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  Writing Your Own Proposal Start with a firm introduction.  This should start out with a hook. Ideally, you want your readers enraptured from point one. Make your proposal as purposeful and useful as possible. Use some background information to get your readers in the zone. Then state the purpose of your proposal. If you have any stark facts that shed some light on why the issue needs to be addressed and addressed immediately, it’s a safe bet that’s something you can start with. Whatever it is, make sure what you start out with is a fact and not an opinion. State the problem.  After the introduction, you’ll get into the body, the meat of your work. Here’s where you should state your problem. If your readers don’t know much about the circumstance, fill them in. Think of this as the “state of affairs” section of your proposal. What is the problem? What is causing the problem? What effects does this problem have? Emphasize why your problem needs to be solved and needs to be solved now. H

  Writing a good proposal is a critical skill in many occupations, from school to business management to geology. The goal of a proposal is to gain support for your plan by informing the appropriate people. Your ideas or suggestions are more likely to be approved if you can communicate them in a clear, concise, engaging manner. Knowing how to write a persuasive, captivating proposal is essential for success in many fields. There are several types of proposals, such as science proposals and book proposals, but each following the same basic guidelines. Planning Your Proposal Define your audience.  You need to make sure that you think about your audience and what they might already know or not know about your topic before you begin writing. This will help you focus your ideas and present them in the most effective way. It’s a good idea to assume that your readers will be busy, reading (or even skimming) in a rush, and not predisposed to grant your ideas any special consideration. Efficien

  No matter what genre we write in, we all have the same goal—we want to bring our readers along for the journey. How do we get there? By reeling them in with their emotions. Think about your novel as a roller coaster. Sounds odd, but trust me. Give Them Someone to Root for It all starts with our protagonists. We need our readers to feel connected—to care. Struggling with a difficult hero or heroine? Don’t despair. Even the most unlikeable character can be relatable with a quick “save the cat,” moment early in the plot. Think about who they are as they’re waiting for the coaster to begin and why they’re there. A little backstory can work wonders. Use Deep POV By using visceral emotions, we can bring our readers right into our character’s head. Does their heart quicken as the coaster clicks up the first hill? Does their stomach rise into their throats as the coaster drops? Giving physical cues to the reader takes them out of the spectator position and into the seat with your character.

  A chaotic blend Of course for an artificial human to be realistic, to match the rest of us, it has to be a chaotic blend of right and wrong, to find its way by picking through the wreckage of its own bad decisions. Another recent example is the creature called the Whatitsname in Ahmed Saadawi’s Frankenstein in Baghdad, which was shortlisted for the International Booker Prize in 2018. In war-torn Iraq in the early 2000s, a junk dealer called Hadi assembles a being from the body parts of people killed in the conflict. “I made it complete so it wouldn’t be treated as rubbish, so it would be respected like other dead people and given a decent burial.” But the Whatitsname goes missing, and sets about a retributive rampage, like the original Frankenstein’s monster. Saadawi’s vision is satirical, the blackest of comedy about tit-for-tat killings and the dehumanisation of people in war: the creature finds that as it avenges each death, its corresponding body parts fall off, so it has to kill

  Two hundred years ago, 20-year-old Mary Shelley won a bet with her future husband Percy Shelley and his friend Lord Byron to write a horror story: she created Frankenstein, the story of a Genevan scientist who created artificial life – and regretted it for the rest of his days. Shelley created more than she knew: her story is not just considered to be the first science-fiction novel, but has spawned an army of monstrous descendants. What is it that continues to draw writers, particularly those who don’t usually write science fiction, to create artificial humans? How do writers use these characters to tell us about ourselves? What does the 21st-Century Frankenstein’s monster look like? It’s worth reminding ourselves first what Frankenstein – slandered by Hollywood into a monster-mania freak show – is actually about. (One definition of a classic, after all, is a book that still has the power to surprise you.) In the novel, inquisitive student Victor Frankenstein gives life to “the crea

  Letter of recommendation is a formal document that validates someone’s work, skills or academic performance. You may be asked to prepare a recommendation letter for someone who is applying for a job, internship, college or university, leadership position or volunteer opportunity. The purpose of a recommendation letter is to corroborate what you have learned about the applicant and provide additional positive details about their performance or habits. What to Include in the Letter An honest recommendation provides the recipient with a personalized account of your experiences with the applicant. You should have at least some knowledge of how the candidate acts and performs in a work environment. Consider the following before you accept a request for a recommendation: Have you worked with or directly observed the applicant? Do you know relevant strengths and skills you can personally elaborate on? Do you have specific examples of the individual’s work? Can you provide positive feedback

  The sense that anything can crumble at any moment, that keep Gatsby meaningful Smith points to a quote from one of Fitzgerald’s contemporaries as having provided the key to understanding Carraway. “Ernest Hemingway says in [his memoir] A Moveable Feast that we didn’t trust anyone who wasn’t in the war, and to me that felt like a natural beginning for Nick.” Smith imagines Carraway, coping with PTSD and shellshock, returning home to a nation that he no longer recognises. It’s a far cry from the riotous razzmatazz of all that partying, yet Carraway is, Smith suggests, the reason Fitzgerald’s novel remains read. “Maybe it’s not the champagne and the dancing, maybe it is those feelings of wondering where we are, the sense that anything can crumble at any moment, that keep Gatsby meaningful from one generation to the next.” William Cain, an expert in American literature and the Mary Jewett Gaiser Professor of English at Wellesley College, agrees that Nick is crucial to understanding the n