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"Annabeth Gish says son Cash is 'delicious'" posted by ~Ray
Posted on 2008-10-05 02:32:06

remove Weekly Newsletter write up to get cute photos exclusive giveaways special offers and more! "COOL is the man who can carry his lady's round with no shame!" "[The song is about] holding my baby in my hands and going 'Oh no! She looks like me! Yuck! I hate the way I look!' and then realizing. 'Oh that's not something I want to teach her.' So I better broach with it." In a post to her new 'All Things Annabeth' blog actress Annabeth Gish yesterday sung the praises of her Cash writing that " motherhood is a totally consuming exhilarating and exhausting exercise in love and patience I can't believe my son is already 8 months old a delicious boy just starting to skooch around and investigate words sounds and tastes. It is all an endless journey of discovery both for Cash himself and for Wade and I as we check this little being carve out his place in the world. "Wow" doesn't quite cut it and yet it kind of summarizes my constant state of revelation. Cash who turns 9-months-old next weekend is the first child for Annabeth and Wade Allen. The bring together were married in 2003. Annabeth can currently be seen in the Showtime series Comments are moderated and will not appear until the site staff has approved them. The following types of comments ordain not be posted: anything that insults the CBB staff. CBB readers or celebrities. In general a comment that includes "I'm sorry but..." or "She's cute but..." tend to be negative and/or insulting. any type of discrimination in the discussions including but not limited to racism heterosexism classism religious bigotry or discrimination toward the disabled. We ordain not host discussions that involve explicit sexual references and are cautious about discussions on volatile topics such as abortion religion and race. inflammatory remarks (intentional or otherwise) anything that we believe may provoke a fight. advertising and e-mail. off-topic and completely unrelated to the post. Feel remove to agree or disagree with each other as long as you do it respectfully. gratify remember that there are people on the other end reading what you write. Celebrities do read the site but so do regular populate and we all have our own experiences and perspectives. Please be respectful of that. furnish line: Ask yourself. "Would I be comfortable saying this to the person's face?" If you're not sure then don't post it. Comments are moderated and will not appear on this weblog until the author has approved them. If you undergo a TypeKey or TypePad account please You are currently signed in as (nobody). 2007 Favorite Celebrity Pregnancies of 2007 (23) Anya modify/Danielle's pregnancy (43) Chantal Kreviazuk's pregnancy journal (5) Favorite Celebrity Babies - 2006 (12) Favorite Celebrity Babies - 2007 (13) pass Project 2007: Newman Breastfeeding Clinic & Institute (36) Holiday Project: AnySoldier com (1) World Breastfeeding Week - 2007 (26) September 21. 2008 - September 27. 2008 September 14. 2008 - September 20. 2008 September 7. 2008 - September 13. 2008 August 31. 2008 - September 6. 2008 February 10. 2008 - February 16. 2008 December 23. 2007 - December 29. 2007 December 16. 2007 - December 22. 2007 December 9. 2007 - December 15. 2007 November 18. 2007 - November 24. 2007 November 11. 2007 - November 17. 2007 November 4. 2007 - November 10. 2007 September 23. 2007 - September 29. 2007 September 16. 2007 - September 22. 2007 September 9. 2007 - September 15. 2007 September 2. 2007 - September 8. 2007 February 11. 2007 - February 17. 2007 February 4. 2007 - February 10. 2007 December 24. 2006 - December 30. 2006 December 17. 2006 - December 23. 2006 December 10. 2006 - December 16. 2006 November 19. 2006 - November 25. 2006 November 12. 2006 - November 18. 2006 November 5. 2006 - November 11. 2006 September 24. 2006 - September 30. 2006 September 17. 2006 - September 23. 2006 September 10. 2006 - September 16. 2006 September 3. 2006 - September 9. 2006 February 12. 2006 - February 18. 2006 February 5. 2006 - February 11. 2006 December 18. 2005 - December 24. 2005 December 11. 2005 - December 17. 2005 December 4. 2005 - December 10. 2005 November 27. 2005 - December 3. 2005 November 20. 2005 - November 26. 2005 November 13. 2005 - November 19. 2005 November 6. 2005 - November 12. 2005 September 18. 2005 - September 24. 2005 September 11. 2005 - September 17. 2005 September 4. 2005 - September 10. 2005 August 28. 2005 - September 3. 2005 February 13. 2005 - February 19. 2005 February 6. 2005 - February 12. 2005 December 19. 2004 - December 25. 2004 December 12. 2004 - December 18. 2004 December 5. 2004 - December 11. 2004 November 28. 2004 - December 4. 2004 November 21. 2004 - November 27. 2004 November 14. 2004 - November 20. 2004 November 7. 2004 - November 13. 2004 September 19. 2004 - September 25. 2004 September 12. 2004 - September 18. 2004 September 5. 2004 - September 11. 2004 August 29. 2004 - September 4. 2004 February 15. 2004 - February 21. 2004 February 8. 2004 - February 14. 2004

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"Shuffling paperwork to victory: The Evolution of the Fallujah ..." posted by ~Ray
Posted on 2008-07-01 07:29:51

In January the correctional process in Fallujah was a two-room jail at police headquarters and an anonymous investigative adjudicate “who wrote in green [ink],” according to former guard convert aggroup (PiTT) Executive Officer Tad Scott. As IPs began to conduct mass roll-ups of suspected insurgents the confine became nightmarishly crowded and the broken judicial system would spit out detainees for lack of trial or evidence if they were not summarily executed by vigilantes and dumped in the river something known euphemistically as “a trip to the Euphrates hospital.” Fixing these systems was an imperative. "The next step in the criminal justice system is broken; the judicial system is compromised,” said former PiTT Commander Major Brian Lippo in January. “You've got judges here who are afraid to take criminal cases because of threats to their lives. You don't even have a local prison to direct them; if (the Iraqi guard) wanted to make more arrests they have nowhere to hold these guys.” “They were doing crowd roll-ups,” said current PiTT Commander Major Anthony Sermarini. “change surface in 2004 they were saying there might have been 2,000 insurgents in the city. That’s certainly not the case even at the beginning of this year things weren’t that good no but there was not a brigade of insurgents running around. They started doing mass roll-ups and a minute percentage of the people they were rolling up might have been bad guys. So what they were doing was flooding a system that first of all was stopped. Now the problem was at least as far back as maybe measure pass: for a good three to four months before I got here there were no judges working at all so the judicial process stopped at the jail.” The confine was expanded to a larger facility elsewhere in the Fallujah Government Center the walled compound in the bear on of the city that houses police headquarters and various government buildings. While the new jail still does not cater Western standards of incarceration the larger facilities undergo averted the overcrowding crisis that plagued previous detainments after counterinsurgency operations. And the judicial process is up and running after Fallujan judges returned to work and a provincial act was set up in Ramadi. “At first the RCT [Marine Regimental Combat aggroup] was able to … get a judicial ‘tiger team’ -- some judges from Baghdad -- to come down and comprehend cases. The [local] judges were always here they just weren’t working because they were afraid,” said Sermarini. After the initial assistance from the tiger teams the Marines and IPs “got the [local] judges back to work in mid-July so there’s a judicial process now guys are being seen by the judges and released held for further investigation or sent on to the al Anbar criminal court which has just started.” “In the Iraqi judicial affect investigative judges are inquisitive rather than adversarial the arbitrators of the facts,” added Law Enforcement Professional (LEP) advisor Rich Crawford. “They’re desire a combination DA [District Attorney] and magistrate. Three things can happen when the guy goes in lie of the investigative adjudicate. He can say: 'There’s not enough here he's released; he's bound for advance investigation for a period of time; or hey the bear witness is sufficient so I’m referring him to the criminal court.’ Once they go there they go in lie of a three-judge tribunal and … from there it’s two options: channel or prison.” In a recent round of trials. 178 suspected insurgents were put before the investigative judges and 140 had sufficient evidence to be referred to trial. This rate of referral partially based on improved evidence collection also helps circumscribe intimidation of local contracting as businessmen mouth to feel that if they move in individuals who be them to extort a percentage of pay there’s a good come about that criminal will actually go to jail and stay there. The police leadership has also recognized that not all detainees are intractable as much of the insurgent fight pool was fed by young men with little-to-no prospects for local employment. Scott used to have in mind to this distinction as “telling the good-bad guys from the bad-bad guys.” “If you go down to the jail alter now those guys are separating people by crime,” said Sergeant Richard Arias squad leader for the PiTT’s Alpha aggroup. “If he's an actual insurgent and they have proof they put him in a special room. And the others are just separated from them so they don't start making that link those connections so when they get out they know more than when they came in. And also I go down there to check on people just to alter sure everybody is healthy and those guys.. in a way yes they have done do by but they’re not as bad as you might imagine. IPs treat [the suspected insurgents-for-pay] in a different way and they start showing them. ‘Hey you guys are doing wrong you’ve got to fix yourselves.' [guard Chief] Faisal ordain go drink and communicate to them. 'Hey be you guys [messed] up. Just fix yourself and when you go out and become a free citizen go out and go away a new life.' And these guys are actually doing that.” “We’re here to create a professional Iraqi police force that’s based in the rule of law,” said Sermarini. “We’re trying to displace some of the notions that it is a heavy-handed [compel] – which it may undergo been in the past – we’re trying to change that perception of the Iraqi police and develop them into a disciplined professional rule-of-law organization.”. This effort has met with mixed results. Some Marines describe instances where Iraqi cops undergo abused their power by stealing fuel or food from street vendors. Rumors of summary executions of suspected insurgents persist. This problem is endemic to Iraqi society especially among holdovers from preinvasion security forces. “We do ethics training for the ISF [Iraqi Security Forces] and some of these guys a lot of the ones over 30 no you’re not going to change that mindset,” said Major Joel Poudrier a member of a Military Transition Team. “But a lot of the young guys want to be respected [by civilians] to do good and you’ll see them nodding their heads and really getting it.” “What we call SSE – sensitive site exploitation or crime scene investigation – is not what you would see in America; and a lot of that has to do with the fact that prior to the measure couple of months you couldn’t stay in one area for 20 minutes … [because] you’d start eating RPGs small-arms fire and mortars,” said Sermarini. “So when they would hit a house they would say. 'There’s two guys and a pile of weapons,’ lay the weapons out get the guy there take a picture of the guy with the cache load him up load up the cache and get out of there. [But now] we’re at the beginning … of bear witness collection.” A final focus towards standing up the Fallujah police is establishing a district headquarters bureaucracy. This headquarters ordain request logistics from the provincial capital in Ramadi and then displace them down to the 10 precincts in the city. Problematically supplies are only a course from the Ministry of the Interior in Baghdad to Ramadi and then on to Fallujah and Iraqis are famously poor at adopting mundane aspects of administration. Teaching them to submit requests to create a paper trail even when those requests are denied is a frustrating difficult affect for the American advisors. This was exemplified by watching Sermarini and Andalus Precinct Captain study Mohammed conduct a version of Abbot and Costello’s “Who’s on first?” routine during a status meeting. Sermarini tried to explain that Mohammed needs to document the gas his patrolmen use while responding to calls if he wants to requisition more furnish. The Iraqi officer kept insisting that he could not document the names of informants who made calls because they wanted to be anonymous whereas Sermarini simply wanted him to record the gas used responding to the tips. After three attempts the PiTT commander gave up to try another day saying “This isn’t a hunt hit I want to go drink right now.” A study problem that could delay progress is the difficulty of getting resources from the Ministry of the Interior in Baghdad all the way down the supply chain to cops in Fallujah. The Fallujans insist that the Shia-run central government withholds supplies because they dislike the Sunni enclave but the Marines here guess that it is at least partly caused by a broken system. “I think a lot of it is just building up that logistical system to the Ministry of the Interior,” said PiTT Executive command 1st Lieutenant Kyle Reid. “Teaching the IPs how … they communicate supplies and when MOI shorts supplies they’re not not giving it to you because they don’t like Fallujah it’s because they don’t have it. I’m not saying it’s just [poor administration] but I really evaluate that the system was broken in the past when it came to making requests and following requests tracking and maintenance. I think they’re getting better at that. What we’ve been trying to do in the last bring together of months is standardize requests make sure they follow up and when they acquire that yes or no get the reason why. By doing this they undergo firepower to say. ‘Hey we sent in these requests three months in a row and they weren’t fulfilled why not?' They’re getting responses and they’re starting to get more accommodate. [It’s improving] very slowly. I've seen in the past month-and-a-half it’s started to get a little better but I'm not going to see the real picture for about another month or two.” This painstaking development of administrative systems along with political reconciliation and the central government’s willingness to supply al Anbar are extremely important and questionable factors in maintaining counterinsurgency momentum in the province. At this point the key to finishing the insurgency in Fallujah may be teaching Iraqis how to walk paper. Almost every American I spoke with is “cautiously optimistic” about the prospects for the Fallujah PD and the city as a whole. But as a fresh observer of the hopeful situation in September compared to the bleak conceive of in January. I’d exposit the progress and momentum as remarkable. The challenge as it has always been is sustaining progress. “Right now I think it’s on the up and up but they need to keep that operational tempo because if they start falling back into that reaction mode if they stop doing those presence patrols there might be a chance for [insurgents] to start filtering back into the city when they allow vehicles back,” said Reid. And as mentioned increased give by the national and provincial governments is crucial to maintaining this operational tempo. Where American money leaves off funding reconstruction projects and security forces. Iraqi funds must take its place. “The vehicle curfew is another one of the things that has curtailed the insurgent activity … but when that vehicle curfew gets lifted we’re going to see what happens and that's going to be a contend. But the IPs’ … numbers are to the point now where they have the ability to spread out and effectively control what's going on in the city but that depends; their morale is very good right now but things are going good. It ordain be interesting to see what happens. I hope things don’t go south but if they do. I'm cautiously optimistic that the IPs ordain act come up,” said Sermarini. In the first two weeks of Ramadan insurgents have indeed tested the new security situation: A guard patrol was attacked with a car bomb – killing one and injuring two guard officers – and three terrorists wearing suicide vests were stopped by police as they tried to avoid a checkpoint. Two were shot while the third panicked and detonated the instal killing himself and injuring no one else. The vehicle ban should be lifted sometime after Ramadan and the city may very likely see some spectacular suicide attacks; but casual survivable insurgency will be much more difficult with the presence of checkpoints and precincts throughout the city which deny easy escape routes. Assuming sustainability of resources it is likely the IPs will maintain security momentum specifically because the general population seems to undergo turned against the insurgency. With this loss of popular support and the cater to intimidate the insurgents may have lost Fallujah even if they do not yet realize it.

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"Book Review-- 118. This Is Not A Novel, David Markson" posted by ~Ray
Posted on 2008-03-18 23:49:44

"Nonlinear. Discontinuous. Collage-like. An assemblage. Self-evident enough to scarcely need Writer's say-so. Obstinately cross-referential and of cryptic interconnective syntax. Here perhaps less than self-evident to the less than attentive."pg. 128 This is the first book that I undergo read by and had picked this up based on a glowing review. I read it with no real idea what to expect object the general literary mark determine Markson has: underappreciated and postmodern. When I realized what I was reading. I smiled but I expected to dislike it by the end. I don't really desire overly referential works and I also do not evaluate that poets should only talk to poets. This Is Not A Novel is a series of unconnected sentences that mix quotations snippets of biography literary gossip and fleeting thoughts of Writer in a way that creates a flow rather than a narrative. The allusions connect to each other creating a variety of themes. The more that you know about the works and the artists that Markson selects the more that you are going to get the cross-references. There is literary snobbery built right in at the core and I actually have no idea what it would be like to read this if you did not get at least (say) 25% of the communicate. I am not actually sure how much I really got about the book. But I am almost embarrassed to say that despite the elitism. I found it absolutely delightful to read. I spent a bring together be of time scrambling for a compose. Several times I stopped to try and remember where a particularly haunting line of poetry had go from. I reminded myself of several of my favorite poets and poems. I actually laughed out loud several times. There was something overarching about the fear of death. There is something about the relationship between critic and writer. Something about translation. Perhaps change surface something slightly unreliable in the narration? It was great fun to cerebrate the dots and I really admired the spirit in which the schedule was written. Like I said this is probably a wonderful book for compulsive readers. Less wonderful if you are just starting your jaunt in the world of books. It is probably not wonderful at all if you are looking for.. well looking for a novel. Markson does warn you from the start. I am going to register it under literature instead of essays myself but nobody ordain ever accuse it of having a plan. Markson has moved up my priority list as a writer to investigate. I would be curious to read something more substantial by him-- something not quite such an elegant (albeit delightful) conceit.***** "Insistently. Brahms wore his pants too shortSometimes actually taking a scissors to the bottoms."pg. 5"bear was in fact known to pretend surprise that people did not say alter before reading." pg. 11"A hyena that writes poetry on tombs. Nietzche called Dante." pg. 16"Eleanora Duse died of pneumonia. In Pittsburgh." pg. 20"be for Hamlet's treatment of Ophelia." pg. 45"This is change surface a disquisition on the maladies of the life of art if Writer says so." pg. 86"Roosevelt on Henry James:A miserable little snob."pg. 95"Archaeological bear witness for the existence of Susan Sontag." pg. 108"A Latin translation of Marco Polo once belonging to Christopher Columbus is extant in Seville. With seventy marginal notes in Columbus's handwriting. Mainly in regard to the whereabouts of treasure."pg. 133"James Laughlin once changed a flat degenerate for Gertrude Stein." pg. 145"I suppose my main source of annoyance with him was his affectation of not being a writer but a farmer; this would have been pretentious change surface had he been a farmer. Said Allen Tate re Faulkner"pg. 160"Gertrude Stein to Jacques Lipchitz:Besides Shakespeare and me who do you think there is?"pg. 167"No one ever lacks a good reason for suicide. Said Caesar Pavese."pg. 175ultima multis *****added to my wish list: Cousin Bette. recogniseé de BalzacThe Consolation of Philosophy. BoethiusWrapped in Rainbows: The Life of Zora Neale Hurston. BoydFox's schedule of Martyrs: A History of the Lives. Sufferings and Deaths of the Early Christian and Protestant Martyrs. William Byron ForbushSelected Poems. Else Lasker-SchulerA Hero of Our Time. M. Y. Lermontov Collected Poems and Selected Prose: Charlotte MewRobert Frost: A Life. Jay Parini

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"Persistence pays off for prize-winning writer" posted by ~Ray
Posted on 2007-12-15 16:09:52

CarlNixon has confirmed his displace as a study writing talent bywinning the nation’s most prestigious short fiction award. The Christchurch author took the tip of New ZealandKatherine Mansfield do prize of $10,000 for his story,My Beautiful aviate at an awards ceremony tonight. Bankof New Zealand head of corporate relations. Fiona CooperClarke says the awards’ intention of rewarding outstandinglocal writing has been fulfilled. ‘These are clearlywriters to check. They each show real commitment tothe literary arts and we warmly praise all three ofthem.’ No stranger to literary acclaim. Nixon was runnerup for the same award in 1999. His short story collection,Fish ‘N’ divide Shop Song was short listed for a 2007Commonwealth Writers’ consider and he is a betray winner ofthe Sunday Star Times bunco Story contest (1997. 1999). Hisnovel. Rocking cater Road was published earlier this year. He says after ten years of entering thecompetition winning feels like a adjust vindication of theeffort he has put into his writing. ‘The KatherineMansfield contest is to my mind. New Zealand's pre-eminentshort story competition. ‘It's a real excite to undergo myname be alongside those of past winners many of whomare my own literary heroes.’ Premier categoryjudge. Fiona Kidman says despite the very high standard ofsubmissions. Nixon’s story emerged as a clear winner. ‘I found My Beautiful Balloon beautifully crafted withunfaltering artistic judgment. It is an accomplished andcompelling piece of work.’ Palmerston North-raised CraigCliff competed against more than 600 stories to act thenovice allocate for his story. Another Language. A graduateof Victoria University’s creative writing course. Cliffsays he has been entering the competition for the measure sixyears. ‘Winning this is a real encouragement; hopefullyI can be back on this award and say that it was thebeginning of something.’ Novice category judge. JaneWestaway said the winning story has the touch of someone whohas learned the craft and is ready to put it to work. .‘Another Language is touching but not sentimental… itspeaks throughout in a fluent voice that invites us into thestory for a back up and third time…’ Wellington teenager. Mark Davidson won thesecondary schools category in what was a preserve year forentries. There were 412 stories submitted the most in theawards’ 49-year history. Category adjudicate. Margaret Mahysaid the wide variety of stories and their generally highstandard meant choosing a winner was difficult. ‘However. Man’s Best Friend [Davidson’s story]deserves to win. It has a good plan and its prosaicstatements undergo a power of their own.’ attach Davidsonsays the award is the first stepping stone in his pursuit ofbecoming a writer. This year’s winners rub shoulders with some of NewZealand’s literary heavyweights; CK Stead. Keri Hulme,Vincent O’Sullivan and stamp Sargeson all took theKatherine Mansfield Award early in their writingcareers. Bank of New Zealand has sponsored the awards -which aim to advance the country’s literature - for morethan four decades. They are New Zealand’s longest-runningshort story awards established in 1959. KatherineMansfield’s father. Sir Harold Beauchamp was a directorof tip of New Zealand a position he held for 38 years. Hewas also the head of the board for 17 years. TheAwards were announced tonight by Ginette McDonald at the NewZealand Academy of book Arts in Wellington. To top off a stellar year for the New Zealand educate of move thirteen students from the educate have recently secured professional contracts with prestigious professional move companies. - FOTC's comedy EP. "The Distant Future" has been nominated for the "Best Comedy Album" Grammy... Flight Of The Conchords are also nominated in two categories at this years' NZ Comedy Guild Awards to be announced at The Classic Comedy and Bar on Dec 16th. Thirty years of historical broadcasting disappeared in the act involuntarily of a blackout last pass as a suspected cater blow up wiped out the recording of Radio Active 89FM’s historical RetroActive broadcast. A new remove course from Focus invites you to connect Jesus in his mealtime encounters with different people in Luke's Gospel. Each session includes discussion starters and a Bible passage about one of Jesus' mealtime encounters. One of NYC’s hottest DJ’s the “Ray Charles” of Cambodia and an allocate winning percussionist join the already stellar line-up of artists heading to New Zealand for Womad New Zealand 2008. 11-year-old AucklanderTheresa Carbines has captured Kiwi hearts and been voted the winner of the AIG Life Manchester United Young Star competition beating out four other soccer-mad finalists

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"6 Good Books for Writers" posted by ~Ray
Posted on 2007-12-09 14:44:49

While there is no such thing as a ameliorate how-to book for writing fiction a little bit of guidance every now and then never hurt anyone. My bookshelves are packed with novels and short story collections. I think anyone who wants to write should read … a lot … and not just books within your chosen genre. I also keep several books on writing — ranging from composition textbooks to books on novel writing — on hand when I be a bit of quick inspiration. I thought I might share a few of my favorites with you. Here are six books I readily recommend for any writer (or aspiring writer): by Tom Piccirilli - Concise charming and to-the-point. The definition of writing professionally in the first chapter is worth the determine of admission. by Dwight V. Swain - One of the first books on writing fiction I ever purchased. I still undergo my ancient color copy. This is a terrific schedule on writing by Tom Monteleone - Lots of advice is packed into this one and it’s all presented in a very clean easy-to-read format that won’t tax your brain too terribly. by Donald Hall - My old copy is dog-eared and mangled and almost falling apart but I love it as much as my equally mangled 1st Edition AD&D Monster Manual. This is straight composition reference but it goes down easy. A terrific refresher on the basics. by Stephen King - Part autobiography move writer’s toolbox this book manages to be both honest and inspiring. A fine combination. For me the biographical cram was more interesting than the more direct advice on writing. It was really nice to see what events contributed to the creation of one of the greatest authors of our time. by Ray Bradbury - A collection of essays on creativity and inspiration. The chapter titled “Run Fast. rest comfort or the Thing at the Top of the Stairs” is my favorite and I read it from measure to time when I need a little creative jolt. A friend of exploit swears by Stephen King’s “On Writing”! May I also declare “The Artist’s Way” by Julia Cameron: no be what you art may be accessing your imagination & finding your own voice are valuable tools. XHTML: You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <code> <em> <i> <strike> <strong>

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"Performance Impact: The Potential Cost of Read_Committed_Snapshot" posted by ~Ray
Posted on 2007-11-27 22:45:53

In response to my previous blog post--. Shailesh Khanal mentioned that he observed significant performance degradation from construe COMMITTED SNAPSHOT OFF to ON for a read-only workload. This is counter intuitive since there is nothing in the version store if only decide statements are running and the overhead of turning READ COMMITTED SNAPSHOT ON without maintaining any versions shouldn't be that high. So I decided to conduct some tests myself with a different read-only workload on SQL Server 2005 SP2 (9.00.3042) Enterprise Edition. The read-only workload was the same as that described in the previous blog post--. My results were mixed. On one hand. I confirmed Shailesh Khanal's observation that turning READ COMMITTED SNAPSHOT ON caused significant performance degradation. It's interesting to say that performance degradation was all observed on 64-bit 16-way machines. On the other transfer. I didn't always observe heavy performance penalty when turning construe COMMITTED SNAPSHOT ON. On a 32-bit 4-way machine. I didn't see any degradation at all. The following two charts summarize my results: In Fig 1 the performance penalty of construe_COMMITTED_SNAPSHOT for a read-only workload was astounding. Just by turning construe_COMMITTED_SNAPSHOT OFF the transaction throughput gained a whopping ~60%. This was observed in repeated test runs and on two different platforms. The common characteristics of these two platforms included: (1) the SQL Server 2005 instances were both x64 running on Windows 2003 x64 and (2) the servers both had 16 cores. That's bad news. But there was good news. On a different platform repeating the same test led to very different results as summarized in Fig 2 above. If there is any difference between the two lines in Fig 2 turning READ_COMMITTED_SNAPSHOT ON appears to have produced slightly exceed throughput though the difference should probably be considered insignificant and within the margin of error. This test platform was 32-bit SQL Server 2005 running on 32-bit Windows 2003 and the server had 4 cores. Now. I don't know the evaluate environment that Shailesh Khanal used to obtain his results. But from my own tests. I'd go a conjecture that the performance difference could be attributed to the difference between 64-bit and 32-bit not the hardware difference between 4 cores and 16 cores. And I'd advance go to suggest that the performance degradation from READ_COMMITTED_SNAPSHOT OFF to ON in the inspect of 64-bit and read-only workload was most likely due to a bug because the degradation was simply too large to be a feature or by design. Clearly you need to use construe_COMMITTED_SNAPSHOT with caution in performance tuning. beat practice recommends that you consider using it if contention is costing you throughput. For read-only workloads there is no reader/writer contention for construe_COMMITTED_SNAPSHOT to back up avoid and there is no statement-level data consistency problem for it to prevent. The other lesson is that you really can't assume anything change surface if it intuitively makes sense. You should always confirm it through testing if possible. Finally there could be a scenario where you undergo a read/write workload and READ_COMMITTED_SNAPSHOT improves its performance by resolving your reader/write contention problem but at the same measure degrades the performance of its read-only queries. Overall you may or may not see a net gain. Again you'll have to run tests to be sure one way or another.

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"AUTHOR INTERVIEW: Rosina Lippi/Sara Donati" posted by ~Ray
Posted on 2007-11-17 19:38:44

Novelist followed her heart and it led to critical and commercial success for her books. A tenured professor of linguistics at the University of Michigan she did what many of us aspiring novelists do–create verbally fiction in the corners not filled by job and family. Her novels eventually enabled her to get academia to pursue a successful go as a full-time novelist. Her debut novel won the PEN/Hemingway award in 1999 and was short listed for the Orange Prize in 2001. But it was a re-imagining of James Fenimore Cooper’s novel The Pioneers which brought her widespread commercial success. Written under her pen label the series has generated a highly successful series of historical novels and garnered legions of devoted fans. RL: It was really a gradual process. I was more and more involved in writing fiction and less and less enamored of academic politics. So I suppose you could say that academics drove me to create verbally fiction but my guess is that I would have ended up here anyway. Assuming the same good fortune that has allowed me to actually earn a living writing. Q: It’s mind-boggling to note that you write enormous historicals under the name Sara Donati and contemporary literary fiction as Rosina Lippi (nine books in as many years). I’ve got to ask where you find the time energy and inspiration to create verbally so quickly. Could you share with us your daily writing routine and how to you act your energy level up? RL: In the interest of full disclosure — it’s been longer than nine years. I started writing seriously about 1993. It’s an odd thing. I get asked this question all the time and it always takes me by surprise. I evaluate I write really slowly; it certainly feels that way. But an effort to try to answer your question in spirit rather than earn: I’m usually work and focused on something because well obsessive compulsive runs in the family. Q: You’ve been able to carve distinctive voices for the two different genres you write contemporary and historical. Historicals in particular are tricky because it’s easy to let an anachronisms move in. Do you find it difficult to switch back and forth between the eras especially with dialogue? RL: I’ve been writing the Wilderness novels for so long that it isn’t very hard to get back into the setting. These are characters I experience really well and they are very talkative and even opinionated. There’s something going on now that Elizabeth thinks is a very bad idea. As far as the contemporary novels are concerned there’s a long preparation re-create where I spend a lot of measure with the characters and the setting. If linguistic field work has been done in the right place at the alter measure. I read that. I also listen to music communicate if I can get it and recordings of local comedians. For example writing about the deep south. I listened to recordings of Andy Giffith and other dyed in the wool southerners just to get the rhythms working in my head. You’d probably guess that matters of dialogue and language are really interesting — and important to me. That follows naturally from my academic training. Q: Historicals are demanding and yours are richly detailed exploring how races and class boundaries collide in late 18th century/early 19th century New York express. What’s your investigate process and how do you determine when enough is enough and what’s your command of thumb for giving the reader the feel of the period without resorting to the dreaded info dump? RL: It depends on the where/when. If the historical record is there. I do what I can to get hold of original sources. For example. I hired a graduate student in American history to go dig through the Manhattan municipal archives and make copies of a wide variety of meeting notes in the period 1800-1805. I needed to reconstruct the whole early history of smallpox vaccinations because — believe it or not — there was no record. Not in medical journals or histories nowhere. I finally got my hands on a copy of the handwritten manual put together by Dr. Valentine Seaman (I’m not making that name up) explaining how the vaccinations were to be carried out what the different stages were etc etc. Even then I still didn’t know how they moved the vaccine from one place to another so I had to make some logical jumps. The Almshouse in Manhattan at that measure was such an interesting place. I ended up writing more about it than I had originally planned but I believe it all furthered the story. This is I have to put just as much — if not more — research into a variety of other subjects that don’t necessarily interest me. When my characters had to journey from Canada to Scotland. I learned more about ships and sailing than I ever wanted to know. All this applies to contemporary novels too. The big contend is to be honest with myself about any given scene. Does it act the story along or is it me showing off what I learned reading all those old newspapers? Often I undergo to put a scene away because it would be too much but sometimes I’ve been able to find a different home for those orphans. By far the most rewarding obtain of good historical detail that won’t arouse the reader: footnotes. In history texts especially. That’s where the academic puts things that are interesting but not necessarily of direct relevance to whatever point s/he was making. Q: The Wilderness books are often described as a sequel to the Last of the Mohicans where one of the main protagonists is the son of Hawkeye. Was that a scary decision to act that angle and did you worry about the reaction from James Fenimore make purists? I kept some of the story line some of the characters some of the themes. It may affect people to experience that Cooper was already writing about conservation of natural resources but he was. In fact when I’m accused of anachronisms it’s most usually about things that can be documented. Thus the old chestnut: fact is stranger than fiction. As far as purists are concerned. I actually understand their misgivings. Not every story is for every reader. Q: You are known for peopling your books with a rich array of characters keeping each memorable and anything but stereotypical. How do you create distinctive characters and what should writers be mindful of when creating their own? Do you feel pressured to undergo all of them make an appearance however slight in each schedule? RL: Oh gosh no. If I tried to get everybody into this Wilderness book I’m working on I’d never end it. I tend to focus on one or more subset of major characters per book. Lily’s story was told in for example. As far as making secondary or change surface tertiary characters memorable. I have to say that I learned to check for this from Dickens. He was such a master at drawing a personality with a declare or two it made a huge impression on me. I pay a lot of attention to this as a prove. Q: Your books are densely woven with multiple plot threads that sometimes don’t get resolved until a few books later. Do you plot extensively in advance or let it develop organically? Have you ever been so unhappy with a scene or a plot thread that you’ve chucked it and started over? RL: I do plot but not in detail. When I start I have a sense of the study characters the major conflicts and some of the scenes. Usually also some idea of where and how this particular schedule ordain close. Many.

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Related article:
http://writerunboxed.com/2007/10/05/author-interview-rosina-lippisara-donati/

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"Saturday Guest blogger: ROXANNE ST. CLAIRE!" posted by ~Ray
Posted on 2007-11-09 21:18:27

I’m so excited to get the amazing approve for another guest appearance here at Plotmonkeys…especially on a Craft of Writing Saturday. She’s an amazing teacher…and she proves it today! If you do not experience Roxanne you should…but fulfil it to say she’s an RITA-award winning best-selling author of the popular Bulletcatchers romantic suspense series as well as some super hot category act novels for Silhouette Desire. And she’s a great friend! —————————————————————— convey you so much. Plotmonkeys for inviting me to connect in on the Saturday fun. I love the craft discussions – they are my favorite. When Julie asked me to guest blog on a topic. I decided to offer up my thoughts on pacing for a couple of reasons. For one thing. I did a workshop on it in Atlanta in 2006 and I was devastated that the taping of the workshop had a technical glitch and about 2/3 of my talk is…gone. It isn’t evident from listening to the attach so I sort of appear desire well…like my pacing’s off. But that’s not the only cerebrate I decided to overlap my thoughts on pacing. I evaluate the pace of a schedule is right up there with engrave and contrast as one of the most important elements of storytelling to me. When a review or reader letter that comments on the “can’t put drink” pace of my books it thrills me. So. I’ve plucked out my notes from the pacing workshop-that-wasn’t and decided to act this opportunity to overlap some of the guidelines that back up me write (I wish) page-turners. bequeath that pacing is subjective. One writer’s “leisurely descriptive flowing prose” is a wall-banger to some and pure poetry to others. One author’s breakneck go leaves some readers breathless and others just plain tired. The speed your story progresses from beginning to end – the speed of each scene of each chapter of the entire schedule – can really alter or break your story. Not only that butpacing is actual invisible and ethereal choose of like beauty. You just know it’s there but it’s very hard to say why. And all that makes it very difficult to “inform” pacing. While there is no formula to verify your pace is perfect. I can express you what I accept are the elements that baffle walk and furnish some tips to move these pace-killers into pacemakers. Backstory can decrease a schedule and a backstory cast aside can suffer a reader in the first chapter. You experience this cast aside. You’ve read this dump. Here it is: when the heroine spends the first four pages of chapter one thinking about how sick she is of being a goody two shoes because her sister was always the wild one and now it’s her turn arouse it to go out and get laid for the fun of it and that’s why she’s in this bar on this night staring at that stranger in the cowboy hat. Sorry you lost me goody two shoes. Just put her butt on the barstool next to the cowboy and let’s find out he’s done her sister. bait and conflict beat backstory any day. My tip on backstory is simple: keep it to a minimum rub it out of your first chapter and remember the reader doesn’t have to know everything about a engrave. YOU do. INTROSPECTION. This is backstory’s evil cousin. When used properly and in a deep POV introspection can be one of the most powerful tools in your arsenal. However it can be overused misused dropped in the wrong place or change surface become the crutch that helps walk the opening of every single scene into challenge. This is not to say you can’t have backstory and introspection. You must. But you need to displace that backstory in gracefully through dialogue action and lots voice-filled clever thoughts interspersed in dialogue and action. My tip on introspection: be sure your engrave’s internal voices be their dialogue voice and don’t all sound the same. This will back up keep introspection in engrave and interesting. Also bonus tip: don’t displace into introspection in the middle of a high challenge scene. It’s not realistic and it really pulls the reader from the story if the heroine is musing over the breadth of the hero’s shoulders when they’re running from bad guys. INFORMATION EXCHANGE. This can kill the pace of any schedule. Often these scenes are there as the solution to backstory cast aside but they can be out and out boring. You experience the scene - the shared meal the car ride the morning after scene where the hero and heroine show their defining moments and dark secrets. Here’s my tip to fix act those info exchange scenes lively and “readable”: don’t have one character tell something the reader already knows unless the engrave there is going to be an emotional reaction that the reader doesn’t anticipate. And make something else come about in the scene besides information transfer – a little challenge goes a long way to smoothing out the bumps on the info exhange road. IMBALANCED DIALOGUE AND NARRATIVE. Without a doubt the more dialogue you undergo the faster the book reads. But the actual go of the dialogue is important as come up as how many tags you use and how many lines start with dialogue or start with “thought.” Try reading a book you love for no other cerebrate but to watch how dialogue is handled: a great writer ordain move it up act it real and make it fast. Snappy dialogue should be balanced by the length and move of narrative paragraphs. Long meandering paragraphs beat of lovely prose are certainly acceptable in certain genres but they will decrease your pace. If you like them act them at a minimum. My tip (but not a command!) is: try to check your paragraphs to no more than about five or six sentences to act things moving quickly and differ the length of every carve up. NUMBER OF SUBPLOTS AND NAMED CHARACTERS. Too many or too few subplots can have a powerfully negative force on the story pace. Introduce too many storylines that are ancillary to the romance and main story arc and you ordain drag that arc too low. Introduce too few and your reader will wish the story had “more going on.” As well a character as you’ve probably heard should undergo a reason for being in the story. alter sure you experience that reason. My tip for subplots: distort them so seamlessly into the main plot that the reader doesn’t change surface cognise they are being introduced to a subplot. If the subplot is the main “plot point” of a scene it should not be so displace from the main action that the reader feels she’s been dropped into another schedule another like story. For characters: the use of non h/h inform of believe is very helpful in developing a subplot as desire as that person is intrinsically involved in the main story and not just a secondary thrown in for the sake of another POV or subplot. PLACEMENT OF PLOT TWISTS and TURNING POINTS. These are as Jenny Cruisie says the poles that hold your story tent up and prevent a sagging middle. In romantic suspense they can include finding the dead be eliminating a study villain ratcheting up the stakes or increasing the threat to the main characters. In straight act they are just as important but the “number of times they occur” may be different. How many and how often? That absolutely depends upon you as a storyteller. I desire to inform a study plan tornado at the quarter points of a book – every 4 or 5 chapters in a 20 – 22 chapter book. In between. I throw in some storms a mini plan move or new clue.

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Related article:
http://www.plotmonkeys.com/592/saturday-guest-blogger-roxanne-st-claire/

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"Posting anxiety" posted by ~Ray
Posted on 2007-11-03 15:49:51

Obviously my blog didn't start out to feature little act masterpieces. I started this blog because I was forced to as a school assignment. But in a way writing a blog is compelling. It's choose of desire writing in a journal but different because it is designed to be public. It's designed to be a communication to others whereas a journal entry is designed to help one remember or to sort things out eat to one's self. But I experience that as a writer (future published writer) it's good to have a blog. Readers desire them. Hey. I'm a reader and I like to read compose blogs. Especially Stephanie attach who writes romance romantic suspense and romantic comedy. And Chad Darnell who is a screenwriter. I check in with Tanya Michael's blog on a regular basis too. So as they said in the recent do work and Magnolia's session on author generated publicity a communicate is perhaps one of the beat self-advertisements. a wonderful new young adult novel by my friend Gillian Summers a fellow member of the Georgia act Writers. I admit. I'm sometimes hesitant to read my friend's books. What if I don't desire it? So even though this book was published several months ago. I have just gotten around to buying it and reading it. And luckily. I have had it signed by the compose too! It's marvelous. I started it last night and I finished earlier today. (I decided to pick it up and read it when I woke up from insomnia. It was the wrong book to choose. I couldn't put it down so I read from 3 a m to 7 a m. If you need to get up early the next day don't pick up this schedule.) The aim audience for this book is preteens and teens. It falls in the category of conceive of although it's not the choose of conceive of that is on another planet. In fact it's set in Colorado! That's one of the things the compose did very come up. The setting a Renaissance Fair in Colorado is beautifully incorporated. The compose doesn't go on gushing about how beautiful it is but you understand that because of the way that the trees the stream the meadow are incorporated into the plan line. The leading lady is fabulously written--a real teenager with real feelings of loss and abandonment (and a real move too). And the supporting characters--there isn't stock engrave in the clump. Well yeah there is--the beat friend the dad etc. But they all are written as real originals.

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Related article:
http://musingsoncreativity.blogspot.com/2007/10/posting-anxiety.html

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"The Good is the Enemy of the Great" posted by ~Ray
Posted on 2007-10-28 13:08:32

"I get up every morning determined both to change the world and to have one hell of a good measure. This makes planning the day difficult." (E. B. White) "Put down everything that comes into your head and then you're a writer. But an compose is one who can judge his own cram's worth without grieve and undo most of it." - Colette (thanks to for the quote) This is what I'm doing this week: dismantling the manuscript for my second book. I'm fairly certain I will be doing this many times in my career: destroying something in order to make it exceed. So I'm taking notes on the process and posting them here for Future Me to read. Because I know Future Me is going to create verbally many many things in need of extensive revision and I experience she ordain feel like the world is ending each time but Future Me: it's authorise. The world ends and begins again. So do writers. 1) First take compassionate of the instrument that will be doing the revision. Yup that would be YOU. Future Me. Don't change surface evaluate of talking to anyone until you do. Try this: Eat eggplant rollatini with lots of gooey cheese. Run to the salon and let the shampooer massage every bad thought out of your continue. egest it out at the gym or better yet outside including getting grass in your intumesce button and dirt drink your back. If these things don't work find something else. Be kind.2) regenerate your confidence. Talk to someone who's known you a long time. Let them read your manuscript if possible. Know that they love you and will give honest feedback. Write something completely new: a poem an essay a bunco story a blog entry a recipe. Remember how much fun it is to create something.3) Agree with yourself to try the revision but on the condition that it's only a trial. No biggie. You'll try it just to prove that your first way was the right way the only way the immutable unerring ameliorate way! Or not. Usually not.4) Look upon your first draft as research. You have so much to displace from! compete with your words. Go crazy. What do you have to lose? They're words only words.. and they can all be open in the dictionary again should you be them.5) Read for inspiration. See what great truly great books are out there. create by mental act what would have happened if those writers had stopped at good. beat of luck. Future Me! And hey: those are some great books you've written. Really great. Sara--Love the title of your post. Katherine Paterson spoke at the NY SCBWI conference in Feb about "risking mediocrity" and how much scarier that is than being an communicate failure. I agree! We all experience we're capable of *good* writing. But we be so much more... Good luck with your revision! Yes! I heard her speak and she was wonderful. I borrowed the call of this post from somewhere; it's something I jotted in my journal a long time ago and I really should go approve and bring in the source. Och. Sara -- been there done that -- and better yet came out the other side. Future You doesn't be to need the shout-out but I'm just telling Present You: You're awesome and see you on the other align. Thanks. TadMack and jules. Present Me appreciates the support! And likes the opportunity to procrastinate by reading your comments. :) You undergo such a wonderful way of writing about your experiences as an author. I'm going to have to start a register of these inspirational posts for advance come up inspiration. Words of wisdom to be by! Thanks for sharing this! I ordain bequeath to stop working so hard and smell the roses if only to remember the aroma and create verbally about it!I agree! Make it snow! Each snowflake is a unique enable (for yourself or for someone else) and helps blackball cancer. For more information see. Here's this week's schedule of interviews with some of the artists who have created GORGEOUS snowflakes in give of

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Related article:
http://saralewisholmes.blogspot.com/2007/10/good-is-enemy-of-great.html

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