification by putting together ecological and public impartiality matters addicted to its business str ategy plans and application. Food sector is mainly obvious right through farming and foodstuff structures, where foodstuff processors and vendors come into the view using communication of the lessons to be drained from the enlargement of the organic food division. The enlargement of organic food sector manufacturing has guided the business area to tackle the variety of conduct and to dissimilar scale green subjects in determining the course of this growth. For a number of business actors, the pressure of ‘green’ fears have been obvious in small and additional than terms of concern and declarations of intention, which are planned to cover present indefensible application. For others, in difference, it is imitate in the foodstuff manufacturing systems in conduct that hold up the manufacture of natural food, the expansion of ecological codes of application and other plans which stand for a innovative strategy trend (Lyons

Life Was Never the Same: The Effects of the Atomic Bomb on the Survivo

"The release of atomic energy has so changed everything that our former ways of thinking have been rendered obsolete. We therefore face catastrophe unheard of in former times. If mankind is to survive, then we need a completely new way of thinking." ~Albert Einstein Life Was Never the Same: The Effects of the Atomic Bomb on the Survivors In August of 1945, the world changed forever with the dropping of the atomic bombs on Hiroshima and Nagasaki. The lives of millions were shattered in a few seconds as the bombs demolished their homes and murdered their family members. Never has one incident in history affected such a great number of people for so many years. Today, the Japanese are still feeling the effects of the dropping of the atomic bombs. With the marking of the fifty-year anniversary in 1995, the dreadful scars still remain in the bodies and the hearts of those who were present in 1945. The radiation emitted from the atomic bombs caused numerous growth disorders, many psychological and social effects along with a drastic increase in leukemia and breast cancer that affected many innocent civilians. Many scientists were interested in accessing the damage done by the atomic bombs; therefore, surveys began immediately after the bombings. Military agencies and scientists from various universities designed the first surveys. Americans felt it was necessary to investigate the effects of the atomic bomb, so President Truman established the Atomic Bomb Casualty Commission in 1946. Its major goal was to obtain survey samples that reflected the actual conditions of the exposed and it was responsible for many studies including the Adult Health Study and the Life Span Study.1 The commission did not disband until 1974 ... ... Notes 1. Ishikawa, Eisei, David L. Swain, trans. The Committee for the Compilation of Materials on Damage Caused by the Atomic Bombs in Hiroshima and Nagasaki, ed., Hiroshima and Nagasaki: The Physical, Medical, and Social Effects of the Atomic Bombings (New York: Basic Books, Inc., Publishers, 1981), 510-512. 2. Historical Background Relating to Relocation of the Radiation Effect Research Foundation (RERF), http://www.1amesh.ne.jp/usui-n/radiante.htm (1 November 1999). 3. Eisei, 222-230, 450-52. 4. Eisei, 14. 5. Eisei, 449. 6. Frank. W. Chinnock, Nagasaki: The Forgotten Bomb (New York: New American Library, 1969), 297. 7. Eisei, 259. 8. Radiation Effects Research Foundation, http://www.rerf.or.jp/eigo/experhp/rerfhome.htm (1 November 1999). 9. Eisei, 186-210. 10. Eisei, 489-90.

Essential elements of a valid contract Essay

In this part of my assignment I will be detailing what the different elements of a valid contract are whilst also linking it in with my own contract. The contract I have decided to use is my mobile phone contract from Vodafone. The offer: In contract law the offer is where a person will accept the invitation, for example in my contract the offer would be when I offer to bind into their contract and purchase a mobile phone deal, and this is because they created an invitation for me to purchase a deal as they advertise their deals in various place so when I go in I offer to bind into a contract with them. Invitation to treat: An invitation to treat is usually used to get the parties started with some negotiations to result in a fair agreement for both parties involved. For example in my case with my contract it was negotiated for me to get more minutes instead of the amount of data they were offering as I would use the minutes more instead of the data so Vodafone agreed and created a contract stating what was agreed to ensure that they could not go back on their agreement. An invitation to treat does not bind someone into a contract as they are only inviting people to make an offer so if somebody was looking at something but didn’t not agree or make the owner a offer then therefore there is no agreement and no legal binding. The Acceptance: In contract law once a legal acceptance is formed a contract gets developed in which case both parties cannot back out of the agreement after the contract has been signed. There are three rules that need to be followed when creating an acceptance to ensure it is legally bound. The three rules are: The acceptance must be known and discussed with the offeree. The acceptances’ terms must match the terms of the offer exactly. The agreement needs to be certain. In the case of my phone contract it was legally bound as it follows all three  of the rules of acceptance as when I purchased the contract we discussed all aspects of the contract terms and we both knew exactly what the agreement was after the negotiations. Consideration: The consideration in contract law must be something of value by the eyes of the law this doesn’t not include things like a promise of love. A consideration is also known as the bargain of the contract where each party must receive a benefit to the contract or a disadvantage for it to be a consideration. With my contract the consideration is I get a certain amount of data, texts and minutes in exchange for money that will be paid each month. Intention to create legal relationships: The main aim of indenting to create legal relationships is to try and push out the cases that don’t necessarily need a court to help take action. This is usually the case when two friends agree to meet up somewhere or if a family member agrees to help clean the car as there is no legal agreement it is just made between the two or more parties that are involved which means that therefore there is no legal binding contract in place so the courts are unable to take any action against any of the parties. With my contract it is a legally bound contract so if for example I decided I was no longer happy and I was going to stop paying the payment that we agreed then they are entitled to take me to the courts as the contract is legally bound. Capacity: The capacity in contract law is where a person has to either be over a specific age or they have to be mentally fit and not under the influence of alcohol as if one of the parties are then the contract will become void as they will be classed as a minor or unstable to bind into a contract as they need to have a full understanding of what they are signing for. If a contract becomes void then it means there is no legal binding of that contract and therefore if something went wrong and they backed out of it the courts could not take action. With my Vodafone contract they have a capacity that nobody under the age of 18 is allowed to take out a contract as they are known as a minor but any payments can be taken out of the minors account after three payments have been made, this is to ensure that they have an  adult who is responsible for making sure all payments are going to get paid and if not it is them that will be taken to court as the contract will be in their name.

Pride And Prejudice By Jane Austen - 955 Words

Pride and Prejudice â€Å"It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife† –Jane Austen The Bennet family consists of five single girls, Jane, Elizabeth, Mary, Kitty, and Lydia, an overly intense mother whose main goal in life is too see all of her girls married, and an intellectual father who prefers to spend his time alone in the library. Jane Austen’s beloved book concentrates on reputation and class as the protagonist, Elizabeth Bennet, explores the society of the higher classes in 19th century England. When the news that a wealthy young bachelor named Charles Bingley has just moved into Netherfield, a neighboring house, the Bennet women become interested in meeting him and send Mr. Bennet to go make a social call to the young man. Shortly after, the Bennet girls are invited to a ball where Mr. Bingley is present and he instantly takes a liking to Jane. Bingley’s sisters and his best friend Mr. Darcy, however, do not like Jane and believe that she is not good enough for him. Mr. Darcy is haughty and finds social events beneath him and refuses to dance with Elizabeth or socialize with anyone. However, after various other social events, Darcy finds himself infatuated with Elizabeth’s charm and wit but does not want anyone to know and Bingley and Jane are increasingly seeing each other when Jane is invited to come and visit Netherfield. When Jane falls ill,Show MoreRelatedPride And Prejudice By Jane Austen Essay1724 Words   |  7 PagesThe 18th century novel, Pride and Prejudice, by Jane Austen, is a fascinating book about a young woman’s struggle with family and love. Pride and Prejudice was originally published in 1813, but, the most common version of the story, and the one used for this research, is from the version published in 1892, still by only Jane Austen, though many other authors have contributed to this book over time. 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The family live as part of the lower gentry in early 19th century England. With that being said, Mrs. Bennet’s primary focus in life is to ensure that all her daughters are married, preferably to wealthy men. The book begins with Mrs. Bennet seeing an opportunity for her daughtersRead MorePride And Prejudice By Jane Austen1570 Words   |  7 PagesThe comical novel Pride and Prejudice by Jane Austen depicts the love life of women in the early 1800’s. Austen shows the hardships young women in that time period had to go threw to find their place in this world. Women were thought of as objects to the men, they were supposed to be stay at home mothers, or simple just a accessory to their partner. Women were the subordinates in life, as they still are today. 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