Sell Yourself to Get Your Dream Job

Sell Yourself to Get Your Dream Job Even the most modest job applicant to learn the delicate art of self promotion. When you’re job hunting, you’re the product, and the market is stuffed with talented people vying for what’s often only one open position. When the only thing a recruiter has to judge hundreds of potential hirees is a stack of resumes, yours has to stand out. Now is not the time to be modest. Here are a few tips on ways to sell yourself in a professional manner:1. Always use active language.Get to the point right away. What did you do at your previous jobs? Start your sentences with a specific verb: increased, improved, founded, maintained. Focus on your actions and how they affected your previous companies.2. Get specificNumbers serve well to describe exactly what impact you’ve had on an organization. Did you decrease spending? Give a percentage. Did you deal with an impressive number of clients per month? How many? Numbers help break up the text in a resume and give value to your accomplishments.3. Use the job posting as a guideTailor your resume so that your skills align with the needs of your potential employer. Take the traits they are looking for, search your work history for traits that align, and put these front and center. If they’re looking for someone who can manage a team, start each previous job explanation with your management skills and the successes you’ve found.Remember, your resume is your foot in the door–use it to its best advantage. Be truthful (don’t over-embellish!) but be proud of your work history and don’t hesitate to let your pride show.

Definition and Examples of Narrative Climax

Definition and Examples of Narrative Climax In a narrative (within an essay, short story, novel, film, or play), a climax is the turning point in the action (also known as the crisis) and/or the highest point of interest or excitement. Adjective: climactic. In its simplest form, the classical structure of a narrative can be described as rising action, climax, falling action- known in journalism as BME (beginning, middle, end). EtymologyFrom the Greek, ladder. Examples and Observations The Climax of E.B. Whites Essay Once More to the LakeOne afternoon while we were there at that lake a thunderstorm came up. It was like the revival of an old melodrama that I had seen long ago with childish awe. The second-act climax of the drama of the electrical disturbance over a lake in America had not changed in any important respect. This was the big scene, still the big scene. The whole thing was so familiar, the first feeling of oppression and heat and a general air around camp of not wanting to go very far away. In mid-afternoon (it was all the same) a curious darkening of the sky, and a lull in everything that had made life tick; and then the way the boats suddenly swung the other way at their moorings with the coming of a breeze out of the new quarter, and the premonitory rumble. Then the kettle drum, then the snare, then the bass drum and cymbals, then crackling light against the dark, and the gods grinning and licking their chops in the hills. Afterward the calm, the rai n steadily rustling in the calm lake, the return of light and hope and spirits, and the campers running out in joy and relief to go swimming in the rain, their bright cries perpetuating the deathless joke about how they were getting simply drenched, and the children screaming with delight at the new sensation of bathing in the rain, and the joke about getting drenched linking the generations in a strong indestructible chain. And the comedian who waded in carrying an umbrella.When the others went swimming my son said he was going in too. He pulled  his dripping trunks  from the line where they had hung all through the shower, and wrung them out. Languidly, and with no thought of going in, I watched him, his hard little body, skinny and bare,  saw him wince slightly as he pulled up around his vitals the small, soggy, icy garment. As he buckled the swollen belt, suddenly my groin felt the chill of death.(E.B. White, Once More to the Lake. Essays of E.B. White, 1941. Rpt.  Harpe r Row, 1977) Climaxes in AnecdotesAnecdotes are really miniature stories with all the appurtenances of same. They must lay the groundwork so the reader can follow the action. They must introduce characters with clear objectives, then show the characters striving toward those objectives. They usually have conflict. They move toward a climax, then usually have a denouement, just like a short story. And they have to be structured; the raw material from which theyre built is seldom in final form when you get it. Warning: Structuring does not mean changing facts, it means perhaps rearranging their order, cutting nonessentials, emphasizing the quotes or actions that drive home the point.(Andrà © Fontaine and William A. Glavin, The Art of Writing Nonfiction, 2nd ed. Syracuse University  Press, 1991)Climaxes in Nonfiction- My nature essays have . . . been fairly conventional to date. Every essay has some sort of hook to catch the readers attention in the opening . . .; consists of a beginning, middle, and end; includes significant amounts of natural history information; moves toward some discernible climax, which can take the form of a revelation, an image, a rhetorical question, or some other closing device . . .; and strives at all times to keep the personal presence of the narrator in the foreground.(John A. Murray, Writing About Nature: A Creative Guide, revised ed. University  of New Mexico Press, 1995)- The essay, unlike the article, is inconclusive. It plays with ideas, juxtaposing them, trying them out, discarding some ideas on the way, following others to their logical conclusion. In the celebrated climax of his essay on cannibalism, Montaigne forces himself to admit that had he himself grown up among cannibals, he would in all likelihood have become a cannibal himself.(Thomas H. Eriksen, Engaging Anthropology: The Case for a Public Presence. Berg Publishers, 2006) Ayn Rand on the Climax in a Nonfiction ArticleThe climax in a nonfiction article is the point at which you demonstrate what you set out to demonstrate. It might require a single paragraph or several pages. There are no rules here. But in preparing the outline, you must keep in mind where you start from (i.e., your subject) and where you want to go (i.e., your theme- the conclusion you want your reader to reach). These two terminal points determine how you will get from one to the other. In good fiction, the  climax- which you must know in advance- determines what events you need in order to bring the story to that point. In  nonfiction  too, your conclusion gives you a lead to the steps needed to bring the reader to the  climax.The guiding question in this process is: What does the reader need to know in order to agree with the conclusion? That determines what to include. Select the essentials of what you need in order to convince the reader- keeping in mind the context of yo ur subject.(Ayn Rand,  The Art of Nonfiction: A Guide for Writers and Readers, 1958.  NAL, 2000) Charlie Chaplin on Comic ClimaxesBesides [Douglas] Fairbanks pool one day, the playwright Charles MacArthur, who had lately been lured from Broadway to write a screenplay, was bemoaning the fact that he was finding it difficult  to write visual jokes.Whats the problem? asked [Charlie] Chaplin.How, for example, could I make a fat lady, walking down Fifth Avenue, slip on a banana peel and still get a laugh? It’s been done a million times, said MacArthur. Whats the best way to get the laugh? Do I show first the banana peel, then the fat lady approaching; then she slips? Or do I show the fat lady first, then the banana peel, and then she slips?Neither, said Chaplin without a moments hesitation. You show the fat lady approaching; then you show the banana peel; then you show the fat lady and the banana peel together; then she steps over the banana peel and disappears down a manhole.†(David Niven, Bring on the Empty Horses. G.P. Putnams Sons, 1975) Pronunciation: KLI-max

Labour is making Britain greener, cleaner and less polluting (Labour Essay

Labour is making Britain greener, cleaner and less polluting (Labour Party environment policy statement, 2009). Discuss in the context of British government and politics - Essay Example ons Reduction Target (CERT), which has provided a large investment in household energy efficiency between 2002 and 2008 and brought in carbon saving; delivering more seaward wind facility than any society in the globe; and implementing the world’s first long-term, legally binding greenhouse emission reduction programme (Carter 2007). Hence, in their environment policy statement in 2009, the Labour Party declared, â€Å"Labour is making Britain greener, cleaner and less polluting† (The Labour Party 2010: para 5). However, this activities, campaigns, and achievements of the Labour Party have not been examined in the context of British government and politics comprehensively. This essay will attempt to contribute in this area of knowledge. The primary issue that will be addressed here is the role of the British government and its relationship with the people. These issues have gained a new significance. A decade into the existence of this Labour government, policy-makers seem to be certain that their mission has changed. Gordon Brown, as he reflects on his experience, addressed communities breaking new ground for elected legislators to pursue (Worley 2009). However, in one domain specifically, we oblige our policy-makers to lead rather than follow, and to take risks. That domain is the environment. The media response has been unsurprising. Conservative channels that were quick to criticise David Cameron’s demand for stricter aviation taxes are imploring that the electorate cannot take any more. They are incapable of justifying their standpoint beyond complaining about nursemaid states and fiddling with, or supporting, the assertions of climate-change denouncers (Worley 2009). Newscasters respond even more recklessly, with Channel 4 exposing a feature film that go against all the facts and with the BBC misinterpreting its demand to ‘balance’ by advocating discussion between the two parties, as if they embody corresponding bodies of evidence. Brown has taken