Plot Selling Quotes

Survival isn't wrong. You can sell your honor in small ways, so long as you guard yourself. you can pour a glass of wine like it's meant to be poured, and watch a man drink, and plot your revenge.

Kestrel's eyes slipped shut. She faded in and out of sleep. When Arin spoke again, she wasn't sure whether he expected her to to hear him. 'I remember sitting with my mother in a carriage.' There was a long pause. Then Arin's voice came again in that slow, fluid way that showed the singer in him. 'In my memory, I am small and sleepy, and she is doing something strange. Every time the carriage turns into the sun, she raises her hand as if reaching for something. The light lines her fingers with fire. Then the carriage passes through shadows, and her hand falls. Again sunlight beams through the window, and again her hand lifts. It becomes and eclipse.' Kestrel listened, and it was as if the story itself was an eclipse, drawing its darkness over her. 'Just before I fell asleep,' he said, 'I realized that she was shading my eyes from the sun.' She heard Arin shift, felt him look at her. 'Kestrel.' She imagined how he would sit, lean forward. How he would look in the glow of the carriage lantern. 'Survival isn't wrong. You can sell your honor in small ways, so long as you guard yourself. You can pour a glass of wine like it's meant to be poured, and watch a man drink, and plot your revenge.' Perhaps his head tilted slightly at this. 'You probably plot even in your sleep.' There was a silence as long as a smile. 'Plot away, Kestrel. Survive. If I hadn't lived, no one would remember my mother, not like I do.' Kestrel could no longer deny sleep. It pulled her under. 'And I would never have met you.

O: You’re quite a writer. You’ve a gift for language, you’re a deft hand at plotting, and your books seem to have an enormous amount of attention to detail put into them. You’re so good you could write anything. Why write fantasy? Pratchett: I had a decent lunch, and I’m feeling quite amiable. That’s why you’re still alive. I think you’d have to explain to me why you’ve asked that question. O: It’s a rather ghettoized genre. P: This is true. I cannot speak for the US, where I merely sort of sell okay. But in the UK I think every book— I think I’ve done twenty in the series— since the fourth book, every one has been one the top ten national bestsellers, either as hardcover or paperback, and quite often as both. Twelve or thirteen have been number one. I’ve done six juveniles, all of those have nevertheless crossed over to the adult bestseller list. On one occasion I had the adult best seller, the paperback best-seller in a different title, and a third book on the juvenile bestseller list. Now tell me again that this is a ghettoized genre. O: It’s certainly regarded as less than serious fiction. P: (Sighs) Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that. (Pauses) That was a bloody good answer, though I say it myself.

A person who will sell out his partner always sees the partner as plotting in exactly the same way. Dishonest people don’t believe honest people exist.

Then there was a hard brown lozenge called the Tonsil Tickler. The Tonsil Tickler tasted and smelled very strongly of chloroform. We had not the slightest doubt that these things were saturated in the dreaded anaesthetic which, as Thwaites had many times pointed out to us, could put you to sleep for hours at a stretch. "If my father has to saw off somebody's leg," he said, "he pours chloroform on to a pad and the person sniffs it and goes to sleep and my father saws his leg off without him even feeling it." "But why do they put it into sweets and sell them to us?" we asked him. You might think a question like this would have baffled Thwaites. But Thwaites was never baffled. "My father says Tonsil Ticklers were invented for dangerous prisoners in jail," he said. "They give them one with each meal and the chloroform makes them sleepy and stops them rioting." "Yes," we said, "but why sell them to children?" "It's a plot," Thwaites said. "A grown-up plot to keep us quiet.

Readers often tell me after they've read the books, they find it difficult to sum up the plot in a simple way. My response is, "It's a story about the love a father shares for his daughter. All the rest is just filler." - MJ Mancini, on his best-selling trilogy, "Revelation".

Many people today think that the Tea Act—which led to the Boston Tea Party—was simply an increase in the taxes on tea paid by the American colonists. That's where the whole "Taxation Without Representation" meme came from. Instead, the purpose of the Tea Act was to give the East India Company full and unlimited access to the American tea trade and to exempt the company from having to pay taxes to Britain on tea exported to the American colonies. It even gave the company a tax refund on millions of pounds of tea that it was unable to sell and holding in inventory. In other words, the Tea Act was the largest corporate tax break in the history of the world.

(In reply to the question, 'Would you like some suggestions for a plot for your next book?') There are three problems with getting plot suggestions from other people. The first is that ideas are the easy part of writing; finding the time and energy to get them down on paper is the hard part. I have plenty of ideas already. Which brings me to the second problem: the ideas that excite you, the ones you think would make a terrific book, are not necessarily the same ideas that excite me. And if a writer isn't excited about an idea, she generally doesn't turn out a terrific book, even if the idea is terrific. And the third problem with my using your suggestions is that, theoretically, you could sue me if I did, and that tends to make publishers nervous, which makes it hard to sell a book. So thank you, but no.

When you're reading a good noir, the shocks and twists have a way of feeling deja vu-like, as if you saw them coming, but hoped the characters would take a left turn... not answer the phone, not sleep with that woman, not sell drugs to those cops... but knew they would. It would have been wrong if they didn't, and the real surprise can be that you care about someone you know is in for hell. You relate to them, even when their hell is so much bigger than your own. But we're all going to die, and we all make mistakes. The best noir stories make you forget plot entirely by giving you characters that feel so well-realised you can't look away as they fall.

Real life is generally very haphazard in its plotting, and I think a lot of people lament that, and turn to fiction to briefly experience, albeit vicariously, a more satisfying sort of reality. We want to see *sense* -- not necessarily happy endings, but effectual actions and significant outcomes. (Postmodern fiction and metafiction, I gather, aim to call attention to the falsity of these things, which is like selling liquor that perversely makes you more sober).

Facebook is popular, approachable, and a fast, easy read. This social media behemoth is all about plot.

A great real estate agent don't sells, he helps.

A good real estate agent sells himself before he sells his services.

Language as a Prison The Philippines did have a written language before the Spanish colonists arrived, contrary to what many of those colonists subsequently claimed. However, it was a language that some theorists believe was mainly used as a mnemonic device for epic poems. There was simply no need for a European-style written language in a decentralized land of small seaside fishing villages that were largely self-sufficient. One theory regarding language is that it is primarily a useful tool born out of a need for control. In this theory written language was needed once top-down administration of small towns and villages came into being. Once there were bosses there arose a need for written language. The rise of the great metropolises of Ur and Babylon made a common written language an absolute necessity—but it was only a tool for the administrators. Administrators and rulers needed to keep records and know names— who had rented which plot of land, how many crops did they sell, how many fish did they catch, how many children do they have, how many water buffalo? More important, how much then do they owe me? In this account of the rise of written language, naming and accounting seem to be language's primary "civilizing" function. Language and number are also handy for keeping track of the movement of heavenly bodies, crop yields, and flood cycles. Naturally, a version of local oral languages was eventually translated into symbols as well, and nonadministrative words, the words of epic oral poets, sort of went along for the ride, according to this version. What's amazing to me is that if we accept this idea, then what may have begun as an instrument of social and economic control has now been internalized by us as a mark of being civilized. As if being controlled were, by inference, seen as a good thing, and to proudly wear the badge of this agent of control—to be able to read and write—makes us better, superior, more advanced. We have turned an object of our own oppression into something we now think of as virtuous. Perfect! We accept written language as something so essential to how we live and get along in the world that we feel and recognize its presence as an exclusively positive thing, a sign of enlightenment. We've come to love the chains that bind us, that control us, for we believe that they are us (161-2).

Writer's groups work for some new writers, not for others. I was never cut out for a writer's group. So much depends on the people in it. What are they criticizing about your work? Grammar, syntax, plot holes? Or are they criticizing your personal style, your world view and your personal philosophy? If they're criticizing the latter, it's not a good group for you, no matter what support you might think you're getting from it. Your style, your perspective, and your philosophy of life are the main things you have to sell; they are what make you different, and you shouldn't--in fact you can't--change them.

My sales trainer friend, the famous (late) Cavett Robert, said to sell life insurance or cemetery plots, you have to make your customer see the hearse backed up to the door. That may sound a little grisly, but it's true.

I cannot tell you how important fresh, crisp writing is for an aspiring writer. Plot is great. The overall concept is super important. But the writing is what sells your work. It all boils down to the words you choose and the order in which you arrange them.

What happened? Stan repeats. To us? To the country? What happened when childhood ends in Dealey Plaza, in Memphis, in the kitchen of the Ambassador, your belief your hope your trust lying in a pool of blood again? Fifty-five thousand of your brothers dead in Vietnam, a million Vietnamese, photos of naked napalmed children running down a dirt road, Kent State, Soviet tanks roll into Prague so you turn on drop out you know you can't reinvent the country but maybe you reimagine yourself you believe you really believe that you can that you can create a world of your own and then you lower that expectation to just a piece of ground to make a stand on but then you learn that piece of ground costs money that you don't have. What happened? Altamont, Charlie Manson, Sharon Tate, Son of Sam, Mark Chapman we saw a dream turn into a nightmare we saw love and peace turn into endless war and violence our idealism into realism our realism into cynicism our cynicism into apathy our apathy into selfishness our selfishness into greed and then greed was good and we Had babies, Ben, we had you and we had hopes but we also had fears we created nests that became bunkers we made our houses baby-safe and we bought car seats and organic apple juice and hired multilingual nannies and paid tuition to private schools out of love but also out of fear. What happened? You start by trying to create a new world and then you find yourself just wanting to add a bottle to your cellar, a few extra feet to the sunroom, you see yourself aging and wonder if you've put enough away for that and suddenly you realize that you're frightened of the years ahead of you what Happened? Watergate Irangate Contragate scandals and corruption all around you and you never think you'll become corrupt but time corrupts you, corrupts as surely as gravity and erosion, wears you down wears you out I think, son, that the country was like that, just tired, just worn out by assassinations, wars, scandals, by Ronald Reagan, Bush the First selling cocaine to fund terrorists, a war to protect cheap gas, Bill Clinton and realpolitik and jism on dresses while insane fanatics plotted and Bush the Second and his handlers, a frat boy run by evil old men and then you turn on the TV one morning and those towers are coming down and the war has come home what Happened? Afghanistan and Iraq the sheer madness the killing the bombing the missiles the death you are back in Vietnam again and I could blame it all on that but at the end of the day at the end of the day we are responsible for ourselves. We got tired, we got old we gave up our dreams we taught ourselves to scorn ourselves to despise our youthful idealism we sold ourselves cheap we aren't Who we wanted to be.

Being adopted felt like reading a book that had the first chapter ripped out. You might be enjoying the plot and the characters, but you'd probably also like to read that first line, too. However, when you took the book back to the store to say that the first chapter was missing, they told you they couldn't sell you a replacement copy that was intact. What if you read that first chapter and realized you hated the book, and posted a nasty review on Amazon? What if you hurt the author's feelings? Better just to stick with your partial copy and enjoy the rest of the story.

Then a state-sponsored play out of Berlin begins: a story of invaders sneaking into a village at night. All twelve children sit riveted. In the play, the invaders pose as hook-nosed department-store owners, crooked jewelers, dishonorable bankers; they sell glittering trash; they drive established village businessmen out of work. Soon they plot to murder German children in their beds. Eventually a vigilant and humble neighbor catches on. Police are called: big handsome-sounding policemen with splendid voices. They break down the doors. They drag the invaders away. A patriotic march plays. Everyone is happy again.

What I want most of all is resonance, something that will linger for a little while in Constant Reader’s mind (and heart) after he or she has closed the book and put it up on the shelf. I’m looking for ways to do that without spoon-feeding the reader or selling my birthright for a plot of message. Take all those messages and those morals and stick em where the sun don’t shine, all right? I want resonance.

All twelve children sit riveted. In the play, the invaders pose as hook-nosed department-store owners, crooked jewelers, dishonorable bankers; they sell glittering trash; they drive established village businessmen out of work. Soon they plot to murder German children in their beds. Eventually a vigilant and humble neighbor catches on. Police are called: big handsome-sounding policemen with splendid voices. They break down the doors. They drag the invaders away. A patriotic march plays. Everyone is happy again.

Lying alone in bed in New York City, an anxious Goldman decided she could get the money Berkman needed to buy a weapon and clothing suitable to get him close to Frick by taking a page from Fyodor Dostoyevsky’s Crime and Punishment. When she had read the novel, Goldman had been especially moved by the story of Sonia, the woman driven by economic desperation into prostitution who hears Raskolnikov’s confession and accompanies him to Siberia, where he is sent to prison. “If sensitive Sonya could sell her body,” Goldman said, “why not I?

She heard Arin shift, felt him look at her. “Kestrel.” She imagined how he would sit, lean forward. How he would look in the glow of the carriage lantern. “Survival isn’t wrong. You can sell your honor in small ways, so long as you guard yourself. You can pour a glass of wine like it’s meant to be poured, and watch a man drink, and plot your revenge.” Perhaps his head tilted slightly at this. “You probably plot even in your sleep.” There was a silence as long as a smile. “Plot away, Kestrel. Survive. If I hadn’t lived, no one would remember my mother, not like I do.” Kestrel could no longer deny sleep. It pulled her under. “And I would never have met you.

Unspoken Truths (The Sonnet) Democracy is people-approved dictatorship, Military is people-approved genocide. Atom bombs are people-approved armageddon, In conscience-court all guilty of homicide. There is no time left, for there never was time, Time begins with the beginning of civilization. And civilization is something we are yet to find, Hence, there is no question of clock progression. Nationalist chimps sell war in the name of security, Stoneage civilians rush to bulk-buy graveyard plots. Merchant of murder, you, yell about peacekeeping, While you feast on nationalism like wet little cods! When cavemen take pride in their national glory of death, Sanctuary becomes asylum for the lunatic walking dead!

As Frances had learned to do in times of uncertainty, she created a project over which she had total control and began writing a book “Dedicated to the memory of Irving Thalberg as a tribute to his vision and genius.” How to Write and Sell Film Stories was written for “serious students of film technique.” She filled the straightforward textbook with anecdotes from her films and others’ to convey the lessons on the development of plot, motivation, and characters she had learned with Thalberg. She had come to believe that because of increased censorship and the limited number of adaptable plays and novels, “eighty percent of the motion pictures produced will be soon be stories written exclusively for the screen” and the time was right for a book on original screenplays. The audience for the book was immediate; universities ordered copies before it was published and it quickly went into several printings. The book led to her taking on an advice column on screen writing for Cinema Progress, a serious educational film magazine published by the American Institute of Cinematography based at the University of Southern California. She opened her house to roundtable discussions with students and sponsored a scenario contest with the winners serving as studio “apprentices.

He, in truth, bears witness to himself that he is faithful and loyal towards God; and to the tempter, that he in vain envied him who is faithful through love; and to the Lord, of the inspired persuasion in reference to His doctrine, from which he will not depart through fear of death; further, he confirms also the truth of preaching by his deed, showing that God to whom he hastes is powerful. You will wonder at his love, which he conspicuously shows with thankfulness, in being united to what is allied to him, and besides by his precious blood, shaming the unbelievers. He then avoids denying Christ through fear by reason of the command; nor does he sell his faith in the hope of the gifts prepared, but in love to the Lord he will most gladly depart from this life; perhaps giving thanks both to him who afforded the cause of his departure hence, and to him who laid the plot against him, for receiving an honourable reason which he himself furnished not, for showing what he is, to him by his patience, and to the Lord in love, by which even before his birth he was manifested to the Lord, who knew the martyr's choice. With good courage, then, he goes to the Lord, his friend, for whom he voluntarily gave his body, and, as his judges hoped, his soul, hearing from our Saviour the words of poetry, "Dear brother," by reason of the similarity of his life. We call martyrdom perfection, not because the man comes to the end of his life as others, but because he has exhibited the perfect work of love.

Praise for THIS TENDER LAND “If you liked Where the Crawdads Sing, you’ll love This Tender Land by best-selling author William Kent Krueger. This story is as big-hearted as they come.” —Parade Magazine “If you’re among the millions who raced through Where the Crawdads Sing this year and are looking for another expansive, atmospheric American saga, look to the latest from Krueger.” —Entertainment Weekly “Rich with graceful writing and endearing characters… this is a book for the ages.” —The Denver Post “There are very few books (or movies, for that matter) that you can describe as ‘epic.’ But This Tender Land is just that.… This story will make you look at the world from a variety of viewpoints, as you watch these lost souls befriend one another in order to form their own unbreakable family unit.” —Suspense Magazine “[The characters’] adventures are heartstirring and their view of our complex nation, in particular the upper Midwest, is encyclopedic, if an encyclopedia could stir your heart as well as your brain.” —Sullivan County Democrat “Reminiscent of Huck and Jim and their trip down the Mississippi, the bedraggled youngsters encounter remarkable characters and learn life lessons as they escape by canoe down the Gilead River in Minnesota.” —Bookpage “Long, sprawling, and utterly captivating, readers will eat up every delicious word of it.” —New York Journal of Books “Krueger has crafted an American saga, epic in scope, a glorious and grand adventure that speaks of the heart and history of this country.” —Addison Independent (Vermont) “More than a simple journey; it is a deeply satisfying odyssey, a quest in search of self and home. Richly imagined and exceptionally well plotted and written, the novel is, most of all, a compelling, often haunting story that will captivate both adult and young adult readers.” —Booklist “Absorbing and wonderfully paced, this fictional narrative set against historical truths mesmerizes the reader with its evocations of compassion, courage, and self-discovery.… This Tender Land is a gripping, poignant tale swathed in both mythical and mystical overtones.” —Bob Drury, New York Times bestselling author of The Heart of Everything That Is “This Tender Land is a moving portrait of a time and place receding from the collective memory, but leaving its mark on the heart of what the nation has become.” —CrimeReads

Twenty years? No kidding: twenty years? It’s hard to believe. Twenty years ago, I was—well, I was much younger. My parents were still alive. Two of my grandchildren had not yet been born, and another one, now in college, was an infant. Twenty years ago I didn’t own a cell phone. I didn’t know what quinoa was and I doubt if I had ever tasted kale. There had recently been a war. Now we refer to that one as the First Gulf War, but back then, mercifully, we didn’t know there would be another. Maybe a lot of us weren’t even thinking about the future then. But I was. And I’m a writer. I wrote The Giver on a big machine that had recently taken the place of my much-loved typewriter, and after I printed the pages, very noisily, I had to tear them apart, one by one, at the perforated edges. (When I referred to it as my computer, someone more knowledgeable pointed out that my machine was not a computer. It was a dedicated word processor. “Oh, okay then,” I said, as if I understood the difference.) As I carefully separated those two hundred or so pages, I glanced again at the words on them. I could see that I had written a complete book. It had all the elements of the seventeen or so books I had written before, the same things students of writing list on school quizzes: characters, plot, setting, tension, climax. (Though I didn’t reply as he had hoped to a student who emailed me some years later with the request “Please list all the similes and metaphors in The Giver,” I’m sure it contained those as well.) I had typed THE END after the intentionally ambiguous final paragraphs. But I was aware that this book was different from the many I had already written. My editor, when I gave him the manuscript, realized the same thing. If I had drawn a cartoon of him reading those pages, it would have had a text balloon over his head. The text would have said, simply: Gulp. But that was twenty years ago. If I had written The Giver this year, there would have been no gulp. Maybe a yawn, at most. Ho-hum. In so many recent dystopian novels (and there are exactly that: so many), societies battle and characters die hideously and whole civilizations crumble. None of that in The Giver. It was introspective. Quiet. Short on action. “Introspective, quiet, and short on action” translates to “tough to film.” Katniss Everdeen gets to kill off countless adolescent competitors in various ways during The Hunger Games; that’s exciting movie fare. It sells popcorn. Jonas, riding a bike and musing about his future? Not so much. Although the film rights to The Giver were snapped up early on, it moved forward in spurts and stops for years, as screenplay after screenplay—none of them by me—was

NBC News reporter David Gregory was on a tear. Lecturing the NRA president—and the rest of the world—on the need for gun restrictions, the D.C. media darling and host of NBC’s boring Sunday morning gabfest, Meet the Press, Gregory displayed a thirty-round magazine during an interview. This was a violation of District of Columbia law, which specifically makes it illegal to own, transfer, or sell “high-capacity ammunition.” Conservatives demanded the Mr. Gregory, a proponent of strict gun control laws, be arrested and charged for his clear violation of the laws he supports. Instead the District of Columbia’s attorney general, Irv Nathan, gave Gregory a pass: Having carefully reviewed all of the facts and circumstances of this matter, as it does in every case involving firearms-related offenses or any other potential violation of D.C. law within our criminal jurisdiction, OAG has determined to exercise its prosecutorial discretion to decline to bring criminal charges against Mr. Gregory, who has no criminal record, or any other NBC employee based on the events associated with the December 23, 2012 broadcast. What irked people even more was the attorney general admitted that NBC had willfully violated D.C. law. As he noted: No specific intent is required for this violation, and ignorance of the law or even confusion about it is no defense. We therefore did not rely in making our judgment on the feeble and unsatisfactory efforts that NBC made to determine whether or not it was lawful to possess, display and broadcast this large capacity magazine as a means of fostering the public policy debate. Although there appears to have been some misinformation provided initially, NBC was clearly and timely advised by an MPD employee that its plans to exhibit on the broadcast a high capacity-magazine would violate D.C. law. David Gregory gets a pass, but not Mark Witaschek. Witaschek was the subject of not one but two raids on his home by D.C. police. The second time that police raided Witaschek’s home, they did so with a SWAT team and even pulled his terrified teenage son out of the shower. They found inoperable muzzleloader bullets (replicas, not live ammunition, no primer) and an inoperable shotgun shell, a tchotchke from a hunting trip. Witaschek, in compliance with D.C. laws, kept his guns out of D.C. and at a family member’s home in Virginia. It wasn’t good enough for the courts, who tangled him up in a two-year court battle that he fought on principle but eventually lost. As punishment, the court forced him to register as a gun offender, even though he never had a firearm in the city. Witaschek is listed as a “gun offender”—not to be confused with “sex offender,” though that’s exactly the intent: to draw some sort of correlation, to make possession of a common firearm seem as perverse as sexual offenses. If only Mark Witaschek got the break that David Gregory received.

Even among the uninitiated - men and women who were unaware of how a day's labor had been defined through years of tense negotiation - extracting such large drafts of labor required extraordinarily coercive measures. Violent confrontations between masters and slaves seemed to grow as the lower Mississippi Valley became a slave society. Wielding the lash with greater frequency if not greater force, planters struggled to bend slaves to the new order. Slaves resisted with equal ferocity. Unrest increased and rumors of rebellion boiled to the surface. During the 1790s and into the new century, the lower Mississippi Valley was alive with news of revolt, as one intrigue after another came to light. In 1791, 1795, and again in 1804 and 1805, planters uncovered major conspiracies. They responded with the lash, mutilating many rebels and suspected rebels, deporting others, and executing still others, often after grotesque torture. Yet behind this bloody facade, master and slave began to renegotiate the terms under which slaves lived and worked. Many of these involved the pace of labor; others originated in the organization of labor and the authority of the masters' subalterns, as overseers became a fixture on the largest estates. From the planters' perspective, the large units on which sugar and cotton were grown made movement from plantation to plantation - a prominent feature of slave life in eighteenth-century Louisiana - unnecessary and undesirable. But perhaps the most intense conflicts arose over the slaves' economy: their free Sundays and half-Saturdays, their gardens and provision grounds, and their right to sell their labor and market its product. Slaves in the lower Mississippi Valley had a long tradition of independent productive activities. Planters, who once saw advantages in allowing slaves to subsist themselves, pressed for an allowance society in which rations replaced gardens and the right to market. ... Under the new regime, plantation slaves frequently worked from dawn to noon and then, after a two hour break, until 'the approach of night.' As the planters' demands intensified, the time left for slaves to work their gardens grew shorter. Sustaining them took an extraordinary commitment. The frantic pace at which slaves worked in their own plots was captured by an emigre from Saint Domingue in 1799, who observed that a slave returning form the field 'does not lose his time. He goes to work at a bit of the land which he has planted with provisions for his own use, while his companion, if he has one, busies herself in preparing some for him, herself, and their children.' 'Many of the owners take off a part of that ration,' noted another visitor. Slaves 'must obtain the rest of their food, as well as their clothing, from the results of their Sunday labors.' Planters who supplied their slaves with clothes forced them to work on Sunday 'until they have been reimbursed for their advances,' so that the cash that previously went into the slaves' pockets went to the masters'.

Mark had insisted that their mom and dad wanted to be cremated and no one could find any instructions to the contrary, and when Louise had called Stuhr’s and they’d told her that the contract Mark had signed was nonrefundable, she’d Googled it and discovered that plenty of families interred cremains in a burial plot. So, cremation it was.

First comes the Sanhedrim in Jerusalem plotting against the life of the Just One. Then comes Mary at Bethany, in her unutterable love breaking her alabaster box, and pouring its contents on the head and feet of her beloved Lord. Last comes Judas, offering to sell his Master for less than Mary wasted on a useless act of affection! Hatred and baseness on either hand, and true love in the midst.

Boomers with any property at all have made fortunes selling their lawns, garages, driveways and spare plots to developers who are desperate to capitalise on the property boom and the younger generations desperate for somewhere to live.

Anyhow, I've begun on the story we discussed. I will not refer specifically to what you said, but I've decided that it will have as its author Hawthorne Abendsen, the novelist in my novel MAN IN THE HIGH CASTLE who wrote THE GRASSHOPPER LIES HEAVY. I wrote & wrote . . . after all, I wrote my 4th novel EYE IN THE SKY in two weeks, so this merely shows I'm in love with what I'm doing. The title of Abendsen's yarn is, "A Man For No Countries," because he is unwanted in the USA where the Asshole Axis rule, and certainly not in Europe where Germany rules from . . . I did bio notes, the uncorrected carbons of which I'm enclosing; they were improved in a second draft, and can/will be cut as needed. And, as to the story, I finished the holographic first draft last night about the time our tomcat Pinky wants indoors to be fed, which is quite late, and at which time nothing, even Pinky, gets me out of bed. It is a short story, but I think a lot of it, Phil. I really do, and when I turn out a lousy one I usually know it and the other way around. I'll send you a carbon of the final, not of the rough, since the rough is in holo. Now, a technical problem. To whom do I send the yarn when I'm done? By contract, it must be to Scott Meredith; that is determined by law. But my own name must be on it, on the far left upper corner, not under the title, so he can see who sent it, and hence pay me. That is, receive pay. Who does pay, by the way? Ed Ferman or whoever buys it (if anyone)? Does it just go onto the market like all stories, OR—and this is crucial, maybe—should I mention to Scott Meredith that you should be involved . . . without mentioning certain details held in confidence between us? How do I handle it? I will sell it, in any case; I wrote MAN IN THE HIGH CASTLE in 1961 and ever since "they" have begged (well, asked me) to do more as a sequel. This story is in fact a follow-up, of Abendsen's life since, besides being an intrinsic plot-idea-theme story. So it'll sell, and Ed Ferman does like my stuff; he has commissioned a set of three stories from me, the last three I have done, including one for FINAL STATE or EDGE or whatever with Malzberg, and so would tend to want to buy it. So advise me, as I type up the final. And thanks for getting my literary ass in gear; God bless, Phil. [The story was never completed or published.]

Changed, blessed ones, Druudrazil communicated. I cannot imagine what twisted thoughts are going through their mind. # Will: No. There is no way you read a fucking manga and thought “hey, this is a great idea and completely bounded in reality, I should add it to my repertoire.” Caiyeri: I didn’t read that much of it. I found the plot utterly dull and uninteresting, but the fight scenes were illustrated quite vividly. Will: Dear god. You’ll have to show it to me. I’ll be the judge of your taste. Caiyeri: It is less interesting to read about magical combat and politics when that’s day-to-day life. Will: Hmm. That’s fair. Do you have it? Caiyeri: No, it’s Lev’s. I have no idea where he is. Will: Oh, shit. I almost forgot about him. I’ll toss him a text, see how things are going. Caiyeri: You should probably focus on the wyrm in front of us first. Will: Point taken. No-selling the necrotic

Nationalist chimps sell war in the name of security, Stoneage civilians rush to bulk-buy graveyard plots. Merchant of murder, you, yell about peacekeeping, While you feast on nationalism like wet little cods!

Did I bring Adam and Sabrina together or did the fact that I got a new girlfriend do that? I was asking the wrong questions. There were so many of them playing mind games that I had to try different angles to find answers. It seemed like Adam was manipulating Martina with an idea of Sabrina and the club. But how could Adam do that if Sabrina and Ruan already knew each other most likely, working for Adam? How could Adam paint two different pictures of Sabrina to Ruan and Martina? Mabye couldn't convince Ruan of any wrongdoing; perhaps he wanted to warn me or Martina, and his arm broke for certain reason. Or was Sabrina playing the same role that Adam painted about her to Martina? Was Adam paying Sabrina to play this game while also trying to sell registration apps to clubs downtown? It seemed like it was a cover up. What was the prize besides the club and the marijuana grow? Who wanted to kill me and why were all these people daring to mess with me? How did they form a group against me? Who or what made them a criminal group? Who was their real leader? Who did they think was the leader, Adam? He was afraid of me. Then who, Sabrina? She wasn't afraid of me, but she wouldn't step over me in my life, my job, or my career unless she had an open field and open goal. Why did she do that? Why did Adam invite her to such strange games? What was the fun? What was the joke? What was the reason why these people thought they were bullying me and wouldn’t get slapped? Why was it my impression that everyone was laughing at me? I felt like Adam didn't have the courage, and his father was not their leader either. I felt like their leader was much less intelligent than Adam or Ferran. I felt like they were being manipulated by someone much less intelligent, or they were acting like that for some reason, or they didn't seem to be hiding how stupid of a leader they had, who wanted to kill me personally, as if the rest of them were just bystanders eating popcorn while I plotted to do the same with Martina once we thought they had taken away my club and the Camorra would take it away from them anyhow. Did Nico say the word “Camorra” to try and scare me? Who told Nico that I knew about the Camorra and what they were up to? Adam, Nico and Martina were aware that the Camorra were one of my clients. Who could have seen Roberto Saviano's book “Gomorrah” in Cantabria, Urgell, and Radas which I bought in the last days of 2011? All of them. I do not know the exact number of particular books that have influenced these events thus far.

I was wondering why Adam had called Sabrina “crazy bitch” in front of me and Martina? Why would he do that when he knew I would not like to hear it? Did I bring Adam and Sabrina together or did the fact that I got a new girlfriend do that? I was asking the wrong questions. There were so many of them playing mind games that I had to try different angles to find answers. It seemed like Adam was manipulating Martina with an idea of Sabrina and the club. But how could Adam do that if Sabrina and Ruan already knew each other most likely, working for Adam? How could Adam paint two different pictures of Sabrina to Ruan and Martina? Maybe couldn't convince Ruan of any wrongdoing; perhaps he wanted to warn me or Martina, and his arm broke for certain reason. Or was Sabrina playing the same role that Adam painted about her to Martina? Was Adam paying Sabrina to play this game while also trying to sell registration apps to clubs downtown? It seemed like it was a cover up. What was the prize besides the club and the marijuana grow? Who wanted to kill me and why were all these people daring to mess with me? How did they form a group against me? Who or what made them a criminal group? Who was their real leader? Who did they think was the leader, Adam? He was afraid of me. Then who, Sabrina? She wasn't afraid of me, but she wouldn't step over me in my life, my job, or my career unless she had an open field and open goal. Why did she do that? Why did Adam invite her to such strange games? What was the fun? What was the joke? What was the reason why these people thought they were bullying me and wouldn’t get slapped? Why was it my impression that everyone was laughing at me? I felt like Adam didn't have the courage, and his father was not their leader either. I felt like their leader was much less intelligent than Adam or Ferran. I felt like they were being manipulated by someone much less intelligent, or they were acting like that for some reason, or they didn't seem to be hiding how stupid of a leader they had, who wanted to kill me personally, as if the rest of them were just bystanders eating popcorn while I plotted to do the same with Martina once we thought they had taken away my club and the Camorra would take it away from them anyhow. Did Nico say the word “Camorra” to try and scare me? Who told Nico that I knew about the Camorra and what they were up to? Adam, Nico and Martina were aware that the Camorra were one of my clients. Who could have seen Roberto Saviano's book “Gomorrah” in Cantabria, Urgell, and Radas which I bought in the last days of 2011? All of them. I do not know the exact number of particular books that have influenced these events thus far.

When I find a pair of pants I like, I buy a lot of them. Really a lot. Perhaps there’s something genetic here; I collect pants like my Uncle Morris collected meat. I do this because pants wear out. Is this part of a plot by the clothing manufacturers to keep us buying more? Some people think so. In my Sound and Fury file, I find an old (September 20, 1982) Ann Landers column about pantyhose manufacturers who deliberately create products that self-destruct after a week instead of a year because “the no-run nylons, which they know how to make, would put a serious crimp in their sales.” Ann concludes that she and her readers are “at the mercy of a conspiracy of self-interest.” One wonders whose self-interest Ann has in mind. Surely it’s not the manufacturers’. If there were a cost-justified way to do it, any self-interested manufacturer would switch from selling one-week nylons at $1 to selling one-year nylons at $52. That pleases the customers (whose pantyhose budget doesn’t change but who make fewer trips to the store), maintains the manufacturer’s revenue, and—because he produces about 98 percent fewer nylons—cuts his costs considerably.

You did what?” Ellen shot to her feet, dropping Val’s hand as if it were diseased. “You struck Freddy? You confronted him?” “I did. His mischief was deadly, Ellen. And his only motivation was to regain possession of the estate. He thought he could scare me off by creating accidents and setbacks, then buy the place back for a pittance, probably to sell for considerably more.” Ellen shook her head. “He wants the rents. It’s about the money, and with him it will always be about the money.” “What aren’t you telling me?” Val rose to stand behind her where she stood looking out over her gardens. “Ellen?” But she shook her head and remained unyielding when Val slipped his arms around her waist. That, more than any words, alarmed him. “Ellen,” Val spoke quietly, “Freddy won’t be bothering you anymore. I’ve seen to it.” “No.” She huffed out a breath. “No, you have not, Valentine. You have merely waved a red flag before a very angry and powerful little bull. Freddy will go off, tend his wounds, and plot his moves. He sulks and fumes and skulks about, but he does not learn his lesson.” “You’re keeping secrets.” Val rested his forehead against her nape. “Why in God’s name won’t you trust me, Ellen?” “If I tell you, will you leave?” It was Val’s turn to be silent, to consider, to weigh what was in the balance, and where, if anywhere, lay the path of hope. “I’m not going anywhere until the house and farms are completely functional,” he said. “That will take a few more weeks.” “Weeks.” Ellen stood very straight in his arms. “And then you’ll go?” “If that’s still what you want and you’ve told me the reasons why by then,” Val said, tossing his entire future into the hands of a fate that hadn’t dealt with him very kindly of late. “And until I go?” “I will be your mistress,” Ellen said, her posturing relaxing. “No.” Val turned her in his arms and tucked his chin against her temple. “You will be my love.” ***

About MC Steve Even when I was a kid, I knew I wanted to be a writer. Stories always fascinated me. And I did not just see them in books and movies… I saw them everywhere - especially in video games. When I looked at the characters in the video games I loved, I always wondered: What is their story? What do they spend their time thinking about? What great adventures will they have? Now, as an adult, and living in the greatest city in the world, I still wonder the same things. Living in New York means that ten thousand times a day I pass by strangers, each with rich and complicated lives I know nothing about. But I want to know! And when I want to know, I write. There is a medium for stories that I think many people – especially adults – ignore: and that is video games. So long and complicated are the plots of video games that sometimes they are richer than movies, or even books! In fact, it was Minecraft that actually got me going in my writing career. I saw it as a channel where the audience could not only engage in the stories, but actively participate in them. Hence, my desire to write my first book - Diary of a Minecraft Wimpy Zombie. When I first published my story, I was terrified. What will people think of me? Will they like my stories? However, given some time, kids have come up to me and told me how much they loved my book. They were not only reading, but enjoying my book! It was this feeling - reaching and connecting with kids – that inspired me to write some more. And, as I continued to write, the more positive feedback I got! Before I knew it, Readers’ Favorite rated my book 5 Stars and I became a #1 Amazon best-selling author, all from following my passion and responding to the passion I saw in others. Wimpy Zombie says, “Because zombies can’t go out into the sun, most of them tend to be afraid of anything that can go into the sun and live to tell the tale.” Let me say this: in a writer’s sense, I used to be a zombie. I was afraid to display my work to the light of day, for fear of the scorching rays of ridicule, embarrassment, or failure. But, like Wimpy Zombie eventually learns, and I learned myself, everyone needs to, at some point in their lives, be brave enough to venture into the sun. If you’d like to post a review, click on the button below and it will take you to the reviews page straightaway:  

On January 21, 1793, more grisly events forced a reappraisal of the notion that the French Revolution was a romantic Gallic variant of the American Revolution. Louis XVI—who had aided the American Revolution and whose birthday had long been celebrated by American patriots—was guillotined for plotting against the Revolution. The death of Louis Capet—he had lost his royal title—was drenched in gore: schoolboys cheered, threw their hats aloft, and licked the king’s blood, while one executioner did a thriving business selling snippets of royal hair and clothing. The king’s decapitated head was wedged between his lifeless legs, then stowed in a basket. The remains were buried in an unvarnished box. England reeled from the news, William Pitt the Younger branding it “the foulest and most atrocious act the world has ever seen.” On February 1, France declared war against England, Holland, and Spain, and soon the whole continent was engulfed in fighting, ushering in more than twenty years of combat.

Agents don’t sell books, good writing does. Plotting and characterization are what interest an editor. Agents negotiate contracts, but they don’t sell books.

A peasant—a small landowner—resides on a small plot of privately owned lands, and engages in subsistence farming.25 As his margins of profit are slim, he can go into debt for any number of reasons: personal illness, crop failure, taxation, or the monopoly of resources by the state or private elite. His first line of recourse is to procure a loan, which he can only get at high interest. The high interest renders him insolvent, so he is forced to sell or deliver family members into debt-slavery, to pay off the debt (see 2 Kgs 4:1–7; Neh 5:1–13). When this does not secure the means to pay off the debt, he has to resort to relinquishing or selling his own land (Neh 5:1–13)—his means of production—and, finally, to selling himself. Thus, he is compelled to enter the service of the state or some arrangement of feudal sharecropping for the landowning elite.26

We know that God’s will is to make us more Christlike (1 Thess. 4:3). But apart from this goal, we can rarely (if ever) know God’s desires precisely. Were we with Joseph, we would have prayed for his rescue from his brothers’ plot to sell him into slavery. Had we been with Mary and Martha, we would have asked God not to let Lazarus die the first time. Were we at the foot of the cross, we would have cried for God to send his angels to the rescue. In each case, the Lord knew better how to accomplish his will for his ultimate purposes.

What’s more, when Grant plotted total revenue over the three months against employees’ scores on the 1-to-7 scale, he found a distinct, and revealing, pattern. Indeed, revenue peaked between 4 and 4.5—and fell off as the personality moved toward either the introvert or extravert pole. Those highest in extraversion fared scarcely better than those highest in introversion, but both lagged behind their coworkers in the modulated middle.31 “These findings call into question the longstanding belief that the most productive salespeople are extraverted,” Grant writes.32 Instead, being too extraverted can actually impair performance, as other research has begun to confirm. For example, two recent Harvard Business Review studies of sales professionals found that top performers are less gregarious than below-average ones and that the most sociable salespeople are often the poorest performers of all.33 According to a large study of European and American customers, the “most destructive” behavior of salespeople wasn’t being ill-informed. It was an excess of assertiveness and zeal that led to contacting customers too frequently.34 Extraverts, in other words, often stumble over themselves. They can talk too much and listen too little, which dulls their understanding of others’ perspectives. They can fail to strike the proper balance between asserting and holding back, which can be read as pushy and drive people away.* The answer, though, isn’t to lurch to the opposite side of the spectrum. Introverts have their own, often reverse, challenges. They can be too shy to initiate and too timid to close. The best approach is for the people on the ends to emulate those in the center. As some have noted, introverts are “geared to inspect,” while extraverts are “geared to respond.”35 Selling of any sort—whether traditional sales or non-sales selling—requires a delicate balance of inspecting and responding. Ambiverts can find that balance. They know when to speak up and when to shut up. Their wider repertoires allow them to achieve harmony with a broader range of people and a more varied set of circumstances. Ambiverts are the best movers because they’re the most skilled attuners. For most of you, this should be welcome news. Look again at the shape of the curve in that second chart. That’s pretty much what the distribution of introverts and extraverts looks like in the wider population.36 A few of us are extraverts. A few of us are introverts. But most of us are ambiverts, sitting near the middle, not the edges, happily attuned to those around us. In some sense, we are born to sell.

Mary Johnson may have been the first African American woman. She arrived sometime before 1620 as the maid of a Virginia planter. Like white women, the black residents of the early southern colonies found opportunities in the general chaos around them. Johnson and her husband were indentured servants, and once they earned their freedom, they acquired a 250-acre farm and five indentured servants of their own. By the mid–seventeenth century, a free black population had begun to emerge in both the North and the South. African American women, who weren’t bound by the same social constraints as white women, frequently set up their own businesses, running boardinghouses, hair salons, or restaurants. Catering was a particularly popular career, as was trading. In Charleston, South Carolina, black women took over the local market, selling vegetables, chickens, and other produce they acquired from the growing population of slaves, who generally had small plots beside their cabins. The city came to depend on the women for its supply of fresh food, and whites complained long and loud about the power and independence of the trading women. In 1686, South Carolina passed a law prohibiting the purchase of goods from slaves, but it had little effect. A half century later, Charleston officials were still complaining about the “exorbitant price” that black women charged for “many articles necessary for the support of the inhabitants.” The trading women had sharp tongues, which they used to good effect. The clerk of the market claimed that the “insolent and abusive Manner” of the slave women made him “afraid to say or do Anything.” It’s hard to believe the marketers, some of whom were slaves, were as outspoken as their clientele made them out to be, but the war between the black female traders and their customers continued on into the nineteenth century. (One petition in 1747 said that because of the market “white people…are entirely ruined and rendered miserable.”) The

Comedy works best when an audience is not only prepared to laugh, but anxious to participate in a shared social experience. For release humor to work, the audience must be clued to every plot from the beginning. If the audience and the actor don’t know what’s behind the door, that’s mystery. If the audience knows, but someone else doesn’t, that’s release comedy.

Have you always had a dog?” I asked. I so wanted to know everything about him. “No, Pigeon’s my first pet.” “And you didn’t consider getting any other kind? Like a cat?” “A cat?” he scoffed. “Never. I’m not bringing home some sociopath intent on luring you into a false sense of security before they eat your face.” That made me laugh. “Some cats are nice and affectionate.” Not that I had any firsthand knowledge, but it had to be true. “Decoys. They’ve never forgotten that they used to be worshipped as gods. You’ll never see dogs planning on destroying humankind. Which is one of the reasons I adopted Pigeon.” “She won’t eat your face?” He smiled. “I’m pretty sure she’s not plotting my demise. And it’s nice to love somebody who doesn’t want anything in return.” Whoa, that sounded deep and like an area that was obviously none of my business but I still wanted to ask too many questions about. Before I could figure out what to say in response, he said, “While we’re on the topic of animals and their devious plans, something you should definitely know about Pidge is that she loves shoes. And by love, I mean she chews them into tiny pieces until they no longer resemble shoes. So you always want to keep your closet door shut.” “Got it. She won’t come for my face, but she will for my shoes.” Pigeon and I were going to have issues if she chewed up my shoes. I’d been forced to sell off most of my bags and footwear. The shoes I had now were very inexpensive and I wasn’t emotionally attached to them, but I didn’t have enough money to buy more cheap shoes.

The Trifecta Plot by Stewart Stafford Break moneyed bread, and a morsel of food, is now a parcel of land. Entreat in obsequious sell, and the jewel of their loins, is wed of beauteous hand. Purloin the coffers golden, and a cutpurse rules as king, with no forswearing planned. © Stewart Stafford, 2023. All rights reserved.

Unlike White Seadrifters who had access to bank loans, the Vietnamese, many of whom struggled to speak English or make sense of the paperwork, were effectively sealed off from the usual sources of capital. What they had to their advantage, though, was a centuries-old system known as hui, which functioned as a private loan club. All members of the club contributed their earnings to a pool, which was then distributed to a single family each month on a rotating basis. No paperwork or lawyers were required; the system was bound by trust and intense stigma if a member failed to pay his share on time. Through the hui, a Vietnamese family could get enough money overnight to put a down payment on a boat or buy it outright, to the bewilderment of the Whites selling them the boats, often at an exorbitant markup. Where were the Vietnamese, crammed into trailers and working for peanuts at the plant, getting all this money? Rumors started to spread among White fishermen about a secret government program giving refugees interest-free loans. They were increasingly convinced that the government, which existed to them in the form of Parks and Wildlife agents inspecting their boats and catch – oftentimes writing tickets – was out to get them: perhaps the resettlement of Vietnamese refugees was part of some deeper plot.

When the females are ready to shed their shells and soften up a bit, they become interested in mating. They start hanging around the dominant lobster’s pad, spraying attractive scents and aphrodisiacs towards him, trying to seduce him. His aggression has made him successful, so he’s likely to react in a dominant, irritable manner. Furthermore, he’s large, healthy and powerful. It’s no easy task to switch his attention from fighting to mating. (If properly charmed, however, he will change his behaviour towards the female. This is the lobster equivalent of Fifty Shades of Grey, the fastest-selling paperback of all time, and the eternal Beauty-and-the-Beast plot of archetypal romance. This is the pattern of behaviour continually represented in the sexually explicit literary fantasies that are as popular among women as provocative images of naked women are among men.)

It is better for Russia or Ukraine because they know who their enemies are and who they are fighting . Us we don’t know who our enemies are , but they keep on fighting us from within. They are using our people. They are using our resources. They are using our intelligence’s. They are using our media. They are using our platform. They are using our parliament. They are using our constitution. They are using our buildings. They are using our court. They had infiltrated us. We had been compromised. They are within us. They are now one of our own. our NGO’s, our foundations, our political parties, our Media houses , our journalists , our institutions, our politicians, and our analysts. That is why we have internal wars that never ends but results into factions and sabotaging. These Internal battles are started by these agents of destruction. These hired guns or spies within us. There are there to break the system, cause confusion, dysfunction, destabilization, chaos ,spread propaganda and to promote divisive politics. They are there to poison the minds of our people. Our enemies are next to us. We see them and great them everyday. While they are plotting against us . Judas Iscariot is not the only one to sell his friend and he won’t be the last.

I did not sell the Klan in Indiana on hatreds,” Stephenson said. “I sold it on Americanism.” These people knew what they’d signed up for: that oath before God could not have been more specific about the absolute superiority of one race and one religion and the inferiority of all others.

The second advantage of being on antipsychotics is that they can actually help. In the time I’ve been on them I’ve hurt myself less. I feel more stable. The blue men who live in my closet try to sell me fewer cookies and most of those squirrels plotting against me have disappeared.

Mike had forgotten all about foosball and was now leafing through an armload of documents. “Here’s a contract with pirates to raid American settlements in the 1820s. And plans to crash the stock market in 1929. And a scheme to capture a giant gorilla and let it wreak havoc on New York City.…” “That’s the plot of King Kong,” I told him. “I guess not all their plans worked out,” Mike said. “It seems they couldn’t find a giant gorilla. But they did sell the idea to Hollywood for a lot of money.

In the 1980s, a Fundamentalist couple named Randy and Vicki Weaver fled to a mountain top in Idaho, to get as far as possible from the U.S. government, which they considered a Zionist conspiracy. However goofy that idea was, it was the only “offense” of which the Weavers were guilty. They didn’t annoy their neighbors and they didn’t plot an insurrection against the government: they just tried to avoid and evade it. This alone was too much for the Feds. They sent in an informant to make friends with Randy and eventually entrap him into selling a shotgun. With that excuse, the FBI and ATF made war on the Weaver family, killing Vicki while she stood holding her baby in her arms, killing the older son, and even killing the family dog.*

B00MMOZ81I.

After years of being hounded by the same question—What’s the next new device?—Cook had finally delivered his answer: There isn’t one. His message hadn’t been aimed at Main Street; it was for Wall Street. He wanted investors to see that Apple was making a major shift. Rather than its products creating glory, Cook outlined a future in which Apple basked in the glory of others. He didn’t want to merely update the iPhone every year; he wanted people to pay Apple subscription fees for the movies they watched on that iPhone. He didn’t want to enable digital payments; he wanted Apple to be the processor of every transaction. And he didn’t want Apple to make the screen on which people read articles; he wanted to sell access to the magazines they read. For years, Cook had seen new revenue opportunities in each of those businesses. He had plotted a path to get there, buying Beats in 2014, courting Hollywood agents and directors in the years that had followed, and forging strong ties with Goldman Sachs throughout that time. He saw in all of it a way to shed the burden of a device business that was running out of juice and enter a world of services that promised unlimited growth.

I don’t know, it’s got appeal. Machine no match for a human and all that shit. And everyone likes to be let in on a secret. Sell people a conspiracy, their whole fucking brain will freeze up if you’re lucky. Baby-eating secret sects, a centuries-old plot to enslave mankind. Black helicopters, flying eggs. Shit like that plays to packed houses. Critical faculties out the lock.

Washington continued to permit American corporations to sell scrap iron and oil to Tokyo for its war machine. He also knew that there were over two billion dollars in American investments in Germany, which was being goaded by British diplomacy into attacking the Soviet Union.

As the spring months gave way to summer and then the first leaves of autumn started to fall from the trees by the lakeside, Séamus resolved to sell his da’s house and their small plot of land and travel to England with the money to work in the cotton mills. At least there he would have no reminders of the love he had known and lost. At least there he might stand a chance of putting Maggie Murphy and the horrors of Titanic from his mind. Fate had decided his path in life, and he now had to walk that path, wherever it might lead him.

While their powers might not have been as acute as mine, their future was equally as bleak. We were all in service to Nix. We were all bound to the destiny he laid out for us. And he had no interest in letting us be free. He would use us for his own twisted plots and evil gain. He would use us until he couldn’t anymore. He would use every last ounce of us until we shrivelled into nothing and disappeared without another thought. Welcome to the sophisticated sex trade. Our buyers paid more and our pimp was an international and highly respected businessman, but our tricks were the same and our bodies equally enslaved. In a world where human trafficking was at the highest numbers in all of history, combined, our branch of the insidious business seemed almost human compared to what others went through. But our freedom was still ripped from us and we were still forced to sell ourselves so that others could gratify their greed. A woman shouldn’t have to live like this. A woman should be able to decide everything that happened to her body. And not just women, but girls. Especially girls.

Revenue-Producing Activities Writing sales copy Coming up with offers & promotions Creating sales funnels Shooting videos Doing webinars Scheming & plotting

In 1857, in response to the massive numbers of forced migrant Muslim Tatars from the Crimea, the Ottoman Sublime Porte promulgated a Refugee Code (also translated from Ottoman Turkish into English in some texts as the Immigration Law). Responding to the grave need to provide shelter and food for its subjects, expelled initially from the Crimea but also from other border-land regions with Russia, the Ottoman government set out to swiftly disperse and integrate its forced migrants. It aimed to provide ‘immigrant’ families and groups with only a minimum amount of capital, with plots of state land to start life anew in agricultural activity. Families who applied for land in Rumeli (the European side of the Ottoman Empire) were granted exemptions from taxation and conscription obligations for a period of six years. If, however, they chose to continue their migration into Anatolia and Greater Syria then their exemptions extended for twelve years. In both cases the new immigrants had to agree to cultivate the land and not to sell or leave it for twenty years. Ottoman reformers were eager to see the largely depopulated Syrian provinces revived by these new migrants after several centuries of misadministration, war, famine, and several pandemics of the plague (Shaw and Shaw 1977: 115). The twenty-year clause also meant that these newcomers were released from the pressure of nineteenth-century property developers, as there was a kind of lien on the property, prohibiting its onward sale for twenty years.

Your best friends are also the most likely to see this novel-in-a-month plan as another of your charmingly crackpot self-improvement schemes. Don’t be offended if you encounter some good-natured ribbing; the idea of writing a novel in a month deserves to be laughed at. When the chuckles die down, though, do your best to make it clear that, however ridiculous the whole escapade may sound, you plan on seeing it through to completion. Also make it clear that when you are a best-selling author you will use a portion of your vast fortune to reward your supporters and destroy those who scoffed at you.

This is a problem,” Mr. Guess said. “What is?” Buster asked. “This,” Mr. Guess answered, pointing at Buster with one hand and Annie with the other, before bringing both of his hands together, fingers interlocked. “Buster knows all of Romeo’s lines,” Mr. Delano said. “Is the day so young?” Buster said and attempted to smile, as if trying to sell a defective product to a suddenly wise customer. “Mr. Delano,” Mr. Guess continued, ignoring Buster, “are you familiar with the plot of this play?” “I am, Joe, very much so.” “Then you know that Romeo falls in love with Juliet, they kiss, they get married, have sex, and then kill themselves.” “That’s a rather cursory—” “Romeo and Juliet kiss, correct?” Mr. Guess asked. “They do kiss,” Mr. Delano conceded.

Across Europe, millions of people worked at home along with their whole families. If the mother and father wove cloth, the children worked too: a ten-year-old sorted cotton; a teenage daughter spun thread; an older son tended the sheep and sheared their wool. Even a toddler might help by winding thread carefully onto a roll! When the family finished making their cloth, they would travel to market and sell it, using the money to buy food and tools. In the summer, they might spend more time tending their garden plot of carrots, cabbages, and beans; in the winter, when frost covered the ground, the family would go back to making cloth all day long.

My great grandfather used to buy plots of land in Russia and sell them in America. He had gold and silver mines in Australia, Japan and Malaysia. He took advantage of geographic arbitrage to buy low and sell high. You can do this right now. The current hot spot is the Philippines. Labour is their number one export, and they have great English.

People often think of storytelling as a performative act of persuading others, conveying messages, and selling ideas. But we must recognize that storytelling also extends inward, shaping your inner narration.

Mark owns a lot of land in Hawaii. He started with seven hundred acres of beachfront property in Kauai. Then he launched lawsuits against hundreds of Hawaiians who may have held titles to small plots on his estate, under an old Hawaiian law, to force them to sell their land to him. Many do not wish to sell. Mark was doing all this quietly, through three shell companies, but then the fact that he owned the companies was revealed by the Honolulu Star-Advertiser. “This is the face of neocolonialism,” a law professor pronounces in one of the articles. The Vanity Fair headline reads, “Man of the People Mark Zuckerberg Sues to Keep Native Hawaiians Off His Kauai Estate.” An Inertia editorial says, “So now it looks as though not only is Zuckerberg suing a bunch of native Hawaiians over land that’s been in their families for generations, but he’s suing DEAD people. What a dick move!

Discover the Top Kannada Books: A Voyage Through Rich Heritage and Engaging Narratives In the lively realm of Indian literature, books occupy a unique space. Renowned for their compelling stories and the exploration of intricate themes, these works have significantly influenced the literary scene. For enthusiastic readers and those eager to deepen their appreciation of Karnataka’s culture, the best selling kannada books present a valuable collection just waiting to be explored. A remarkable feature of Kannada literature is its skillful integration of the cultural and traditional aspects of the Kannada-speaking community into captivating tales. Be it the challenges faced by ordinary individuals, the complexities of interpersonal relationships, or sweeping historical narratives, these stories resonate with readers on a profound level. One of the distinguished authors in this field, [Author Name], is celebrated for remarkable creations that merge fact with fiction. Their book, "[Book Title]," has not only reached the top of the popularity charts but has also ignited conversations surrounding [relevant theme or topic]. Readers are captivated by the rich character development and the genuine feel of the settings, making it an essential read for anyone delving into Kannada literature. Another popular title that has won over many is "[Second Book Title]" by [Author Name]. This gripping tale delves into [brief description of the book's plot or themes], immersing readers in a narrative that mirrors both the challenges and victories of its characters. The rich language and heartfelt dialogue have endeared it to many, securing its place in the literary landscape. For poetry enthusiasts, [Poet's Name]’s collection, "[Poetry Title]," is particularly noteworthy. This anthology pays homage to the subtleties of life and nature, utilizing striking imagery and deep emotional resonance. The poetic style captures the core of Kannada culture, with themes that range from love and grief to the beauty of local landscapes. Its lyrical charm and sincere expressions have made it a favorite among poetry aficionados. Non-fiction works in Kannada also receive considerable attention. "[Non-fiction Title]" by [Author Name] explores [topic of non-fiction], offering insights that are informative yet thought-provoking. It illustrates how literature can connect different generations, presenting knowledge in an engaging way. Additionally, books addressing social themes are gaining traction with readers. "[Social Issue Book Title]" confronts [description of the social issue], elevating awareness and encouraging reflection. Such works play a vital role in stimulating discussions around important issues while keeping readers engaged with fascinating stories. Currently, platforms like Veeraloka Books are crucial for showcasing these best-sellers, facilitating access for readers to discover and enjoy high-caliber Kannada literature. The ease of online ordering, complemented by reviews and recommendations, allows readers to find new authors and genres that they may not have encountered previously. The best selling kannada books serve not only as literary pieces but also as portals into the essence of Karnataka's culture and the human experience. As you delve into these titles, you will discover that each book offers a distinct perspective, touching upon personal experiences and societal reflections. Immerse yourself in the world of Kannada literature and see how these narratives continue to influence and inspire readers through the years. Whether you're a devoted fan or new to Kannada literature, a wealth of literary gems awaits your discovery. Happy reading!