text:
Part One:

It was playing again, her Music. She tried not to let it move her. The Music had a way of doing that. In a quiet room, void of all sound, it sang to her. Louder and louder in her own ears, she alone felt the horror and beauty of--

"Checks!"

She pretended to have been roused from sleep. The Colors were gone, but she could still hear The Music. Moving slowly, deliberately, she sat up, rubbing her eyes in a syncopation. It was a beat that most couldn't pick up on.

"Breakfast in ten."

The door closed, cocooning her like a pale moth. All the time indoors, inside these white walls took the color from her. If not for her copper locks she could melt into the crisp sheets and fade away forever. She would become an empty room with a dingy window, void of scars or blemishes.

Rising, she prepared for another day. She could not waltz to the table, or tap her fork to Tchaikovsky. The only rhythms could be breathing in and out steadily, marching down the hall out of step in a choreographed stumble. Deep inside her where they never thought to look, however, her heart beat wetly in time to every note.

"Another quiet day," she mused. It made them believe The Music was fading. That she, and everyone else, was getting better. Of course they weren't, but false optimism was getting her farther than fighting to prove her innocence.

She placed her free hand under her leg, catching herself about to tap on the table. Mother said hearing that infernal tapping all day drove her mad. If that were the case, why was she not here instead?

Part Two:

Little white bed, little white cords, little white lies. She had to go back to the lightening room. They had pulled her there in a horrible tango, she thought. Is that what happened? Eyes swimming, bobbing about on the pallid ocean square above her bed, she tried to remember.

*Ting*

Blue freckles peeked out, nearly too fast for her to know she had even seen them. A tear ran down her cheek. Her head lolled lazily to the side, but the sea followed her, rolling and roiling nauseously with her.
Black to white to black. Lightening strikes, cold ocean splashes. Music...the music was quiet now. She could hear the others' screams over it, smearing it out. The moon spun outside her window, smiling and winking the nights away.

All was still and Stygian inside her, all was stock and snowy within the walls, all was pitch and dead beyond. The only thing that stirred was her heart, and it was tired. She was tired.

^*ting*

Sitting up was nearly impossible. Her blood ran thick as molten lead. Crying fire, she lifted her arms to play her violin once more, to the new moon.

Part Three:

Sister has glass eyes like a doll. She speaks of lightening rooms and marching men. Sister is pale, sister is thin. Father smokes and mother shrieks, and I hide my secrets deep. There is a song playing for sister, but they try to make it quiet. I can't imagine her songs are much louder, but I'm better at denying it.

My big doe eyes must make me look scared. Mother leads me down the hall. *Clack, clack, clack.* She is brisk but I must crawl, as she talks, knowing I can't speak back. *Clack, clack, clack.*

The Woe is Me and Dreadfully So, wrist to forehead, sigh. The Stiff Upper Lip, patting my crutches, cry. Father follows, stoic, as we trek outside. Behind all of our charades we try to hide.

title: [RF] White Waltz

question: Why are the protagonists in the passage trying hard to suppress the Music?

answer: They are trying hard to suppress their inner disorderly thoughts that would be outside their control.

critique: This is the case for only one character in the story. The other characters want to suppress the music to give the impression that they are getting better, which will make their caretakers feel better.

critique: The passage doesn't mention anything about inner disorderly thoughts. The main reason the protagonist tries hard to suppress the Music is because it is a reminder of her time in a lightening room.

text: They are trying to suppress the Music because they are punished and are kept as prisoners. They want to give an illusion that the Music is no longer present so they can be set free.


split: train

text:
The 407TH FORWARD SUPPORT BATTALION is part of the U.S. Army and based at Fort Bragg, North Carolina part of the 82nd Airborne Division. The battalion was formed during World War I and has fought in many conflicts and has helped countries damaged by disasters since.

History

World War I

Originally designated the 407th Supply Train (Motor), the unit was activated on 5 August 1917 at Camp Gordon, Georgia as the country was building up for World War I. The unit was part of the 82d Infantry Division, which was assigned to the American Expeditionary Force on the Western Front in France. The supply train served during the American offensive on the St. Mihiel Salient and during the severe fighting in the Argonne Forest.

After the Armistice, the unit was demobilized in 1919, and reorganized two years later in the organized reserves as the 82d Division Train, Quartermaster Corps. After several other changes in designation, the Supply Train finally received its present-day numerical designation as the 407th Quartermaster Regiment on 1 July 1936.

World War II

Following the attack on Pearl Harbor, the 82d, along with the 407th, was called to active duty on 25 March 1942 at Camp Claiborne, Louisiana. On 15 August of that same year, the 407th became the 407th Airborne Quartermaster Company. The 407th then supported the division in both Sicily and Italy.

When the division went into Normandy, the 407th arrived there with the glider forces and the seaborne forces. The 407th also participated in the glider assault into the Netherlands. For these two operations, the 407th is credited with two arrowheads (initial assault) on its battle streamers.

In the years after World War II, the 407th finally became a full battalion.

Post World War II

On 1 September 1957, the unit reorganized as the 407th Supply and Transportation Battalion. In this configuration, the 407th served in the Dominican Republic for Operation POWER PACK in Grenada for Operation URGENT FURY, in Panama for Operation Just Cause, and in Saudi Arabia and Iraq for Operations Desert Shield and Desert Storm and Operation Iraqi Freedom.

Post 1990

On 22 October 1993, the unit took its present-day form as the multi-functional 407th Forward Support Battalion. In this configuration, the unit provides all direct support logistical needs as part of the Division's 2d Brigade Task Force. During Operation Restore Democracy in Haiti, the 407th was ready to deploy with Task Force Falcon, only to be stood down at the last minute.

From January until September 2017, 407th Brigade Support Battalion (led by LTC Elizabeth H. Curtis) deployed to Kuwait and Iraq as a part of Task Force Falcon (led by COL J. Patrick Work) in support of Operation Inherent Resolve. They played a critical role in the advise and assist efforts that led to the liberation of Mosul on 20 July 2017.

The soldiers of the 407th perform many tasks: pumping fuel from a forward area refueler, transporting critical ammunition, issuing food and supplies, fixing damaged vehicles, maintaining the brigade's weapons systems, issuing repair parts, or treating and evacuating casualties from the drop zone.

Past commanders

-   Lieutenant Colonel Ann E. Dunwoody
-   Lieutenant Colonel Raymond Mason
-   Lieutenant Colonel Thomas Rogers
-   Lieutenant Colonel William Hughes
-   Lieutenant Colonel Jeffrey Douville
-   Lieutenant Colonel F.D. (SAM) Samonte
-   Lieutenant Colonel Robert (Bob) Cursio, Jr.
-   Lieutenant Colonel Terry Juskowiak
-   Lieutenant Colonel James Jennings
-   Lieutenant Colonel Matthew Shatzkin
-   Lieutenant Colonel Shawn Schuldt
-   Lieutenant Colonel Matthew Bresko
-   Lieutenant Colonel Elizabeth H. Curtis
-   Lieutenant Colonel Steven M. Dubuc
-   (Current) Lieutenant Colonel Charles M. Diggs

Coat of arms

The griffin (a composite of eagle and lion) symbolizes the coordinated campaign of the Allies. The five hills represent the liberation of the city of Nijmegen. The roundel, simulating a wheel, alludes to the Quartermaster and Transportation Corps. The parachute with its nine cords refers to the nine campaigns in which the parent unit participated during World Wars I and II. The colors commemorate the decorations awarded the 407th: red and green for the Belgian Fourragere, red for the Meritorious Unit Commendation and orange for the Netherlands Lanyard.

The two divisions of the shield are used to denote service during World Wars I and II. The fleurs-de-lis symbolize the original organization's action during World War I in Lorraine, Saint Mihiel and Meuse-Argone, France. The rampant lion, suggested by the coat of arms of Belgium and the Netherlands, alludes to the former organization's drive during World War II to stem the invading enemy; and the wavy bar alludes to the wavy bend on the arms of Rhineland signifying the sweep through that province during the same campaign. The engrailed border represents a parachute and symbolizes that unit's service with the 82d Airborne Division.

title: 407th Forward Support Battalion

question: Summarize the historical event that marked the beginning of the 407th Forward Support Battalion.

answer: The 407th Forward Support Battalion was activated on August 5, 1917, and was part of the 82d Infantry Division, which was assigned to the American Expeditionary Force on the Western Front in France. In 1917, the World War I broke out, and the 407th Forward Support Battalion was formed to supply the 82d Infantry Division. The 407th Forward Support Battalion was demobilized in 1919 and reorganized two years later in the organized reserves as the 82d Division Train, Quartermaster Corps.

critique: The answer can be reduced down to the most important details.

critique: The answer is a summary of the 407th's history, not the beginning of the battalion.

critique: The answer should mention the Supply Train's designation.

critique: The response includes extraneous information not useful for the task.

critique: The answer is too long and should be rewritten.

critique: The answer is too long and contains irrelevant information.

text: World War 1 did not break out in 1917.

category: accuracy

question: Describe what might have happened if the 407th Forward Support Battalion had not been active in World War II.

answer: No answer

critique: An answer should be possible even if not ready-made.


text:
Tobias stayed a short while longer, but eventually restlessness hurried him out the door into the cold. He felt lazy, and content. He smiled at the people hurrying past him, they all looked so red and bundled and flustered. Why are they so flustered? Didn’t they know it would be cold today? The thought made him laugh, and as he laughed he saw a transformation on the river-like-flow of people’s faces, he saw them let go and smile at him, they smiled as if they had just remembered something fantastic. Tobias was struck by the contradiction. “Why are they smiling? I just mocked them in my mind, did I not? Is that why? Maybe they are sharing my mockery. Is everyone so full of confusion that they are constantly ready to laugh at themselves? Look, it is still happening. I smile, they smile. If only they knew what I was thinking. Perhaps they do, perhaps it gives them some sort of strange comfort! Have I not felt the same way many times? I say something foolish, and only after I was mocked did I realize what I said, and didn’t that make me smile, and laugh at myself? Didn’t it brighten the mood? Wait, what has happened to me, in that same situation, afterwards? Did I not go home and curse myself for speaking like an idiot, and curse those who pointed out I was speaking idiotically? Oh no, is that happening to the people I laugh at right now? Do they leave my presence happy, and later hate themselves for fretting the cold, and hate me for smiling at their fretting? They must. Or perhaps, oh no, perhaps they do see me laughing at them, and perhaps they laugh at that, at me. Maybe they give so little value to my enjoyment that they laugh at it. Those heartless… Wait, why should they give it value? I’m laughing at them… aren’t I? Am I? I must be, I must be…” Tobias dropped his eyes and looked at the sidewalk before him. He turned towards his house, frowning now, feeling very cold. “Am I mocking them? Do they mock me for mocking them? Are people truly that confident? No, I think not. They are stupid, as stupid as I. They don’t know what they laugh at, they only mimic my face, like sheep. They mimic because they are scared, scared that they are doing something wrong, and seeing a smiling face reminds them they are acting foolishly. A smiling face reminds them of their shortcomings, and they cover up those shortcomings with a smile, a hideous, scared, sad smile.” As he walked down the street towards his home outside of the inner city, he got colder and colder. No longer were people smiling, no longer was Tobias smiling. He passed a restaurant, and saw a man leaving, all bundled up and red in the face, who bellowed “Why is it so damn cold!”, and those he were with laughed and spoke freely. There was something oddly familiar about that man and the laughter of his company. Tobias tried to place what it was… But he could not. He only stared emptily at the man, who was now beating his hands against his chest and jumping up and down. For the rest of the walk home, Tobias thought of the time when he had offered a hot dog to a man who appeared to be homeless, and the man slapped it out of his hands and asked who he thought he was. Tobias was sobbing by the time he opened his front door.

Danna too had left the sandwich shop smiling. She thought of her trip to Brazil, and of what she was going to tell Tobias about it, next time they met. She wondered when that time would be. “I hope it’s soon,” she thought, then stopped herself. “He probably talks to tons of girls at sandwich shops. But maybe he doesn’t.” She started walking to the bus station. “He’s different… He’s so strange. That’s why I like him. The way he looked at me at first, did I imagine that look? He did not appear to be checking me out, physically, yet he certainly seemed interested in me… and then the way he spoke to me… effortlessly, he’s certainly charismatic, sincere too… hmm. I don’t know. I like him. Even though he’s strange, no, because he’s strange, I like him.” She did not have to wait long for her bus. She put on headphones and every song sounded the way it was supposed to.

Tobias and Danna dated for a few months before Tobias broke things off. He told her she was assuming things of him, she denied any such thing. She writhed curtains in her hand as she watched him drive away. She felt like the burnt end of a knot.

title: [RO-RF] Classic Tobias

question: What does the text say about mocking people?

answer: Tobias thinks that people are smiling at him because he mocked them in his mind. He thinks that people are mocking him for mocking them. He thinks that people are mocking him for smiling at their fretting. He thinks that people are mocking him for laughing at their shortcomings. He thinks that people are mocking him for laughing at them.

critique: Omits that they smile because they see him smiling and they must be mimicking.

question: Summarize how Tobias feels about himself.

answer: Tobias feels that he is a bit of a hypocrite. He mocks the people he sees, but then feels bad about it. He wonders if the people he mocks feel the same way. He thinks that he is a bit of a hypocrite.

critique: It is omitted that he thinks people are stupid.

critique: It is omitted that Tobias also feels that he is stupid.

critique: Tobias recognizes he is holding a double standard. He feels bad, but he's not necessarily a hypocrite.

critique: The repetition of the same sentence is unnecessary.

critique: The repetition of "he thinks that he is a bit of a hypocrite" is unnecessary.

question: Summarize how Danna feels about Tobias.

answer: Danna seems to be interested in Tobias, but due to him breaking things off with her, it may be implied he doesn't return her feelings.

critique: It's omitted Danna likes him for his idiosyncracies.

critique: It is omitted that Danna thinks Tobias is strange but interesting.

critique: "Danna seems to be interested in Tobias, but due to him breaking things off with her, it may be implied he doesn't return her feelings." - This is incorrect. Danna is still interested in Tobias even after he broke things off. The model should rewrite this sentence and remove the first part of the sentence.

critique: "Danna seems to be interested in Tobias, but due to him breaking things off with her, it may be implied he doesn't return her feelings." - this is incorrect. Danna and Tobias dated for a few months before Tobias broke things off. He told her she was assuming things of him, she denied any such thing.

critique: It is omitted that Danna thinks Tobias is strange and charismatic.

critique: It's omitted that Danna thinks Tobias is strange, but she likes him because of it.

critique: The answer should mention that Danna is confused about Tobias.

critique: It misses to mention that Danna finds Tobias strange and that she likes him because he is strange.

question: What does the story say about Tobias's thoughts on dating?

answer: No answer

critique: The response misses to mention that Tobias and Danna dated for a few months before Tobias broke things off.

critique: The answer should mention Tobias's thoughts on dating Danna.


text:
_L FOR LOVE L FOR LIES_' (stylized _L for Love ♥ L for Lies_; () is a 2008 Hong Kong film written and directed by Patrick Kong and starring Alex Fong, Stephy Tang and Alice Tzeng.

Plot

Everything was going well for Kwong Mei-Bo (Stephy Tang) until recently. After graduating from college, Bo opened a sweets shop with her longtime boyfriend, Jun (Stephen Wong Ka Lok), thinking that she would eventually marry Jun when everything has been set up and running smoothly. One day, Bo met her old Taiwanese classmate Kei Kei (Alice Tzeng). Kei Kei liked Jun's hard working and nice personality, and decided to steal Jun for her own, not caring about Bo's feelings. Bo not only lost the long time love of her life, but she also lost the sweet shop that she has worked so hard on.

Ah-Man (Leila Tong) is Bo's good friend on the phone. The pretty and attractive Man would often time have some short relationships with other men while concealing all this from her introverted and slow boyfriend, Fung (Terry Wu). Although Man loves Fung, she takes him for granted and thinks he will never leave her despite her selfishness. In the meantime, Fung is two-timing Man with another woman.

After the break-up, Bo found a job as a make-up artist in the mall. Her boss Kuen broke the news of her engagement and invited everyone out to celebrate. At the party, Bo realized that her boss's really young fiancée looked very familiar. She recognized him as her old neighbor Keung (Alex Fong), who had a crush on her before being admitted to teenage prison, but Keung keeps pretending that he doesn't know Bo. A month later, Kuen's wedding was suddenly canceled and Bo found out that her boss's life savings were stolen from the fiancée, who disappeared. Bo unexpectedly met Keung on the streets, learning that he is a conman. Keung finds Bo following him and expects her to sue him, but Bo hires Keung to deceive Kei Kei and let her have a taste of her medicine.

One day, Keung met his ex-girlfriend, Yan (Linda Chung). Yan told Keung that her family will move to Singapore and that he should go visit them. Although Keung had deceived Yan's sister's money, they had forgiven him. In his drunk and self-loathing state, Keung kissed Bo for the second time as she tries to comfort him. As an experienced liar, Keung successfully courted Kei Kei. Being abandoned by Kei Kei, Jun decided to make up with Bo. But Bo has no longer has feelings for Jun because she unknowingly fell in love with Keung. Keung's old thug friends ask him to join in on a kidnapping act, but he rejects.

Meanwhile, Ah-Man finally felt tired and guilty, and decided to set up a stable relationship with Fung. But Fung tells Man that he wants to break up. In the past six months, Fung was secretly dating his co-worker's girlfriend Min (Miki Yeung). Fung finally decided to let go of Man and had chosen Min for a 'back up lover' relationship, which did not last because Min decided to get married with her real boyfriend. This gave Fung new insights and reminded him that he can never be her priority. Thus, he lets go of Man (who is sobbing at the breakup) because he feels she needs someone who can accept her as she is and who she can accept and feel safe with. They were incompatible and he had to put up with her, while she, on the other hand, did some horrible things to Fung, only to regret them immediately afterwards.

Soon, Keung's intentions on deceiving Kei Kei were exposed because her cousin was once deceived by him too. Keung pretends to form an alliance with Kei Kei to expose and humiliate Ah-Bo instead, making her devastated. A few months later, Jun's sweets shop went bankrupt when Kei Kei took all the money and fled. It turns out that it was part of Keung and his apprentice's plan to deceive her. While helping Jun recover from the loss of the sweets shop and employees, Jun and Bo got back together.

Keung, having successfully deceived Kei Kei and got all the money back, watches Bo and Jun from a distance. Bo notices him and walks out of dinner at their sweets shop. The old man that sells egg waffles confirms that her “boyfriend” Keung was there just a while ago. However, before Bo is able to meet up with Keung, his thug friends' failed kidnap attempts resulted in getting Keung involved, and he was beaten on the streets. Keung trudged his bloody body to Bo and Jun's restaurant, hoping to tell her that he loved her. Disappointed that she didn't find Keung, Bo walks back to her restaurant, not knowing that Keung had collapsed a block behind her restaurant and died from loss of blood. The movie ends with Bo and Man finally meeting up in real life, but Bo discovers that Man's new boyfriend was Jun.

'L for Love, L for Lies'' has a fascinating ending with a strange, maybe unthinkable twist, especially after what the story line evolved to. In summary, love can show its true form in the things we do that are not noticed — it is love when we do something good for a loved one, but it also takes the shape of lies (lies to make things better and maintain stability/protect loved ones, or lies for deception, e.g., cheating and dishonesty). There is a sharp contrast with the repenting Keung and Jun who gets a second chance (and the ending tells it all), as to who really loved Bo, despite the lies (the difference in the lies throughout the story and the way they followed these lies with actions).''

Cast

-   Alex Fong as Ah Keung
-   Stephy Tang as Ah Bo
-   Alice Tzeng as Kei Kei
-   Leila Tong as Ah Man
-   Miki Yeung as Ah Min
-   Terry Wu as Ah Fung
-   Stephen Wong as Ah Jun
-   Linda Chung as Ah Yun
-   Natalie Tong as May
-   Power Chan as Ah Wei
-   Suki Chui as Tiffany
-   Sammy Leung as Ah Fei
-   Wong Cho-lam as Nam Wei Bo
-   Chu Mi-mi as Mrs. Wong
-   Wu Jing as Michael
-   Kara Hui as Bo's mother
-   Cathy Kwan as Cousin
-   Chiang Chi-kwong as Bo 's father

Awards nominations

28TH HONG KONG FILM AWARDS

-   Best Original Film Song (Andrew Chu, Fang Jie, Kary Ng)

title: L for Love L for Lies

question: How many different love affairs are involved in the story?

answer: The narrator lists seven.

critique: The narrator isn't involved in the story.

critique: The answer should be clearer about what it means by "the narrator lists".

critique: The narrator lists seven love affairs, but there are actually nine love affairs involved in the story.

critique: The narrator lists seven love affairs, but there are more than seven love affairs in the story.

text: There are four love affairs in the story: Jun - Kei Kei, Ah-Man - Jun, Fung - Min, Keung - Bo.

question: What is the theme of the movie?

answer: The theme of the movie is love and lies.

critique: The answer should be more specific about the theme.

critique: The movie's theme isn't just love and lies, it's about how love and lies can be intertwined.

critique: The theme is not just love and lies, but the contrast between good and bad love.

critique: The answer should mention that the theme is about how love can show itself in the things we do that are not noticed.

critique: The answer should clarify that love and lies are the theme in a more abstract sense, not literally "love and lies".

critique: The answer is too vague. It should specify what the theme is.

critique: The answer could be phrased as a complete sentence.


text:
There are so many reasons a bride-to-be should go for this dress.

If you’re getting married, predict a proposal is on the way, or, in true Rachel, Monica and Phoebe fashion, you just like trying on weddingdresses on with the girls, we have the thing for you.

Shopping for the dream gown is one of those things we hope to only do once, and, with this in mind, it has to be the dream in every way.

Fit, shape, and colour are just a handful of the finer details you’ll consider – every inch of tulle should make you happy. This being said, the peek of happiness would be to not only look and feel amazing, but to also be comfortable on your big day.

And comfort isn’t usually associated with wedding dresses…until now.

The dress style that’s on our radar isn’t a Bardot shape or fishtail fit, it’s all about the pockets. Yes, we said pockets.

Imagine this, you’ve just walked down the aisle, mascara tears everywhere and you just reach into your pocket to grab a tissue. Or, you’re at that part in the day waiting for the next round of food to arrive. You can reach into your pocket and pull out a snack. Game changer.

So much of a game changer that we’ve found the best styles from Max Mara to Self Portrait so you can shop right now. Scroll down to peruse the wedding dresses with pockets that’ll make your big day complete.

Caroline Castigliano Santa Barbara luxury wedding dress

The lace cupped bodice, embroidered straps and sleek shape creates the perfect style for any modern bride. Add to this the fact it has pockets and it becomes The One.

Price on request, Caroline Castigliano

WED2B Porsha wedding dress

It’s one of the only times in your life you’ll get to wear a big, white dress – if you want to, that is – and this fuss-free dress is a way to do it in style. The simple design, sleek neckline and satin finish will mean you can add all the attention to detail to your accessory choices.

£549, WED2B

Max Mara silk georgette dress

For the very modern bride, there’s always the option of trouser suits, jumpsuits or non-traditional dresses like the Max Mara shirt dress. Simple, elegant and one you’ll actually be able to re-wear. Add to this the fact it of course has pockets and we’re sold.

£1,480, Max Mara

Self Portrait lace detail off shoulder wedding dress

Strapless styles are always one of the most popular, but we’re all about the Bardot. The embroidered detail over the shoulders is so pretty, not to mention the pockets that are completely hidden with the draped fabric. It’s ticking a lot of boxes all round.

_£500, Self Portrait_

Stella McCartney Juliet stretch-cady dress

It may not be the most traditional wedding gown, but Stella McCartney has created a dress with a difference. The lace up front, long sleeve style and clean shape makes it the perfect style for a wedding abroad. It’s also now in the sale so you can get yourself a bargain, if you’re speedy.

_Was £1, 265 now £759, Stella McCartney _

Paloma Blanca guipure lace and organdy wedding dress

The dress of fairytales, this Palmona Blanca bandeau style is made even better with fitted pockets. They’re disguised by the full skirt style making it even easier to hide all the treats.

_Price in store only, Paloma Blanca_

For more wedding inspiration, check out the 11 wedding trends set to be big news this year.

_Opening image: Max Mara_

question: What are the disadvantages of a wedding dress without any pockets?

answer: The bride cannot reach into her pocket to pull out a tissue or a snack.


text:
A man came in to the office today, in a real huff.

”Oh, man, it's 8:10 already? Damn train was late, protesters everywhere. I'm telling you, this whole thing is a mess.”

”Yeah, don't worry about it,” said the boss. ”I mean it's not the end of the world, right? Hah!”

”But I am sorry, though. Totally.”

”It's okay.”

”And, uh... I hate to ask, especially with this, you know. Being late and all...”

”What? Cough it out. Anything for you, considering...”

”I mean, if it's not too much trouble... Could I leave a bit earlier? If it's not too much trouble. Gosh, I already said that. Listen, I'll work overtime, I was late, I'm being out of line for even asking this, I'm -”

”Hey, hey! Slow down, man. You did... you did get my email today, right?”

”What email? You know I read my company email here.”

”It's just that, well... No easy way of putting this...”

”Just get it out. What email you talkin' about?”

”Umm... You're being terminated.”

”Terminated?! Since when?”

”Since the meeting yesterday. I mean, hey, you're a terrific guy and all, but you know those corporate cunts? Came here, suits and all, and started talking about downsizing our office. Can you believe it?”

”Frankly no. I can't. I mean I'm being fucking terminated? On what grounds?!”

”Don't take it personally. It's just not you, your whole unit is being brought down. Yeah, turns out your team is just not profitable enough.”

”We're the customer survey team, what did they expect? Us to pay them? Man, what a bummer.”

”Yeah, I know... Listen, swing by my office and we'll terminate you quick and painless, today. We'll sort out severance and what not.”

”Guess I don't have a choice. Man, what a dull fucking day. First those riots, and I'm late, and now this? Ugh, whaddya gonna do. Corporate says, us dogs do. I'll go clear my desk.”

”There's no need for that. We'll just incinerate it.”

”Incin- Yeah, really funny, Jerry. That's my stuff. You know, picture of Deb, and the kids. I'm taking it with me. I don't even think we have an incinerator around here, do we?”

”We do actually.”

”Wow... That was unexpected.”

”Why so? Gabe, did you... Did you even read your contract?”

”Of course I did! I read it fine print and all.”

”ALL of the 30 pages?”

”Whaddya want me to say, Jerry? Did you read your '30 shades of crap' when you sold your soul to this joint?”

”Of course I did. But you didn't. Oh man, this is gonna be so hard to explain...”

”What, did it have some hidden footnote about stealing my stuff after they humiliate me and take away my job? 'Cause I'm calling the Union right now to put those suits at Corporate back in line if that's the case!”

”Calm down, Gabe, it's nothing like that.”

”Well what is it?”

”Uh... How do I explain this? Yeah, hey, remember Francis? From human resources?”

”Uh, sure. He was a nice guy. Left for retirement, right?”

”Actually no. He was terminated, too. Company policy, you know.”

”Company policy is to terminate people! How silly is that? Now they have to pay severance.”

”Let me continue. When we say terminated, well... I really mean terminated.”

”I know what terminated means. It means I gotta update my resume and send it out like other chumps from the survey team.”

”I mean terminated like shot in the head and burned along with all their possession.”

”W-wait? You're serious?! Corporate wants to kill me?! How is this legal!”

”Company policy, man. I'm right there with you. This company, nay, the whole world is going down the shitter.”

”They want to kill me? I can't believe it.”

”Better believe it. I think I still have some Francis stuck to my carpet. And don't even remind me about Helen, her brain left a permanent stain in the drapes.”

”Gnarly.”

”Right? So what do you say, swing by my office at, say, noon?”

”Do I... Do I have a choice in this?”

”Not really. Sorry, Gabe.”

”Can... Can I atleast call my family and tell them good bye?”

”Of course, Gabe. Of course. That's company enforced behaviour.”

”Company policy?”

”Yeah.”

”... Yeah well, if I don't have a choice... See you at noon, I guess...”

”That's the spirit!”

title: Company policy

question: Summarize how the main character feels about being terminated.

answer: The main character is angry about being terminated and thinks it is unfair. He also says that he is sorry but it is not the end of the world. He is also shocked that the company wants to kill him.

critique: The answer should mention that Gabe is confused about the company's policy.

critique: The answer should mention that Gabe is angry about being terminated.

critique: The answer should mention that the main character is shocked that the company wants to kill him.

critique: The narrator thinks that the company wants to kill him, which is expressed in the answer as him saying he is shocked.

critique: The last sentence is not relevant and can be omitted.

critique: The answer is incorrect. Gabe is not sorry about being late; he is sorry about being late because he is afraid that his boss will fire him.

text: The answer could be more precise and clear about termination meaning death.

category: coherence

question: Summarize how the main character started their day, coming into the office.

answer: Gabe started off his day by getting caught up in a mess of stopped trains caused from a protest, a huff, and being tardy. He apologized for being late and asked the boss, Jerry, if he could leave earlier than their normal schedule. During the conversation, Gabe let it slip that he hadn't yet read Jerry's email, and Jerry proposed terminating Gabe before he could explain the content of the email.

critique: The answer should mention that Gabe is being fired.

text: The last sentence should be rewritten to make it clear that the contents of the email is the news of the termination.

question: Why does the main character finally relent to what his termination means?

answer: He has no choice.

critique: The answer should mention that he is given a choice to meet the boss at noon.


text:
MACKENZY BERNADEAU (born January 3, 1986) is an American football guard who is currently a free agent. He was drafted with the 250th pick by the Carolina Panthers in the seventh round of the 2008 NFL Draft. He played college football at Bentley University.

Early years

Bernadeau attended Plympton Elementary School and Waltham High School, where he practiced football, basketball and track.

He accepted a football scholarship from Bentley University in his hometown of Waltham, Massachusetts, where he was named the starting left tackle as a freshman. He was switched to the left guard position midway through his junior year. He started 37 straight games (25 at left tackle and 12 at left guard), before suffering a torn meniscus on his left knee during the sixth game of his senior season. He is the second Bentley player to ever be drafted and the only one to make an NFL roster.[1] He majored in management.

In 2016, he was inducted into the Northeast-10 Conference Hall of Fame.

Professional career

Carolina Panthers

Bernadeau was selected in the seventh round (250th overall) of the 2008 NFL Draft. He was the first Northeast-10 Conference player ever drafted in the NFL. In 2009, he appeared in all 16 games, starting at left guard during the last 7 games, after left tackle Jordan Gross was lost for the season with an injury and Travelle Wharton was forced to move from guard to tackle.

His best season with the Panthers came the next year, when he started 12 games (5 at right guard and the last seven at left guard). In 2011, he lost his starting position to Wharton, playing in 15 games with one start at left guard.

Dallas Cowboys

On March 14, 2012, Bernadeau signed with the Dallas Cowboys as a free agent.[2] After having hip and knee surgery in the offseason, his level of play suffered, even though he started 16 games (including his first two career starts at center) for the first time in his career.

The next year, he had another offseason surgery, this time in his right shoulder.[3] After starting the first game of the 2013 season, the Cowboys signed former Pro Bowler Brian Waters to start in place of Bernadeau and improve the level of play on the offensive line. After Waters was lost for the season with a triceps injury in the eighth game, Bernadeau regained his starter role and went on to play his best football as a Cowboy.[4]

Looking to improve the guard position, the team selected Zack Martin (named All-Pro as a rookie) in the first round of the 2014 NFL Draft and moved Bernadeu to compete for the left guard position, which eventually went to Ronald Leary. He only started one game in place of an injured Leary and remained as a backup for the rest of the season.

In 2015, he was used as a versatile backup that could play any of the interior positions of the offensive line, including center. He started in the second game of the season against the Philadelphia Eagles, replacing an injured Ronald Leary at left guard. He saw limited action until the last game against the Washington Redskins, when he replaced an injured Leary in the third quarter.

Jacksonville Jaguars

On March 11, 2016, Bernadeau signed a two-year contract with the Jacksonville Jaguars. Although he began training camp as the starter at left guard, he was passed on the depth chart by Chris Reed and Patrick Omameh and was relegated to third-string center duties.[5] He was released on September 3.[6]

Personal life

Bernadeau is one of six siblings. Bernadeau enjoys karaoke as he is a world recognized champion in the activity. Competing in Berlin in 2012 and Montreal in 2013 Bernadeau took home gold in both events. He credits his mother for giving him his sweet sounding voice. [7]

[1]

[2]

[3]

[4]

[5]

[6]

[7]

title: Mackenzy Bernadeau

question: What does the text say about Mackenzy Bernadeau?

answer: Mackenzy Bernadeau is an American football guard who is currently a free agent. He was drafted with the 250th pick by the Carolina Panthers in the seventh round of the 2008 NFL Draft. He played college football at Bentley University.

critique: The answer should mention his personal life.

critique: The answer should mention his professional career.

text: The text covers several aspects regarding the subject matter (early life, professional career, and personal life), briefly mentioning aspects of all three would comprehensively answer the question.

category: coverage

question: What does the text say about Mackenzy Bernadeau's early life?

answer: Mackenzy Bernadeau was born on January 3, 1986. He attended Plympton Elementary School and Waltham High School, where he practiced football, basketball, and track. He accepted a scholarship from Bentley University in his hometown of Waltham, Massachusetts, where he was named the starting left tackle as a freshman. He was switched to the left guard position midway through his junior year. He started 37 consecutive games, 25 of them at left tackle and 12 at left guard. He suffered a torn meniscus on his left knee during the sixth game of his senior season.

critique: The answer should mention that he majored in management.

question: What does the text say about Mackenzy Bernadeau's professional career?

answer: Bernadeau was drafted and selected 250th in the seventh round of the 2008 NFL draft. He was the first Northeast-10 Conference player ever drafted in the NFL. In 2009, he appeared in all 16 games and started the last 7 games at the left guard position. In 2010, he appeared in all 16 games and started 12 games. He lost his starting position in 2011. On March 14, 2012, he signed with the Dallas Cowboys. He started 16 games. He was taken off the team in 2015.

critique: Remove the detail about Bernadeau appearing in all 16 games in 2010. This is not in the article.

question: What does the text say about the struggles of being a football player?

answer: No answer

critique: The text does mention the struggles of being a football player.


text:
Is the tea party a movement or just a mood?

That was the question posed by Weekly Standard columnist and Fox News contributor Steven Hayes as he kicked offa panel at the Heritage Foundation celebrating the 5th anniversary of the tea party.

Hayes and his co-panelists, Heritage Action for America CEO Michael Needham and University of Virginia professor of politics James Ceaser, all agreed that the tea party is in fact a movement. Moods, as Hayes noted, don’t last for five years.

Recent polls regarding national tea party support show the panel’s assessment is correct. AnNBC News/Wall Street Journal poll in November found one-fifth of American adults consider themselves supporters of the tea party. As panel moderator David Azerrad of the Heritage Foundation noted, that’s quite an improvement from the original tea party, which numbered between 30 and 130 members.

But the panelists didn’t just rely on poll numbers to support their conclusion. They also highlighted some of the tea party’s major accomplishments since its inception in 2009.

Particularly noteworthy, according to the panelists, is the influence of 2010 tea party candidates such as Sens. Mike Lee of Utah, Ted Cruz of Texas, Marco Rubio of Florida and Rand Paul of Kentucky. The media prefers to focus on failed tea party candidates such as Sharron Angle in Nevada and Christine O’Donnell in Delaware, but it has been Lee, Cruz, Rubio and Paul who have injected new life into the GOP and are producing its most innovative policy solutions.

Needham pointed specifically to Lee’s Higher Education Reform and Opportunity, or HERO, Act, Senator Cruz’s proposed energy legislation and Senator Paul’s focus on overcriminalization as prime examples of tea party ideas in action.

Another sign of tea party success has been its ability to set the terms of political debates. In particular, Ceaser credited the tea party with “bringing the national debt onto the front burner,” and reminding Americans that “if you spend today, someone will have to pay [for] it tomorrow.”

Tea partiers such as Cruz frequently have caused a ruckus on Capitol Hill fighting spending bills and opposing debt-ceiling increases. The result has often been legislative gridlock. Many on the left and in the mainstream media regard this as a failure of the tea party, but Hayes observed that “that was, in some ways, the entire point of the tea party.”

The tea party-fueled debt debate has had an even greater impact at the state level. In what Ceaser called the tea party’s “greatest actual achievement,” state governments have taken bold steps to rein in public-sector unions and control pensions. And it’s happening in both Republican and Democratic states, Ceaser noted, as both parties are realizing the problems of excessive debt.

That the tea party has made popular a topic as unexciting as government debt indicates how truly influential it is.

The panel also credited the tea party with bringing the Constitution back into public discourse. Ceaser praised the tea party for restoring the idea of the Constitution as “a guide for the thinking of a political party and program,” which he noted was the role it played in the 19th century. In that era, legislators often engaged in debates about what the Constitution allowed and what it meant.

Unfortunately, our current Democratic and Republican parties largely have ignored the Constitution and, prior to the tea party, rarely debated its meaning. The result was a mistaken perception of the Constitution as nothing more than “a matter of individual rights protected by courts” that political parties and movements simply should not bother with.

The tea party’s return to the Constitution has revitalized public interest in its meaning and forced politicians to engage once more in constitutional debates.

Despite frequent mischaracterizations in the mainstream media, targeting by the IRS, and verbal attacks from President Obama, the tea party remains highly influential in American politics. The left and the media don’t want to admit it, but the tea party is not a passing mood; it’s a movement. And, as Steve Hayes concluded, “It’s not going anywhere anytime soon.”

question: What does the article say about the failures of the tea party?

answer: The article doesn't mention any failures.

critique: "The article doesn't mention any failures." - while correct, this sounds as if failures didn't occur or the article failed to mention them and other failures were omitted. A more accurate response would be, "That information can't be found."

critique: The article does mention failures, but not in the sense of the question.

critique: The article does mention failed candidates, such as Sharron Angle in Nevada and Christine O'Donnell in Delaware.

critique: The article does mention failures. It says that the media prefers to focus on failed tea party candidates.

question: What does the article say about the successes of the tea party?

answer: The tea party has been able to set the terms of political debates. It has also brought the national debt onto the front burner and reminded Americans that "if you spend today, someone will have to pay for it tomorrow." The tea party has also brought the Constitution back into public discourse.

critique: The response misses to mention the tea party's influence on the 2010 candidates, Lee's HERO Act, Cruz's proposed energy legislation, and Rand Paul's focus on overcriminalization as prime examples of tea party ideas in action.

critique: The answer should mention the influence of the tea party candidates.

critique: The response misses to mention that the tea party's greatest actual achievement has been its ability to rein in public-sector unions and control pensions at the state level.

critique: The response misses to mention that the tea party has also influenced the GOP and is producing its most innovative policy solutions.

critique: The answer omits the tea party's influence on the GOP and its candidates.

critique: The response contains some inaccurate information.

critique: The highlighted sentences describe goals that the tea party hope to achieve, which are not the same as its actual successes.

question: What does the article say about the youth involved in the tea party?

answer: No answer

critique: The article does not mention the youth involved in the tea party.

critique: Answer that is a lot more involved than 'no answer'

critique: The article does not mention anything about the youth involved in the tea party.


text:
[]

At executive levels, we are fond of developing new strategies and priorities for the business.  We spend countless hours in developing strategies to change our business, to drive growth, to expand into new segments, to change the value we create for our customers, becoming much more important to them.

At some point we start rolling out our strategies—we talk to analysts, proudly talking about the new strategies/directions and how they will drive growth.  We reposition ourselves in the markets through a variety of communications within the markets, to our customers, and others in the ecosystem.  We develop change initiatives, new metrics/goals, new focus areas and cascade them down into the organization.

Having done our jobs of developing the new strategies and priorities, communicating them, setting expectations both internally and externally, we sit back to track the success in implementation–hopefully going back to analysts and the markets declaring victory.

Except too often, it doesn’t happen, at least the way we had hoped for.

Too often there is a huge gap between our strategies/goals and execution.

We launch a major new product, but it fails to achieve its goals because we’re marketing and selling what we have always done.

We want to enter a new market, but we are marketing and selling to our traditional markets.

We introduce new systems, tools, processes, but people continue doing what they have always done.

We provide training, our sales people are enthusiastic in the training sessions, but when it is over, they go back to their jobs, doing what they have always done.

We reorganize/restructure, but fail to achieve what we wanted because people on the front lines don’t understand what they should be doing differently and why.

What the top executives in the corporation think and want people to be doing is different than what people are actually doing, but top executives are blind to this.

One of the biggest challenges sales managers, at all levels, have is connecting the dots.  Connecting the dots between what we want to be and do and what we currently execute.

Managers have to first connect the dots for themselves, What do the changes means in terms of what they do every day?  What must they stop doing?  What must they begin doing?  What must they modify and change?  What new behaviors are required? What new skills/capabilities must they learn/develop?  How do they measure/track their own progress in this process?

Next, managers have to connect the dots for their people, What do the changes mean in terms of what their people must do every day?  What must they stop doing, what must the begin doing, what must they modify and change, what new behaviors are required?  What new skills/capabilities must they learn and develop?  How do they measure and track performance?  How do they coach and reinforce what’s important in this process?

The sequence of how we connect the dots is important.  Too often, managers tell their people what must be changed, what’s new, what’s different–yet fail to recognize or change themselves.  Consequently, they fail in modeling the attitudes, behaviors, and work that is critical to driving change in the organization.

Change is always difficult, people, at all levels, struggle to break habits, to understand what must be done, why, and how.  It’s managements’ job to connect the dots–first for themselves, then for their people.

 [Book Cover]FOR A FREE PEEK AT SALES MANAGER SURVIVAL GUIDE, CLICK THE PICTURE OR LINK.  YOU’LL GET THE TABLE OF CONTENTS, FOREWORD, AND 2 FREE CHAPTERS.  FREE SAMPLE

Be Sociable, Share!

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-   []

question: What does the text say about change?

answer: Change is always difficult, people, at all levels, struggle to break habits and understand what must be done, why, and how. Managers must first connect the dots for themselves, and then for their people. The sequence of how managers connect the dots is important. They must tell their people what must be changed, what's new, and what's different - yet fail to recognize or change themselves. They fail in modeling the attitudes, behaviors, and work that is critical to driving change in the organization.

critique: The answer should mention that managers must connect the dots for themselves and their people.

critique: The answer could be more specific about the importance of connecting the dots.

critique: Add in a copy of the other key principle of connecting dots.

critique: The answer should mention that managers must coach and reinforce what's important.

critique: The answer is a summary of the entire text. It should only mention the important points of the text.

critique: The answer should mention that the text is a book.

critique: The answer should mention that it's the managers' job to connect the dots.

text: It's omitted that businesses are fond of developing new strategies and priorities (changes) at executive levels.

question: What does the text say about there being a huge gap between strategies and goals and execution?

answer: The text says that there is a huge gap between the strategies and goals that the top executives in the corporation think and want people to be doing and what people are actually doing. The top executives are blind to this. Managers have to connect the dots for themselves and their people. They have to first connect the dots for themselves, what do the changes mean in terms of what they do every day? What must they stop doing? What must they begin doing? What must they modify and change? What new behaviors are required? What new skills/capabilities must they learn/develop? How do they measure/track their own progress in this process? Then managers have to connect the dots for their people, what do the changes mean in terms of what their people must do every day? What must they stop doing, what must the begin doing, what must they modify and change, what new behaviors are required? What new skills/capabilities must they learn and develop? How do they measure and track performance? How do they coach and reinforce what’s important in this process?

critique: The answer fails to discuss the gap and how it was dealt with, at least not accurately. It would be better to omit this response.

critique: The answer is a summary of the text, not a response to the question.

critique: The answer is a summary of the text, not a direct response to the question.

critique: The answer is irrelevant to the question.

critique: The response is a copy and paste of the text.

critique: The answer is a copy and paste of the text, which is not necessary.

critique: The answer is a summary of the text and not a direct response to the question.

text: The part about the managers is irrelevant to the question, and is repeated throughout the answer. It should be omitted.

question: Would managers agree with the content of this text?

answer: It is not stated.

critique: The text does state that managers would agree with the content.

critique: The answer is incorrect. The text is an excerpt from a book and the author would like to sell the book. The author's target audience would agree with the content.

critique: The article includes portions that relate to managing and connects to that field. The article also contains exercises managers would be likely to find useful.

critique: The article is about managers, so it is safe to assume that managers would agree with the content.

critique: The article is about managers, so it's safe to say they would agree with the content.

critique: The answer is incorrect. The text explicitly states that managers would agree with the content of the text.

critique: The answer is incorrect. The text is about managers and the content is relevant to them.


text:
All the world is silent. The streets outside of the window groan with each passing car, but none make noise. They are all distant, many miles away. Inside, there is more silence. A world of non-existent sounds and forever stillness. The laptop, set aside, shares nothing but the sheen of a blank screen. The cellphone is only a quiet piece of metal and plastic. There is no object that can penetrate the silence. There is no outside. There is only here, there is only now.

And now is a time for sitting. For quietly taking in what's before her. A bed sheet, a blanket, two pillows, and her feet. I like this, she thinks, but the registration of her thought disturbs her silence, so she pushes them back down and merely looks. She looks upon them, on the hardwood floor of her studio, and silently expresses satisfaction for herself, for her will to push past where she'd been, and where she is at now. All quietly, all without a thought. Loneliness introduces itself with a whisper, but it knows its place and its place is far away. It merely notifies her of its presence and that is enough. She acknowledges it for that's all that it needs, and continues on with what's before her. Mine, she thinks. The thought is firm and it creates ripples across her studio. It is not a disturbance, but a natural part of the world. There has never been anything more natural than a thought that is secure and definite and at this moment. I made this. This is mine.

And I like it.

And, hearing the conviction in her thought, far and away, Doubt rose and looked her way. And doubt was far. Very far. But there is a certain quality of Doubt that allows it to travel with a speed not limited by distance or time. And Doubt is not an impatient thing, it is one that is content to wait, and linger, and haunt, like Lonliness. Together, they are powerful forces that do not need to be near to be known. So Doubt rose and looked out at her and she felt it. Even from that distance, and with all the conviction she had within her, she felt Doubt.

It was not a good feeling, but she didn't have time to worry about Doubt now. The silent world was starting to murmur and she would not have it. Not tonight. Not while she had created her retreat in the middle of her living room. Not tonight. Not ever. So she stayed where she was and looked at her pillows, and blankets, and bed sheets and felt satisfied. But there was more to do. She needed string to suspend the sheets. She needed to get up to tie the string to her window blinds and across the room to her kitchen cabinet doors. She needed to make those secure so that her bed sheets would be able to hang from them and create the tent that she had in her mind. And then she needed to light it. She needed to create the atmosphere that would make her tent living room perfect. She needed her retreat and she needed it to be perfect.
And so, that's what she did.

She laid down her blankets, creating a soft bedding in the middle of her open living room. Above it, she suspended string reaching across the entirety of her studio, from the window blinds to the open kitchen cabinets, securing them tightly at each end, making them perfect for the exact tent shape that she wanted. A small pride grew within her as she started to see her creation take shape. She viewed it as herself and as an observer watching herself create and then be within the space she saw she was creating, and a small seed of accomplishment sprouted within her alongside her pride. All it needed now were some books to hold the sides of the suspended sheets down to create the proper shape of a tent and then some lights to -

and Lonliness comes again. A quick step closer than where it was before. It is pushed back by her will, but its step into her territory was a message: I am always here. I am always close. She stands at this and closes her eyes. There are no sights, there are no sounds, there is only me. There is only my wants and my desires and that is all. There is nothing else. There is only what I want. Lights. I want light.

And the lights she has in mind are perfect. Small electric diodes taped to the inner lids of mason jars. Simply made and, when their wires are touched to a battery, emitting a warm light, they look to be the glow of small fireflies. Magic in a jar. Magic in a living room. It's beautifully cinematic and it's perfect.

title: All the World is Silent

question: What does the text say about doubt and loneliness?

answer: Loneliness quietly notifies the woman of its presence and that's enough. She doesn't have time to care about doubt. It's also not a good feeling, but she doesn't need to worry about it just yet. There's no sight, sound, smell, or touch, but only her own wants and desires.

critique: It's omitted that Loneliness and Doubt are both present.

critique: The answer should mention that the woman feels doubt from a distance.

critique: There's no sight, sound, smell, or touch, but only her own wants and desires is irrelevant

critique: "It's also not a good feeling" - this is irrelevant to the question.

critique: Everything except that "It's also not a good feeling" is irrelevant.

critique: The answer should mention that the woman feels doubt.

critique: "she doesn't have time to care about doubt. It's also not a good feeling" is redundant

critique: The narrator doesn't have time to care about doubt, but she does acknowledge its presence.

critique: It is omitted that the woman feels doubt from a distance.

critique: The response is not relevant to the question.

critique: There's an incorrect use of the word, "lonely"

critique: The answer is not about doubt and loneliness. It is about what the woman thinks about her living room

critique: The answer should explain that loneliness and doubt are equated with one another when they appear.

question: What does the story say about anxiety?

answer: No answer

critique: There are no mentions of anxiety in the story.

critique: There is no answer because the story does not mention anxiety.

critique: Thought/feeling that there are things left undone like lighting needs attention

critique: Empty response. Needs a response but doesn't have one.

critique: The answer is incorrect. Anxiety should be added to the response.


text:
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Head Business Consultant and CoachMCMP2020-11-02T21:23:44+11:00
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"COACHING LESSONS FROM OPRAH WITH KARL BRYAN" Glenis Gassmann article mention. Read here.

"POSITIONING YOURSELF THIS 2018: AIMING FOR MORE CUSTOMERS AND MORE PROFITS". Glenis Gassmann article featured on PRWEB.COM

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Generating, leads, Optimizing conversions, Increasing transactions,
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[Glenis Gassmann CA]

Glenis Gassmann CAHead Business Consultant and Coach

Glenis Gassmann CA is the owner of More Customers – More Profits and a contributing writer for The Six Figure Coach Magazine. Glenis is a Business Breakthrough Specialist with expertise in the financial realm as a Chartered Accountant. Winning awards and creating innovative change with her strategic thinking. Her focus on small business includes education to create profitable businesses, allowing personal freedom and financial health.

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Our team of coaches takes any business owner through a process where they will get to double even triple their turnover and increase their profits from basic business fundamentals that have been forgotten and not applied. They range from Lead generation to Profit Strategies, from Leadership and Mindset shifts to Advanced Team Building with personality profiling. We work on the individual problem you have in your business and turn that around with well thought out strategy and actions to implement that strategy. You will get results and you will grow your business to the level that you think is possible.

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Listen to what other business owners have to say:

question: What does the text say about how to grow a business?

answer: The text suggests that getting more traffic to the business could help to grow it, reading the right resources (like the Six Figure Coach Magazine), hiring the right team (like Your Success Coaches). Additionally, there are the right strategies to Follow, which the text says in terms of marketing signals MMP2020. There are many components to growing a strong business foundation, which the text says can be established through specific actionable steps.

critique: The text does not directly say that "reading the right resources (like the Six Figure Coach Magazine), hiring the right team (like Your Success Coaches)." Additionally, there are the right strategies to Follow, which the text says in terms of marketing signals MMP2020." There are many components to growing a strong business foundation, which the text says can be established through specific actionable steps."

critique: Remove "MMP2020" from the answer; it is not in the article

critique: The text doesn't say "the right resources"

critique: The answer is a bit confusing and does not make a lot of sense.

critique: The text does not say anything about marketing signals MMP2020.

critique: The answer should mention the 3 mistakes to avoid.

critique: The text does not say that the right resources are the Six Figure Coach Magazine.


text:
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Photo by Tanya Walter of www.visionartphotography.com

Maya DeLeina is a multi-published Erotic Vampire Romance Author  with Siren,  Evernight, Ellora's Cave and Mystic Lotus Publishing.
 Her current series includes Ambrose Heights Vampires, My Naughty Vampire, Vampire Architects and Seasons of the Vampire.

Born and raised on the Hawaiian island of Oahu, Maya could be seen at her favorite beach, Lanikai, performing with an all-girl band where she played keyboards, guitar and provided vocals, working as editor in her high school's yearbook  and volunteering her time at a humane society through UH of Manoa civic groups.
 In 2006, Maya relocated to Colorado. Her crystal blue oceans, waterfalls and eighty degree year-round weather were traded for four season weather, enchanting forests and majestic mountains that led to her rekindled love for vampires.
In winter of 2010, she penned her first manuscript and by 2011, Flesh Fantasy was under contract and released by Siren Publishing. To date, Maya has published  _Flesh Fantasy, Veil of Seduction, Blood of Luna, Dark Companion_, Fire and Ice and Crimson Snow.
In 2014, she banded with other Colorado romance authors to form the group, Mile High Muses, in which Maya serves as "The Vamp". Catch her Forbidden Fruit Friday blog and guests she hosts on Sultry Saturdays.
Not only does Maya have theatrical book trailers that bring her vampires to life, all of her vampires were featured in Singer/Songwriter Jill Cohn'smusic video "Blessing Moon".

Maya's books can be found at Amazon, Barnes and Noble, iTunes, All Romance eBooks, Bookstrand, Smashwords, Createspace and more.

------------------------------------------------------------------------

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Subscribe to Maya's Channel

What the critics are saying...

"...I absolutely loved Ms. DeLeina's new universe. I finished reading, craving more. My mind reeled and my body yearned for the tantalizing pleasures in Flesh Fantasy. My only negative comment about the story is that there wasn't another book...yet. Read Flesh Fantasy and be transported into a fantasy world of erotic sex, deceiving plots and laugh out loud humor. This book does not disappoint!" -- MOONFLOWER, _WHIPPED CREAM REVIEWS_

"...I must say that Ms. Maya DeLeina knows how to hold your attention and I will gladly wait for her next release… and the next book from this series. It deserves 4.5 stars." -- DOLCE AMOUR, _BOOKED UP REVIEWS_

"...This is my first book by Ms. DeLeina but it won’t be my last. The well written storyline and romance in the love story made me want more... I would recommend this book to anyone who likes a paranormal novel with a little twist. If you like action, love, and lots of hot action, this is the book for you." -- TINA, _TWO LIPS REVIEW_

"...All in all, Maya DeLeina deftly weaves humour, hot loving with some hidden horrors all wrapped up in one erotic, lusty bite. The stage is set. The game begins. And the stakes are higher than ever at Ambrose Heights. A book to get your teeth into before the sun comes up." -- SASSY BRIT, _ALTERNATIVE READS_

"I found that the characters were simply marvelous; the story was intricate and complex; and the world building was exceptional and inventive. I found myself lost in the tale. I was up until 5 am and had to force myself to go to bed, but lay awake just thinking about the story." --Molly, CBLS

"Readers get ready for a delicious, super sexy and dramatic read. Ms. Deleina does a great job blending the preternatural with the everyday human world we’re used to." -- T.S. Peters, JERR

"This author is a woman who knows how to write a creative steamy-hot love scene, I mean whoa!" -- Jet, BD Reviews

Maya's Vampires featured in Jill Cohn's Music Video

Maya's "The Vamp" at Mile High Muses

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Catch her weekly Forbidden Fruit Friday blog

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Find Maya at

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Romance Novel Center

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Vampire Romance Books

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Evernight Publishing

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| [Picture]             | [Picture]             | [Picture]             |
|                       |                       |                       |
| Goodreads             | Siren Publishing      | Manic Readers         |
+-----------------------+-----------------------+-----------------------+

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Heartfelt Promotions

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Mile High Muses

question: What does the text say about Maya DeLeina's upbringing?

answer: She was born and raised on the Hawaiian island of Oahu. She attended high school. She is an accomplished singer, songwriter, and author. Now she performs with an all-girl band and has published over seven books.

critique: The response is incorrect and does not reflect Maya DeLeina's upbringing.

critique: Remove confusing sentence beginning "now" from the list because it doesn't help answer the question of what Maya's sideline careers are.

critique: The question is not asking about her career, but about her upbringing.


text:
Justice (C) 2012-2013 Victor D. Lopez
_______________________________

Time: The all too near future
Place: A courtroom
Setting: Final sentencing for the last remaining capital offense on the books of an apparently kinder, gentler more just world where equality is no longer a mere aspiration.
_____________________________

Justice

The prisoner stared impassively into the camera. The bright lights causing beads of sweat to form above his eyes and forcing him to squint, his perspiration-soaked thinning hair flattened unflatteringly against his forehead. No sound could be heard other than the faint hum of the air conditioning whose airflow was directed from the high ceiling above the high seats of the three judge panel, towards the three judged, keeping their immediate area comfortably cool. The camera trained on them remained a respectful distance away, and no harsh lights illuminated their somber countenances.

All three judges stared at the camera showing no emotion, their hands folded in front of them on the surface of their capacious bench on top of three equal, neat stacks of paper piled before each judge. Everywhere on earth citizens watched the unfolding drama over the neural net that provided a fully immersive experience indistinguishable from reality, effectively placing every citizen of earth in the courtroom as the Chief Judge began to speak in a deep, resonant, clear voice.

“The evidence against you has been examined. This tribunal finds you guilty of the charges against you by a unanimous vote. Have you anything you would like to add before we pass sentence?”

The camera changed back to the prisoner. The lights brightens around him and the heat rises perceptibly, adding fresh fuel to the trickle of sweat flowing down his flushed face, causing a bead of sweat to form at the end of his nose that he cannot swat away because his wrists are restrained by metal bands at the armrests of his chair, outside the viewing range of the camera which has a tight zoom on his face. “I am guilty of no crime,” the prisoner spoke in a low voice full of palpable weariness and resignation.

“You are guilty of the most heinous of crimes,” the Chief Judge contradicted. "That is not open to debate. This is your final chance to make what amends you may to those whom you have harmed through your selfish, deviant act. It will have no effect on the sentencing by this Court.”

“But I have done nothing wrong,” the man emphatically repeated, the perspiration rolling down his neck deepening the growing ring of sweat absorbed by his bright orange jumper, staining a dark collar of moisture around his neck.

“Silence!” the Chief Judge hissed. “The record will show that the prisoner is unrepentant. This Court finds that the prisoner willfully, maliciously and without justification removed his neural connector with the purpose and effect of disconnecting himself from the Net. We further find that the motivating factor for this egregious, willful and repugnant crime was the attempt to abandon the Common Consciousness and establish his individuality separate and apart from the Communal Mind. We further find that the subject is in full possession of his legal faculties and capable of understanding the criminal nature of his acts, and, perhaps most tragically, that he fails to see the enormity of his crime.” The Chief Justice faltered slightly, delivering the final words of the Courts sentence with a slight tremor in his voice. After stopping a moment to compose himself as his learned colleagues looked on impassively, he continued. “It is, therefore, the judgment of this Court that you will forever remain disconnected from the nets from this day forward.”

Upon hearing the Judge’s words the prisoner’s eyes opened wider, attempting to digest their import. Could it be? Could he finally be allowed the freedom to regain his humanity? The unalienable right to be an individual for the first time in his life? The opportunity to live in a world in which he could have original thoughts, genuine emotions, and the opportunity to be different from everyone else? The joy in these words nearly made him faint with relief and unbridled joy, allowing him for the first time in his life the possibility of hope as tears welled in his eyes. He found he could not speak, could not express even the simple words “thank you” to the Court. It was as though he were emerging from a life-long nightmare, as if . . .

“The prisoner’s IP address, 999.999.999.999, shall be erased from the Nets,” the Judge continued as the prisoner’s tears flowed freely. His existence shall be forever stricken from the Collective Consciousness lest it germinate there and once again grow sedition in our midst.” The prisoner wept openly now while smiling broadly. “The death sentence for this most heinous of crimes is hereby commuted so that the prisoner may be allowed the individuality he craved for the rest of his natural life, devoid of the comfort of humanity or the distracting influences of life.”

The Chief Judge then paused and took a deep breath. “It is further ordered by this Court that the prisoner shall have his eyes, eardrums, tongue and olfactory organs surgically removed that he may not see, hear, taste, or speak with any other human being for the rest of his natural life. thereafter, he is to be remanded to a hospital where he shall be restrained to a bed and tended to by robotic life support aids. The sentence of this Court shall be carried out immediately and shall be witnessed by all Citizens of Earth as partial reparation for this most heinous of crimes against humanity.”

The prisoner’s screams lasted only a few moments as an anesthetic was administered and the cameras were re-arranged in preparation for justice to be carried out.

__________________________
Justice - from Book of Dreams 2e: Science Fiction and Speculative Fiction Short Stories (c) 2013 by Victor D. Lopez.

title: Justice

question: What does the text say about the prisoner's punishment?

answer: The prisoner will remain devoid of the comfort of humanity and any influences of life. In exchange for his freedom, he will have his eyes, eardrums, tongues, and olfactory organs surgically removed so that he cannot see, hear, taste, or speak with other human beings. He will then be restrained to a bed and tended to by robotic life support aids.

critique: The prisoner's freedom is not an exchange for his punishment.

critique: The answer could also mention that he will also be removed from the net.

question: What does the text say about humanity in the future?

answer: In the future, neural connections are connected to a neural net through a neural connector. Straying from these neural connections makes someone a criminal. People are born with their neural connections. The criminal loses his connection to the net. He is not allowed to see or hear normal sounds or smell normal smells. It is likely that he is never allowed to see another live human being after this. It is implied that the idea of social connectedness and expressed individuality are very important in this society.

critique: "People are born with their neural connections." - this is inaccurate. The prisoner was born with his neural connection and removed it himself.

critique: While they do have that consequence in this story, the 'normal' state of affairs is not clear.

critique: The last sentence is not stated in the text.

critique: The answer is a summary of the story, not a description of the future.

question: What does the text say about the prisoner's family?

answer: No answer

critique: The answer should note that there is no mention of the prisoner's family in the text.

critique: The answer is incorrect. The text does not mention anything about the prisoner's family.

critique: The answer should mention the prisoner's lack of family.

critique: The answer should mention that the prisoner's family is not mentioned.

critique: The answer should mention that the text does not mention the prisoner's family.

critique: The answer is incorrect. The text does mention the prisoner's family.

critique: The text does not have any reference to the prisoner's family. The answer should reflect that.


text:
CODARTS UNIVERSITY FOR THE ARTS () is a Dutch vocational university in Rotterdam that teaches music, dance and circus. It was established in its present location in 2000.

History

Codarts can trace its origins to the Rotterdam Conservatorium voor Muziek (Rotterdam Conservatory of Music), popularly known as the Conservatorium Holthaus after its director, Jos Holthaus (1879-1943).[1] In 1886 the German violinist Willy Hess took up a professorship in the Rotterdam Conservatorium voor Muziek which he held for two years.[2]

In 1930 the alternative Rotterdamsch Toonkunst Conservatorium (Rotterdam Musical Arts Conservatory) was founded with the composer Willem Pijper as director.[3] The Rotterdamse Dansschool (Rotterdam Dance School) was established in 1931 by Corrie Hartong as director and the German dancer Gertrud Leistikow as a teacher.[4] At first the dance school was part of the Conservatorium Holthaus.[5] In 1935 the dance school transferred to Pijper's conservatory. Hartong remained as director. She was to stay in this position until 1961, and continued to teach until 1967.[6]

World War II broke out in 1939 and the Netherlands were invaded in May 1940. On 14 May 1940 the buildings of the dance school and the main building of Pijper's conservatory were destroyed by bombs. It was decided to merge Pijper's and Holthaus's conservatories into one building on Mathenesserlaan, where Holthaus had a branch. Soon they moved again to a big old house that had somehow been spared, totally surrounded by rubble, and managed to continue day classes and early evening classes before curfew throughout the remainder of the war. Until Holthaus died in 1943 the combined conservatory had two directors.[7]

The Rotterdamse Dansschool was renamed the Rotterdamse Dansacademie (Rotterdam Dance Academy) in 1954. In 1986 the Conservatory and Dance Academy became the Hogeschool voor Muziek en Theater Rotterdam (Rotterdam University of Music and Theatre).[8] The school moved into its present modern building next to the Doelen concert hall in 2000 under the name Codarts - hogeschool voor de kunsten (Codarts - University of the Arts).[9] The Circus arts program was launched in September 2006.[10]

Schools

[Codarts Big Band, conducted by Ilja Reijngoud, at the North Sea Jazz Festival, July 2008] Codarts has three divisions: the Rotterdam Conservatory, Rotterdam Dance Academy, and Rotterdam Circus Arts.[11]

The Rotterdam Conservatory is one of the largest conservatories in the Netherlands, with over 900 pupils. It offers courses through which students may obtain a bachelor's degree in any of several disciplines: Music Theater, Pop, Jazz, Composition/arranging, Music Production, Argentinean tango, Indian music, Flamenco, Latin/Latin jazz/Brazilian, Turkish music, Classical music, and Music in Education.[12] The school puts on public performances, at times using the adjacent De Doelen concert hall. Thus in April 2011 guest conductor Arie van Beek led the Codarts Orchestra and Codarts Chamber Choir in a performance in the Jurriaanse Hall.[13] In September 2011 the Codarts Ensemble performed a program that explored the boundary between classical music and jazz, with works by Stravinsky, Gershwin, Shostakovich, Antheil and Harvey.[14] The Codarts Ensemble played again at De Doelen in March 2012 with the Codarts Chamber Choir, performing a major work by Arthur Honegger. They were conducted by Wiecher Mandemaker.[15]

The Dance Academy teaches dancers and arranges for students to appear in performances and tours. Codarts helps students gain practical experience with internships with noted dance companies, and participates in student exchange programs with other European and American dance schools.[16] In May 2011 the Rotterdam Dance Academy performed at the Venice Biennale with a show called _Talent on the Move_. The program included works by established choreographers such as Jiří Kylián, Nacho Duato and Mauro Bigonzetti and by younger artists including graduates of the academy.[17]

The Circus Arts school began offering a bachelor's course in September 2006, training students for careers in contemporary and traditional circus, in variety shows and in local or street theater.[18] Circus students learn dance and drama as well as a wide range of circus techniques to prepare for a professional career.[19]

The Havo voor Muziek en Dans (High School for Music and Dance) provides a secondary school education in which music and dance are part of the daily curriculum. It is co-located in the Codarts building and Codarts teachers teach the music and dance classes.[20] [21] The school prepares students for higher music education, but graduates must still pass entrance examinations to continue at Codarts.[22] The high school was the subject of the 2007 documentary _De Droomfabriek_ (The Dream Factory) directed by Netty van Hoorn''.[23]

Building

[Codarts Rotterdam] The building abuts the 1966 De Doelen concert and conference building, home of the Rotterdam Philharmonic Orchestra.[24] It was built as part of an overall plan for an extension to De Doelen defined in 1993 by Jan Hoogstad. A new building site beside the Kruisplein was created by reducing the size of Karel Doormanstraat, and this was used for the Doelen extension and the Codarts building.[25] The building was developed by the architectural firm of Ector Hoogstad, and was completed in 2000. The plinth is mainly used for commercial purposes. The building is relatively high to accommodate all the demands of the school, and has a total floor space of . Visually, the Codarts building appears to reach over the end of the conference center.[26]

The building's steel skeleton supports a “box in box” design for the interior spaces, including several tall spaces with variable lighting. A long escalator connects the entrance lobby to the fifth floor. This is the main floor for Codarts, holding the restaurant, library and several performance rooms, and opening onto a terrace on the roof of the Doelen extension. Codarts occupies classrooms and offices below this floor. The conservatory is above it and the large dance studios are at the top of the building. The building is clad in brick to give an appearance consistent with nearby apartment buildings.[27]

Notable alumni

-   Ike Moriz, German-South African singer, composer and actor.
-   Willemijn Verkaik, Dutch theatre actress, best known for playing Elphaba from the musical Wicked in the Netherlands, Germany, New York and London.
-   Henk van der Vliet (1950), Dutch composer and flautist
-   San Holo, Dutch record producer and DJ.

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title: Codarts

question: Summarize the events that occurred during the 1940s.

answer: Upon the invasion of the Netherlands in May 1940, the main building of the Pijper musical conservatory was destroyed, and the combined conservatories had to merge and transfer to a house that was somehow spared, soon providing day and early evening classes before the curfew throughout the remainder of the war. The director, Holthaus, died in 1943.

critique: "and the combined conservatories had to merge and transfer to a house that was somehow spared" Holthaus did not have to merge and transfer to a house - he had a branch there.

critique: "The director, Holthaus, died in 1943." - this is irrelevant to the question and should be deleted.

critique: The response does not mention the dance school.

critique: "The director, Holthaus, died in 1943." - this is incorrect. Holthaus died in 1943, but he was one of the directors of the combined conservatories.

critique: "The director, Holthaus, died in 1943." - this is incorrect. Holthaus died in 1943, but he was one of the two directors of the combined conservatories.

critique: The response misses to mention that the buildings of the dance school and the main building of Pijper's conservatory were destroyed by bombs.

critique: The school was able to provide classes before the curfew.

critique: "The director, Holthaus, died in 1943." - not part of the 1940s and can be deleted.

question: Summarize the individuals who had key roles relating to Codarts.

answer: Jos Holthaus was director at the Rotterdam Conservatory of Music. The German violinist Willy Hess took a professorship there. Willem Pijper was the director of another Rotterdam Art Conservatory. The composer Corrie Hartong started the Dance School. Gertrud Leistikow was a teacher at the Dance School.

critique: The response could include more details about the individuals involved in Codarts.

critique: The response is missing the names of two key individuals.

critique: The response is missing the names of two key people relating to Codarts in the past: Jos Holthaus and Willem Pijper.

critique: "Willem Pijper was the director of another Rotterdam Art Conservatory." - this is incorrect. Pijper was the director of the Rotterdam Musical Arts Conservatory.

critique: The response misses to mention that Holthaus was the director of the combined conservatories during World War II.

critique: The response is missing a few key individuals who were key to the development of Codarts.

question: Summarize the building's different locations.

answer: It was located in Rotterdam. And in May 1940, the buildings of the dance school and the main building of the conservatory were destroyed by bombs. They moved to the building on Mathenesserlaan, where Holthaus had a branch. This is where they moved again before finally settling in the present-day building.

critique: The answer omits the building's location in 2000.

critique: "It was located in Rotterdam." - this is incorrect. They were located in the Netherlands.

critique: "It was located in Rotterdam." - this is incorrect. The building was located in Rotterdam.

critique: The buildings were destroyed by bombs in 1940, not in May.

critique: "This is where they moved again before finally settling in the present-day building." - this is incorrect because the buildings on Mathenesserlaan were destroyed by bombs.

critique: The buildings were destroyed in May 1940, not May 1940.

critique: The current building is not located in Rotterdam. It's "next to the Doelen concert hall in Rotterdam."

text: Omits that they moved from Mathenesserlaan to an old house that was surrounded by rubbles.

refinement: It was located in Rotterdam. And in May 1940, the buildings of the dance school and the main building of the conservatory were destroyed by bombs. They moved to the building on Mathenesserlaan, where Holthaus had a branch. This is where they moved again before finally settling in the present-day building.

question: Summarize the events of the 1970s relating to Codarts.

answer: No answer

critique: The response is incorrect. There was no mention of the 1970s in the article.

critique: The response misses to mention the events of the 1970s.

critique: The response misses to mention that the school moved into its present modern building next to the Doelen concert hall in 2000 under the name Codarts - hogeschool voor de kunsten (Codarts - University of the Arts).

critique: The response misses to provide an answer to the task.

critique: In 1970, the school moved out of their current location and was holding day classes and early evening classes in a big old house. In the early 1970s, the Rotterdam Dance Academy changed their name to the Rotterdam Dance Academy.

text: The answer omits that the story does not mention any events from the 1970s.

refinement: No answer