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D.C. police investigate shootings of transgender individuals

August 2, 2011

Just two weeks after Lashai Mclean was shot and killed in Northeast D.C., the Metropolitan Police Department (MPD) is investigating another shooting targeting a transgender woman in the same area. In a statement, the MPD said:

Due to the similarities of the victims’ sexual self-identification, M.O., locations, and lookout for suspects, the cases are being investigated as a potential emerging pattern.

The MPD said it will work to enhance patrolling in the area with the Gay and Lesbian Liaison Unit and Transgender Health Empowerment. Read more here. We urge authorities to vigorously investigate these crimes, and are pleased to see the MPD working with LGBT services in an effort to end this violence.

Transgender and gender non-conforming people live every day with an exceptionally high risk of violence. The National Transgender Discrimination Survey reports that transgender individuals experience physical and verbal harassment at a rate of up to 55 percent in homeless shelters. It’s the place many transgender people are forced to go because they face nearly twice the rate of the general population for homelessness, many are forced to remain despite the violence. These already unparalleled numbers rise even higher for people of color as well as for those living in poverty, which transgender and gender non-conforming individuals face at a rate of nearly four times the general population.

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Da Brat

Da Brat is currently serving three years in prison for aggravated assault, but she took a moment while out on work release to stop by Jermaine Dupri’s studio and send some love to the fans that have been writing to her while she is away.

“To all the fans that have been asking about me I’m out on a little pass, ” she said from J.D.s studio. “Thank ya’ll for all the mail and all the support. I can’t write everybody back…I have a job, a 9-5. I make windows. If ya’ll need a window holla at your girl.”

Da Brat is expected to be released in 2011.

RELATED: Capone-N-Noreaga Say They Treat Music Business Like Prison

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Should You Self-Publish or Go Traditional? [Infographic]

Self-Publish or Traditional? Infographic
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You might be ready to publish your book, but how do you decide whether to self-publish or pursue traditional publishing?

It’s not necessarily an easy choice for authors to make.

To help you decide which path is right for you and your book, I created a “choose-your-own-adventure” questionnaire that breaks down the crucial elements of each option. The Write Life turned it into this infographic:

Self-Publish or Traditional?

Want to embed the flow chart on your own site? Copy and paste the code below:

Looking for a more detailed explanation of each point? Here’s the full questionnaire.

1. Do you hope to become a millionaire from your writing?

If so, consider that for every J. K. Rowling, there are a million Henry Herzs. Who’s Henry Herz? Exactly. Go to 10.

If not, very good. You have realistic expectations. Go to 2.

2. Are you willing to work hard? Very hard?

If not, you’ll need to change your attitude. Honing one’s writing craft and becoming traditionally published take a Sisyphusean work ethic. Go to 10.

If so, very good. You have realistic expectations. Go to 3.

3. Why do you want to be published?

If you’re seeking the sense of accomplishment and bragging rights that accompany traditional publishing, good for you. Go to 4.

If you’re seeking personal growth, career development, speaking opportunities or want to see your writing in a physical book, good for you. Go to 8.

4. Have you built a community of people who want to buy your book?

Before you publish your book, make sure there’s a market for it and start building your author platform. Is selling 10,000 or more copies a realistic prospect? If so, fantastic. Go to 5.

If not, you should recognize that publishing is a business. Publishers won’t accept a project if they can’t reasonably expect to make a profit. Go to 10.

5. Is your skin too thin to withstand a hail of criticism and a deluge of rejections?

Does your critique group consist of your mom and your spouse because you only want to hear that your manuscript is fabulous? If so, go to 10.

If not, you appreciate that it is precisely the tough love offered by critique groups, beta readers, agents and editors that strengthens a manuscript and sharpens yourwriting. Go to 6.

6. Are you in a hurry to see your book traditionally published?

By “hurry”, I mean less than 18 to 24 months — a common timeline for publication. If so, you may not be aware of all the steps performed by traditional publishers in preparing, printing, and promoting a book. Go to 10.

If not, you have enough patience to be traditionally published. Go to 7.

7. Are you willing to follow publishing industry standards and the guidance of a professional editor?

If not, you must recognize editors have standards because they know from experience what works and what doesn’t. Your 3″ by 3″ 200-page dystopian picture book concept may be unique, but it probably won’t sell. Go to 10.

If so, you trust editors’ professionalism. Congratulations — you’re ready to pursue traditional publication! Go to 11.

8. Do you have the time and skills to publish, promote your book, fulfill orders and run a business?

Or do you have the money to pay others to do so? If not, perhaps you didn’t realize that the indie publishing path means you must have both writing and publishing skills. In addition to your role as an author, you must be an illustrator, an editor, an art director, a salesperson and a businessperson. Go to 10.

If so, impressive! Go to 9.

9. Are you well-organized?

Do you use calendars, spreadsheets, to-do lists and other tools to plan and keep track of your tasks, expenditures, sales and revenue?

If not, please recognize that running a business by using a shoebox to file your receipts is a recipe for disaster. Go to 10.

If so, you understand the benefits of being organized. Congratulations — you’re ready to indie publish! Go to 11.

10. You’re not ready — yet

If you’ve landed here, it means you’ve realized that you’re not yet ready for publication.

Don’t despair — while you may not be ready now, you may simply need to make a small tweak. Maybe that means saving up money to pay an illustrator, learning new skills or adopting more realistic expectations.

11. Indie versus traditional publishing

Let’s wrap up with a quick comparison of the benefits of each path.

The benefits of indie publishing include:

  • Publication is guaranteed: You know you’ll be published, since you’re the one making it happen.
  • Move at your own pace: Publish as quickly or as slowly as you’d like.
  • Full transparency and control: You make all decisions about creating, publishing and promoting your book, so you know what’s going on with every aspect of your project.
  • Set your own standards: You decide what your book will look like.

The benefits of traditional publishing include:

  • The publisher pays expenses: Someone else picks up all the costs.
  • Your team brings expertise: Your editor and agent know their jobs well and make your book as strong as possible.
  • You’re only responsible for writing: The publisher doesn’t expect you to be a copy editor, art director or marketing guru.
  • Wider potential audience: The resources and connections of a traditional publisher often lead to wider exposure.

The lesson? Your publishing decision should not be taken lightly.

While self-publishing gives you all the control and all the profits, it also means you’re responsible for all the expenses and all the work.

If you’ve published a book, how did you decide between self-publishing and traditional publishing? If you haven’t published yet, what are you considering?

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Henry writes sci-fi and fantasy books for kids. He’s a SCBWI member, and he interviews KidLit and SpecFic writers on his blog at .

Henry Herz | @Nimpentoad

Henry Herz
Traveler and blogger Chris Guillebeau

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  1. This is a really cool infographic; complicated but very well thought out. The one thing that’s missing here for me, however, is the very real fact that it’s incredibly difficult to get traditionally published. Most of the authors I work with—even most of those I publish—pursue traditional as a first choice, and then come around to the idea of self-publishing. It’s no longer the case that if you have the desire and the drive you can get traditionally published. The barriers to entry are officially so high that great authors who would have been traditionally published ten years ago simply cannot get deals. I just want to put that out there for the readers—that the path to publishing is not an either/or scenario. And then there are the hybrid options (like my press, She Writes Press, and so many others—Ink Shares, Turning Stone, and countless others) who are creating an in-between space specifically because there’s so much grey. Any thoughts on this, Henry?

    • Hi Brooke. I agree with your point that the barriers to entry for traditional are very high. And you raise an oft-observed tactic: strive for traditional and fall back on indie if traditional doesn’t pan out. My goal with this post was to convey that indie is such a different animal than traditional, that one should NOT view it as a fallback unless ALL the responsibilities are understood (performing or paying for artwork, editing, publishing, promoting, etc.) or one’s goals are extremely modest (e.g., I just want to publish 10 copies of my autobiography for my extended family).

    • Guess I did it backwards. I was about to go ‘self-pub’ with my memoir,’Yo God Jay’s Story’, when a traditional publisher accepted my manuscript.Can’t even begin to tell you how thrilling that was – especially when the self pub representative congratulated me saying, “way to go.”

      Let me preface this with a note that there isn’t a writer alive who doesn’t hope to become a rich and famous best selling NY Times author. Are you kidding?

      The forces that convinced me that traditional was the “way to go,” were:
      1. It was too expensive for me and
      2. a librarian’s statement. “We rarely stock self-published books.” plus the same comment from a few school districts ,” We don’t accept self-published books for our students to read.”

      Right here, I’d like to say that I have read and enjoyed many of them, but without exception found glaring mistakes by authors who think they don’t need (to pay for) editing. With my traditional publisher editing, art work FORMATTING and promoting were all financed by them. (Although I am doing a lot of promoting myself)

      Yes, I do feel a sense of accomplishment that I would not have gained through self-publishing. The best way I heard it put was:
      In self publishing (vanity press) you choose the publisher.
      In traditional, they choose you.

      The worst disaster I ever heard was from a friend who sunk 20 thousand dollars in her book and sold one copy.

      As far as the time goes, the 18 month wait was nothing compared to the 16 years it took to write my book . Like fine wine. a good product takes time to attain excellence.

      In retrospect, I am glad that I couldn’t afford to self-publish.

    • The barrier to entry with a publisher are high, but I would say they’re not higher than self-publishing. Ultimately the task of finding readers falls to the author, and that’s hard to do no matter where the book comes from. Pitching to a publisher should be treated like a resume and cover letter for your dream job. If you do your homework – who they are, what they stand for, recent successful books, niche, who else just released a book on amazon on your same topic – you have a much higher chance of getting your manuscript accepted. I spent days honing the pitch for my memoir, but my effort paid off – it got accepted the first time!

  2. Something seems off here. Is it just me, or is the only way to even reach the indie publishing option to first say you want the bragging rights of traditional publishing? (And it seems a bit strange to force a choice between being a millionaire and just earning a few bucks from your writing — most indies I know do it because it’s a good way to earn a living, which falls squarely in between.) It’s a nice concept. But it doesn’t really work in its current state. 🙁

    • Thanks for the heads up about the error in flow, Jennifer — we had two elements reversed on the graphic. I’ve uploaded a corrected version.

      TWL Assistant Editor

    • Hi Jennifer. Good catch on the infographic. You are right that the choice of millionaire or not is an extreme one. That was intended to be a shorthand way to convey that one should not EXPECT to make a SIGNIFICANT amount of money from publishing; that to think one is the next J.K. Rowling is not realistic. Most indie published books sell fewer than 100 copies. I am glad to hear that you know people who can earn a living as indie authors. Unfortunately, in my experience, the number of indie authors actually earning a living is very small. I do think being an indie is a good way to hone BOTH one’s craft and increase one’s understanding of publishing and promotion.

      • Jrnnigrt Msttern and Henry Herz, your comments have targeted what I’ve learned about being an Indie publishing my book vs Traditional publishing. I am getting my book ready to re-publish as traditional. But, it is absolutely correct the things learned by Indie publshing; it is an immense learning curve and not meant for everyone to be writer, illustrator, and the one to format the manuscript ready for print. I can’t wait to get my book out there for the Traditional publishers. I am in this for the long haul, knowing I’ll be knocking on many doors. The steps of both shown in the graphic is enlightening.

        • Jennifer Msttern and Henry Herz, your comments have targeted what I’ve learned about being an Indie publishing my book vs Traditional publishing. I am getting my book ready to re-publish as traditional. But, it is absolutely correct the things learned by Indie publshing; it is an immense learning curve and not meant for everyone to be writer, illustrator, and the one to format the manuscript ready for print. I can’t wait to get my book out there for the Traditional publishers. I am in this for the long haul, knowing I’ll be knocking on many doors. The steps of both shown in the graphic is enlightening.

  3. Jennifer, since commenting you’ve probably seen that there’s a choice of two potential red answers to the chart’s question “Why do you want to be published?” The red answer that you initially noticed isn’t the only answer-path. Your point about making a living in the financial middle ground is valid. Henry must have been trying to get us to smile with his hyperbole.

    Henry, thanks for allowing everyone to share this infographic. I have, and it should come in handy when I talk to prospective clients. I’ll have a visual aid!

    All authors with experience being published can learn from each other. By nature, authors typically are very generous in this regard. The same is not true of all professions.

  4. I imbedded the graphic to my blog. Thanks for providing it!

  5. Thank you, I put this on my blog with the link (a major achievement for a technophobe such as myself). A terrific little tool and a good grin generator. Thank you again.

  6. Loved this post – the flow chart especially made me laugh. Thanks Henry!

  7. I’ve gone the traditional route (my book will be published by HarperCollins/Katherine Tegen Books September 2015), but the only way I could “make it” to traditional publishing on this chart was to choose “bragging rights.” Something seems off to me about that.

    • Hi Jackie. Well, it is a (relatively) simple graphic that doesn’t cover all possibilities. What did lead you to make the decision to pursue traditional publication?

      • Yes, I understand that. And I think the infographic achieved what it intended (plus, it made me grin). 🙂

        I just think that “bragging rights” as the only way to be instructed to pursue traditional publishing missed the mark.

        • Jackie I agree with you! I want to go traditional publishing because I don’t have the money to pay for everything, and I want a physical book, not an e-book like many self publishing authors have. I couldn’t get to traditional publishing because I went to wanting the physical books as opposed to bragging rights, and then when I said I didn’t have the money for pay for advertising it told me I wasn’t ready!
          (Which I’m not, but not because of money issues! Because I haven’t finished my MS yet).

  8. I think it’s a fun infographic, Henry, thanks. I’ve embedded it at my blog, as well.

  9. Phyllis Humphrey says:

    Before self-publishing was an option, lots of us wanted to go traditional. Except in rare cases, that is not a choice. You can TRY, but how many years are you willing to wait for the acceptance? And when I did get accepted, I had no control over the cover (one was unbelievably bad) or the price of the e-book (three times higher than similar books) or the timing. And that doesn’t even count the four incompetent agents.

    Now I self-publish, swapping proofreading chores for artist cover design, and earn enough to pay a few bills. As my number of books written increases, so do my number of sales. This year is already shaping up to be my best yet. And my books will never go out of print.

    • It’s great to hear you’ve found a system that works for you, Phyllis. Bartering is an option many people overlook. Best of luck with your book sales this year!

      TWL Assistant Editor

      • Isn’t it possible to use self-publishing as a testing ground for more traditional publishing avenues?

        Let’s look at an example. Instead of submitting my novel to an agent, my first move would be to create a series of fiction works in which the same protagonist is featured. Let’s say I want to publish a mystery novel, so I create a series of Kindle books along with a blog to promote the series. I develop a mailing list of readers who love the series and I build anticipation into the blog about upcoming releases. Assuming all goes as planned, at a certain point, I’d reach critical mass – a large following of readers. That large following of readers thus becomes fodder for pitching my novel to traditional publishers.
        Or does it depend on the genre?

        • It’s hard to predict, Oscar, but that strategy might be a good one! Starting with self-publishing has worked for several authors recently (Hugh Howey is one example). Best of luck!

          TWL Assistant Editor

  10. Even for humor’s sake, I find it awfully strange that wanting to see your writing as a physical book would make it impossible to publish traditional, not to mention that the only alternative that leads to traditional is bragging rights. I want my books to reach my readers, even if that means letting someone else take the reigns on a few categories of the work. If I know anything from talking with most self-published authors I know, it’s a) they refuse to accept traditional publishing as anything worth spitting on, and b) they’ve sold maybe 10 books per each publication, but they’re pretty darn proud of those 10 books so it’s okay.

    Then again, I also find that traditional route has been given a majorly negative stigma. One article I read basically suggested it was a “lazy route” for people with too big of dreams, and a lot were directly shutting down the mode of work altogether, treating it as a dying resource. That just seems downright ridiculous to me, and it’s really making it difficult to find the resources I need to get started (note, I was brought here and to a lot of pro-self publishing articles by a Google-search for traditional publishing resources, because the only one I can think of is the Writer’s Market).

    Oh well, inquiries aside this was a really cute chart, and very fun 🙂 I was thrown off by the first question, since I read it as “I want to be the next J.K. Rowling” which I do want to be, since I want to give as many readers as possible a place to escape and to dream through the outlet of a book, which often requires selling a lot of books. It was a bit depressing when I got the “need more experience” ending, but it was a nice laugh when I realized that I misread it haha (goodness knows my writing isn’t perfect by any means).

  11. Found this video helpful in regard to this topic.

  12. I write for the Women’s Fiction Writers Association newsletter. I’d love to include your infographic in one of our upcoming issues, but wanted to check in on a few things.
    1. Do you own the rights to the infographic ie: did you create the infographic? If not, are you allowed to agree to another group utilizing the infographic in a newsletter?
    2. If yes, may we (WFWA) have permission to utilize the infogrpahic in the Industry News newsletter.
    3. Also, how should the infographic should be attributed?

    • Hi Mary Helen,
      Thanks for your comment! This is our own infographic, and you’re welcome to share it. Please credit Henry Herz and Andrew Kirschner and link to The Write Life. Thank you for sharing our work!
      Thanks for reading,
      Lisa Rowan

  1. […] been wondering whether to go traditional or self-publish. The Write Life published a fun graphic to help answer that […]

  2. […] The Write Life team has created an infographic called “Should You Self-Publish or Go Traditional?” We’ve embedded the entire graphic below for you to explore further. […]

  3. […] The Write Life team has created an infographic called “Should You Self-Publish or Go Traditional?” We’ve embedded the entire graphic below for you to explore further. (more…) […]

  4. […] autoeditarte o ir por la edición tradicional?,” una infografía creada por el equipo de The Write Life y a la que llego gracias a Galleycat que pretende responder algunas de las interrogantes que los […]

  5. […] reading the numerous comments on the original posting on The Write Life the author explained it was mostly humorous and to make people wake up to how taxing self […]

  6. […] it! I date you 😛 (adsbygoogle = window.adsbygoogle || […]

  7. […] we leave you with this guidance on choosing between self-publishing and traditional […]

  8. […] What’s The Best Route For Entrepreneurs. And here’s an excellent infographic at The Write Life. Do a Google search; there’s plenty of information […]

  9. […] found this Infographic on The Write Life and just had to […]

  10. […] is an infographic that I came across recently, which was first published on The Write Life some time ago. According to the original author, the intent is largely humorous – it serves to highlight […]

  11. […] April 25, 2015April 24, 2015 | Stephanie Courtesy of: The Write Life […]

  12. […] self-publishers are ambitious entrepreneurs who learn to wear several hats and display a variety of talents. To understand and cover the costs of self-publishing your book, […]

  13. […] still on the fence about whether to self-publish or go the traditional route, here’s a handy infographic to help you […]

  14. […] self-publishers are ambitious entrepreneurs who learn to wear several hats and display a variety of talents. To understand and cover the costs of self-publishing your book, […]

  15. […] an effort to help current and future authors, The Write Life has put together this useful infographic to help guide you down the correct path for your next […]

  16. […] By N. L. Jackson ¶ Posted in Books, Self-Publishing, Writing ¶ Leave a comment The dilemma of getting your creation out to the world can be confusing and frustrating.  You would love for a publisher to publish your masterpiece.  But, that can be a long and daunting process, IF they decide to publish your work. On the other side of the coin, self-publishing gives you more power and flexibility.  But, are you ready to do it all… editing, designing, publishing and marketing? If you’re not sure which publishing avenue you want to take, this flow chart may help you decide. Happy Publishing! Courtesy of: The Write Life […]

Speak Your Mind


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Writing a Novel? 6 Visual Storytelling Techniques to Borrow From Film and TV

Writing a novel: Storytelling techniques
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Many of us were raised watching thousands of movies and television shows. The style, technique and methods used in film and TV are so familiar to us, we process them comfortably. To some degree, we now expect these elements to appear in the novels we read — if not consciously, then subconsciously.

We know what makes a great, riveting scene in a movie, and what makes a boring one — at least viscerally. And though our tastes differ, certainly, for the most part we agree when a scene “works” or doesn’t. It either accomplishes what the writer or director has set out to do, or it flops.

As writers, we can learn from this visual storytelling; what makes a great movie can also strengthen a novel or short story. Much of the technique filmmakers use can be adapted to fiction writing.

Break up your scenes into segments

Just as your novel comprises a string of scenes that flow together to tell your story, so do movies and television shows.

However, as a novelist, you lay out your scenes much differently from the way a screenwriter or director does. Whereas you might see each of your scenes as integrated, encapsulated moments of time, a movie director sees each scene as a compilation of a number of segments or piecesa collection of camera shots that are subsequently edited and fit together to create that seamless “moment of time.” By thinking in terms of segments in creating each scene, writers can create a dynamic, visually powerful story.

So how can novelists structure scenes with cinematic technique in a way that will supercharge their writing? Here are six steps that will help you structure your novel as if you were a filmmaker:

1. Identify key moments

Think through your scene and try to break it up into a number of key moments. First, you have the opening shot that establishes the scene and setting. Then, identify some key moments in which something important happens, like a complication or twist, then jot those down.

Then write down the key moment in the scene  — the “high moment” — that reveals something important about the plot or characters. That should come right at or very near the end. You may have an additional moment following that is the reaction or repercussion of the high moment.

2. Consider your POV

Now you have a list of “camera shots.” Think of each segment on your list, then imagine where your “camera” needs to be to film this segment.

Remember, you are in a character’s POV — either a first-person narrator telling and experiencing the story or a third-person character in that role. So consider where that character is physically as he sees and reacts to the key moments happening in your scene. You now have your “direction” so that you can write this scene dynamically. Come in close to see important details. Pull back to show a wider perspective and a greater consequence to an event.

3. Add background noise

Consider what sounds are important in this scene. They could be ordinary sounds that give ambiance for the setting, but also think of some sound or two that you can insert into the scene that will stand out and deepen the meaning for your character.

Church bells ringing could remind a character of her wedding day as she heads to the courthouse to file divorce papers. Birds chirping happily in a tree next to a grieving character can sound like mocking and deepen the grief.

4. Color your scenes

Colors can be used for powerful effect. Different colors have strong psychological meaning, and filmmakers often use color very deliberately. Red implies power; pink, weakness. You can “tinge” your scenes with color and increase the visual power. Color can also add symbolism to an object or be a motif.

Want to learn more? A great book to read is Patti Bellantoni’s If It’s Purple, Someone’s Gonna Die.

5. Think about camera angles

The angle of a “shot” also has powerful psychological effect. A camera looking up at a character implies he is important or arrogant or powerful or superior. A camera looking down implies someone who is weak or inferior or oppressed or unimportant.

If your character is in a scene with others and feels superior, you might have him elevated or being seen from below to emphasize this. A woman being fired might be sitting in a chair with the boss standing over her. These little touches add visual power.

6. Include texture and detail

Consider adding texture. Too often, novelists put their characters in boring settings, without saying where they are, what time of year it is, or what the weather is like. We exist in a physical world, and movies showcase setting and scenery in great detail.

Add texture to your scene by infusing it with weather and sensual details of the surrounding area. The feeling of the air in late fall in the middle of the night in Vermont as two characters walk through a park is texture the reader will “feel” if you bring it to life in your scene.

Novelists who think like filmmakers can create stunningly visual stories that will linger long after the last page is read. Spend some time using a filmmaker’s eye to take your scenes to the next level, giving them dynamic imagery and sensory details as well as deliberately placing characters, colors and sounds in your scenes for targeted psychological effect.

If we want to move readers emotionally by our stories, the best way is to bring our novel to life by using cinematic techniques.

Have you tried using these cinematic techniques to bring your story to life? Can you think of a novel you’ve read that used colors or sounds in a significant symbolic way? Share in the comments!

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S. Lakin is the author of sixteen novels and five writing craft books. Her award-winning blog Live Write Thrive gives tips and writing instruction for both fiction and non... .

Live Write Thrive | @cslakin

C. S. Lakin
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  1. I recently listened to an audio book with a scene that took place on a beach . . . in a hurricane . . . the beach house was burning down . . . the four characters in the scene were having a life changing conversation. There was no noise in the scene (your point no. 3). The characters weren’t yelling over the storm nor were they soaked to the skin (point no. 6). The scene, which was the climax of the story, should have been powerful with all those elements in it, but it wasn’t fully visualized. The scene failed and brought the whole story down with it.

  2. I find it helpful to think in terms of contrasts when deploying some of these techniques. Also, I personally think it’s important not to get too cinematic in your writing. Fiction is its own art form having mostly to do with the wonder that is language. It stands well on its own. In my opinion, to the extent your novel is “unfilmable,” the better your work will be.

    • Hi Ed, the amount of cinematic technique, of course, can vary in a novel. Most writers, however, use almost none, and not any with deliberateness. My aim in writing and teaching cinematic technique for novelists is to get writers thinking of these tools and using them in ways that will help show their scenes better. Fiction can’t just “stand on its own” with just beautiful language. Novels are a form of storytelling and to tell a story, a writer has to convey that story somehow and not just summarize in the manner of a story synopsis. So, I suppose I wholly disagree with your conclusion, for the more “filmable” a novel is, the better the work will come to life and be approachable to the reader. The key is in getting readers to feel emotion. As Michael Hauge says: “The objective of any story is to elicit emotion” and you can’t do that if you don’t “show” a story. Telling about one isn’t going to cut it. At least from my experience over 30 years of writing, and also critiquing and editing 200+ manuscripts a year.

      • Your argument likely holds for popular fiction, but writers like William Burroughs, Thomas Bernhard, Samuel Beckett, Claude Simon, Nathalie Surrault, Alain Robbe-Grillet, Mark Leyner, Marie-Claire Blais, John Barth, William Gass, and a host of other celebrated literary novelists might tend to disagree.

        • Of course there are plenty of writers who don’t write cinematically, as there will always be readers that prefer those other styles. However, as Sol Stein said in Stein on Writing: readers today, used to TV and movies, want their stories to be more visual. They want to watch the story unfold instead of being told about it. I believe the bulk of readers would rather be entrenched in a sensory-filled visual experience by reading scenes happening in real time instead of reading pages of description and backstory. For those writers who want to write those kinds of books, this technique is invaluable. And even the more literary writers who opt for less showing than telling can still benefit from occasionally “shooting” a scene. I personally feel the more a writer “shows” instead of “tells” a story, the better.

  3. I love point #5. Something to consider.

    I tend to write what comes to me while in the scene which doesn’t always include all these points. I have a habit of focusing on one or two points without remembering the others because it’s what I’m best at. I usually use a scene checklist to make sure I haven’t forgotten anything.

  4. Great tips for thinking from a video perspective when storytelling. Any fiction writer will benefit from this checklist. Thanks so much!

  5. Gill Otto says:

    A really illuminating article – thank you. I was particularly struck by the idea of ‘subliminal’ underlining of status – having the powerful person elevated or standing, perhaps because my character is trying to establish his leadership in a group at this very moment. I have totally legitimized movie/tv watching to myself as an inspiration for my writing. If you watch something like ‘In Plain Sight’ with the subtitles on, it is a master class in dialogue writing and even body language. The beautiful photography of something like “The Eagle” was inspirational for me – how a Roman might have prayed to his ancestors, the marshes (nothing like Calleva Atrebatum today), the hills, the jungle-like opening scene that set up a parallel with Vietnam/Apocalypse Now/ which leads to “Heart of Darkness”. I also like the idea that in a movie, there is nothing in the scene until the crew(director/writer/actor/set dresser) fill it with carefully chosen details. I believe the page is similarly empty until the writer fills it with sight/sound/lighting/mood/something happening.

  6. We agree with many of the points made in this post; and to be honest, we don’t tend to think much about the symbolism of colours or sounds as we create a scene. So we’ll be paying more attention to that in future.

    Another way we like ‘showing’ rather than ‘telling’ — though this isn’t truly cinematic, as it’s internal — is by exploring the senses, other than sound and sight.

    A very good article.

  7. Thank you for your piece. Many writers begin to engage with us in The Write Space, having no idea that words have energy, can “paint” pictures, can really “sound” and can excite. Many people – children included, have been taught to just write anything – as I call it Jigsaw Writing where words have to fit and grammar has to be correct and spellings in order. The imagination is limitless and that is the point with good writing – to try to harness that. One adult even asked me if it was ok to write something from her thoughts. That is how constrained many people have become.

  8. Well! I love to write this way. I always put lots of refined details (when necessary, of course), smells, touch, sound, taste, feelings in my novels. I love to make them sweat with my characters’ fears, smell the wet dirt after a rain or the dusty fabric of an old chair found in an attic, touch the silkness of a rose petal or the roughness of an old rusty mailbox, gawk with my hero in front a breathtaking sunset, shiver to the threatening sound of footsteps in the night or the frightening feeling of a presence nearby in a dark forest and to laugh with relief when they realize it was just a cat… I love when they write to me and say that their heart was pumping when reading a special chapter of one of my books…

    My readers love it as they enter in the story with me… but many tease me that I am writing like St-Exupéry with a big lump of Honoré de Balzac… so… of course, you can’t please everybody…

    … but… up to what point do you think we should “describe”? Should we let some to the imagination? Or should I continue like I do… showing the feeling and fulfilling the senses? What is your input on this?

    Thank you for your interesting article.

  1. […] Storytelling crosses many media, and we can learn a lot by borrowing from other media when we write. Shelli Cornelison shares 5 lessons learned about novel writing from watching Orange Is The New Black, and C.S. Lakin tells novelists about 6 visual storytelling techniques to borrow from film and TV.  […]

  2. […] Writing a Novel? 6 Visual Storytelling Techniques to Borrow from Film and TV – Rewriting might be different from writing, especially if your first draft wasn’t particularly awful, but some scenes will certainly need to be rewritten entirely and might just be better if you use these techniques. […]

  3. […] de música, de performance, de efeitos especiais visuais e de maquiagem… todo um desfile de ferramentas cinematográficas. Mas em prosa, tudo o que nós temos com que trabalhar são palavras, e a imaginação dos nossos […]

  4. […] artigo a seguir, complemento do nosso último post, foi escrito por C. S. Lakin e publicado […]

  5. […] The best way to do this is to unfold the story before your reader’s eyes by using vivid language that helps him visualize each scene. […]

  6. […] The best way to do this is to unfold the story before your reader’s eyes by using vivid language that helps him visualize each scene. […]

  7. […] is more mentally deflating to a reader (of any piece of writing) than to see monotonous bricks of […]

  8. […] The best way to do this is to unfold the story before your reader’s eyes by using vivid language that helps him visualize each scene. […]

  9. […] read, “Writing a Novel? 6 Visual Storytelling Techniques to Borrow From Film and TV” by C. S. Lakin on The Write Life […]

  10. […] storytelling examples: article, article 2, video, the […]

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Welcome! I’m Thomas…

SQL Server Configuration Check

SQL Server Configuration Check

config_check_warningI was going through some old files recently and I came across a folder that was essentially a junk drawer of scripts I’ve put together over the years. I don’t know what to do with most of them now. For example, the isql scripts for some Sybase ASE 11.5 instances aren’t very helpful for many these days.

Still, I can’t bear to just delete them. I’m thinking I should put them on a floppy disk where they belong.

But not all of the scripts I found are old. One script is a little something I put together for a TechEd presentation in 2012. This script should(!) be able to quickly flag any server configuration option that is set to a non-default value.

Now, just because your instance is running with a non-default configuration value is not, by itself, a bad thing. For example, the default value for max server memory is 2147483647MB (yep, just about 2PB of memory). So, changing that particular option is often recommended. And depending upon your system you might find other default values (such as “cost threshold for parallelism”) changed from the default value as well.

In that 2012 TechEd talk I used Powershell to execute this script against multiple servers, but you should do whatever is right for you. In fact, I would encourage you to alter this script for your environment. If, for example, you want all your servers to have “cost threshold for parallelism” to be set to 30, then alter this script to reflect that default value instead.

The SQL Server configuration check script below has been tested against SQL 2005 and later versions. If you use it and find any issues, just let me know. The full script is below, but you can also find it here for download.

The script itself is fairly simple. It defines and populates a table variable (named @config) with the name of the configuration option and the default value. While the configuration options available have changed changed slightly between versions of SQL Server through the years the default values for the configuration options have not changed. So I can populate this table variable as a sort of master list and compare that to the sys.configurations table using an inner join on the name of the configuration option. The script will check your current sys.configurations table for either a configured (i.e., your currently set default) or a running value that does not match the out-of-the-box defaults you get with SQL Server.

Before I get to the script, here is my usual disclaimer:

Script disclaimer, for people who need to be told this sort of thing:

DISCLAIMERDo not run code you find on the internet in your production environment without testing it first. Do not use this code if your vision becomes blurred. Seek medical attention if this code runs longer than four hours. On rare occasions this code has been known to cause one or more of the following: nausea, headaches, high blood pressure, popcorn cravings, and the impulse to reformat tabs into spaces. If this code causes your servers to smoke, seek shelter. Do not taunt this code.

  File: SQL_Server_config_check.sql
  Author: Thomas LaRock,
  Summary: This script will check the values of your sys.configurations table
   and compare it to the default values. The script should return a row for any
   configuration option that is currently set to a non-default value.
   I’ve created one table variable to hold the default values for every version of
   SQL Server going back to SQL 2005. You can verify for yourself that I have used
   the default values for each version by reading this BOL entry:
   You’ll note that the default values have not changed(!) between versions, but
   certain configuration options are not available in each version. By using an
   inner join on the name column I believe the extra rows are not an issue for
   our final result set.
   But hey, I’ve been wrong before.
  Date: July 24th, 2014
  SQL Server Versions: SQL 2005, SQL 2008, SQL 2008R2, SQL 2012, SQL 2014
  You may alter this code for your own purposes. You may republish
  altered code as long as you give due credit.
    name nvarchar(35),
    default_value sql_variant
INSERT INTO @config (name, default_value) VALUES
('access check cache bucket count',0),
('access check cache quota',0),
('Ad Hoc Distributed Queries',0),
('affinity I/O mask',0),
('affinity64 I/O mask',0),
('affinity mask',0),
('affinity64 mask',0),
('Agent XPs',1), -- Changes to 1 if SQL Agent is started, so I check for that
('allow updates',0),
('awe enabled',0),
('backup compression default',0),
('blocked process threshold (s)',0),
('c2 audit mode',0),
('clr enabled',0),
('common criteria compliance enabled',0),
('contained database authentication', 0),
('cost threshold for parallelism',5),
('cross db ownership chaining',0),
('cursor threshold',-1),
('Database Mail XPs',0),
('default full-text language',1033),
('default language',0),
('default trace enabled',1),
('disallow results from triggers',0),
('EKM provider enabled',0),
('filestream access level',0),
('fill factor (%)',0),
('ft crawl bandwidth (max)',100),
('ft crawl bandwidth (min)',0),
('ft notify bandwidth (max)',100),
('ft notify bandwidth (min)',0),
('index create memory (KB)',0),
('in-doubt xact resolution',0),
('lightweight pooling',0),
('max degree of parallelism',0),
('max full-text crawl range',4),
('max server memory (MB)',2147483647),
('max text repl size (B)',65536),
('max worker threads',0),
('media retention',0),
('min memory per query (KB)',1024),
('min server memory (MB)',0),
('nested triggers',1),
('network packet size (B)',4096),
('Ole Automation Procedures',0),
('open objects',0),
('optimize for ad hoc workloads',0),
('PH timeout (s)',60),
('precompute rank',0),
('priority boost',0),
('query governor cost limit',0),
('query wait (s)',-1),
('recovery interval (min)',0),
('remote access',1),
('remote admin connections',0),
('remote login timeout (s)',10),
('remote proc trans',0),
('remote query timeout (s)',600),
('Replication XPs',0),
('scan for startup procs',0),
('server trigger recursion',1),
('set working set size',0),
('show advanced options',0),
('SMO and DMO XPs',1),
('SQL Mail XPs',0),
('transform noise words',0),
('two digit year cutoff',2049),
('user connections',0),
('user options',0),
('Web Assistant Procedures', 0),
SELECT, sc.value, sc.value_in_use, c.default_value
FROM sys.configurations sc
INNER JOIN @config c ON =
WHERE sc.value <> sc.value_in_use
OR sc.value_in_use <> c.default_value

Let me know if you find the script useful, I may have one or two other scripts laying around worth sharing as well.

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2010-10-14 / Religion

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Discount Designer Ties - Since 2003

Pocket Squares

View All Designer Pocket Squares

Wide variety of brand name pocket squares/ hankies. Ralph Lauren Purple Label pocket squares, Tom Ford pochette and Robert Talbott pocket squares added! 80+ styles silk designer hankies in stock! Genuine designer pocket squares at 40% - 70% off, made in Italy. Silk and cotton pocket squares, hand rolled borders. Popular: White Hankie Valentino.

All silk men hankies are 100% new/ genuine:  hankies/ pochette/ pocket squares, brands available:

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Tiedeals ships orders directly from San Diego, California. Tiedeals is specializing is selling bespoke/ brand name neckties since 2003. Tiedeals has been the leading source online for offprice designer ties, silk bow ties and bespoke dress shirts for men. The world's very best bespoke men brands, including Kiton, Borrelli, Brioni and Zilli, are available at outlet prices. The latest reductions are found on the outlet sale page, including Borrelli sevenfold ties at 65% off, Tom Ford bow ties at 60% off, Zilli dress shirts at 55% off. Winter collection deals: Get a top quality cashmere men scarf by Agnona 65% off, a cashmere/ wool Kiton coat at 65% - 70% off


text:
 Trademark SIMPLIS registered by MUELLER EUROPE (Société anonyme) at OHIM

Word mark

Trademark: 'SIMPLIS'
MUELLER EUROPE (Société anonyme)
European Community Trademark, no. 000546333, Word mark

On 12. 5. 1997 the community trademark application no. 000546333 was filed for SIMPLIS (Word mark) by MUELLER EUROPE (Société anonyme) before the OAMI.The goods and services in respect of which registration of the trademark was sought are in classes 6, 11, 17 and 19. The current status of the trademark is registration expired.

Status is 'Registration expired'
The Community Trade Mark has not been renewed by the trademark owner and has therefore expired.

Registered31. 3. 1999
Expiry date12. 5. 2007
Nice classes6, 11, 17, 19

You can follow this trademark. You will receive an email, whenever we detect changes of the trademark filing.
This service is for free. You can unsubsribve whenever you want. More information.

MUELLER EUROPE (Société anonyme)
Rue Michel Gendron
77650 Longueville

If you are the trademark owner and the data above are not correct, then please update them soon by clicking on Update address.

If you want to transfer the trademark to another owner, click on Transfer trademark.

You can transfer a trademark partially or completely to another owner. A partial transfer means that you can transfer a trademark in specific classes.

Still questions? Call us : 0049 (0) 89 6666 10 89

83, avenue Foch
75116 Paris

If the data above is not correct, then please choose Update.

Nice classes

6  Common metals and their alloys; metal building materials; transportable buildings of metal; metal components for building , materials of metal for railway tracks; non-electric cables and wires of common metal; ironmongery of metal, non-electric; ironmongery (small); pipes, tubes, nozzles, pipework; pipe muffs, junctions of metal for pipes; copper rings; safes; ores.

11  Apparatus for lighting, heating, steam generating, cooking, refrigerating, drying, ventilating, water supply and sanitary purposes. installations for lighting; water conduit installations; water supply installations; water-pipes for sanitary installations; air-conditioning, freezing, refrigeration apparatus and installations; cooking apparatus, boiler pipes for heating installations.

17  Rubber, gutta-percha, gum, asbestos, mica; plastics in extruded form for use in manufacture; packing, stopping and insulating materials; flexible tubes, not of metal; pipe muffs, junctions for pipes; fire hoses, watering hoses; connecting hose for vehicle radiators; hoses of textile material.

19  Building materials (non metallic); non-metallic rigid pipes for building; asphalt, pitch and bitumen; non-metallic transportable buildings; monuments, not of metal; chimney shafts, gutter pipes, drainage pipes not of metal; worked timber, building timber and floor boards.

Records history

21.1.2017 The current state is Registration expired
Current state
16.3.2008 Trade mark expired
D.1 Renewal of a mark
12.5.2007 Expiry
Expiry date of the trademark 000546333 SIMPLIS
15.11.2001 Published
Proprietor - Change of name and address
25.7.2001 Registered
Proprietor - Change of name and address
31.3.1999 Registration
Registration of the trademark 000546333 SIMPLIS
12.5.1997 Application
Application of the trademark 000546333 SIMPLIS

Further trademarks of the owner


text:
 Trademark logo (figurative mark) registered by The Royal Bank of Scotland Group plc at OHIM

Logo (figurative mark)
The Royal Bank of Scotland Group plc
European Community Trademark, no. 000790857, Figurative mark

On 31. 3. 1998 the community trademark application no. 000790857 was filed (Figurative mark) by The Royal Bank of Scotland Group plc before the OAMI.The goods and services in respect of which registration of the trademark was sought are in classes 35, 36 and 42. The current status of the trademark is registration expired.

Status is 'Registration expired'
The Community Trade Mark has not been renewed by the trademark owner and has therefore expired.

Registered28. 2. 2000
Expiry date31. 3. 2008
Nice classes35, 36, 42

You can follow this trademark. You will receive an email, whenever we detect changes of the trademark filing.
This service is for free. You can unsubsribve whenever you want. More information.

The Royal Bank of Scotland Group plc
36 St Andrew Square
EH2 2YB Edinburgh

If you are the trademark owner and the data above are not correct, then please update them soon by clicking on Update address.

If you want to transfer the trademark to another owner, click on Transfer trademark.

You can transfer a trademark partially or completely to another owner. A partial transfer means that you can transfer a trademark in specific classes.

Still questions? Call us : 0049 (0) 89 6666 10 89

Suzanne Wright
Intellectual Property Unit, Group Legal, RBS Gogarburn, PO Box 1000
EH12 1HQ Edinburgh

If the data above is not correct, then please choose Update.

Nice classes

35  Hire, rental and lease of office machinery and apparatus and of apparatus and installations, all for use with the aforesaid goods; telephone sales services being the promotion of services by telephone.

36  Financing services; investment services; securing funds for others; loans and mortgages; banking services; telephone banking services; computerised banking services; credit protection insurance; insurance services.

42  Hire, rental and lease of computers and data processing installations and of installations and apparatus for use therewith; hire, rental and lease of agricultural plant and machinery.

Vienna classes

Records history

21.1.2017 The current state is Registration expired
Current state
1.2.2009 Trade mark expired
D.1 Renewal of a mark
15.12.2008 Published
Representative - Replacement of representative
31.3.2008 Expiry
Expiry date of the trademark 000790857
13.8.2007 Published
Representative - Appointement of a new representative
25.6.2007 Published
Proprietor - Total transfers
16.11.2004 Published
Representative - Deletion of the representative
16.11.2004 Registered
Proprietor - Change of name and address
15.11.2001 Registered
Proprietor - Total transfers
28.2.2000 Registration
Registration of the trademark 000790857
31.3.1998 Application
Application of the trademark 000790857

Further trademarks of the owner

Lombard L


text:
 Trademark CYBERNETIC V VISION registered by Cybernetic Vision AG at OHIM
Logo description
One letter

Similar logos

Cybernetic Vision AG
European Community Trademark, no. 000867804, Figurative mark

On 1. 7. 1998 the community trademark application no. 000867804 was filed for CYBERNETIC V VISION (Figurative mark) by Cybernetic Vision AG before the OAMI.The goods and services in respect of which registration of the trademark was sought are in classes 9, 10, 12, 41 and 42. The current status of the trademark is registration expired.

Status is 'Registration expired'
The Community Trade Mark has not been renewed by the trademark owner and has therefore expired.

Registered6. 7. 2000
Expiry date1. 7. 2008
Nice classes9, 10, 12, 41, 42

You can follow this trademark. You will receive an email, whenever we detect changes of the trademark filing.
This service is for free. You can unsubsribve whenever you want. More information.

Cybernetic Vision AG
Friedrichstr. 200
10117 Berlin

If you are the trademark owner and the data above are not correct, then please update them soon by clicking on Update address.

If you want to transfer the trademark to another owner, click on Transfer trademark.

You can transfer a trademark partially or completely to another owner. A partial transfer means that you can transfer a trademark in specific classes.

Still questions? Call us : 0049 (0) 89 6666 10 89

No representative yet. Trademark owners outside EU have to appoint a representative. To strenghten a trademark a representative is always recommended.

Appointment of representative

Nice classes

9  Apparatus for recording, transmission or reproduction of sound or images; and scientific measuring, signalling, checking (supervision), life-saving and teaching apparatus and instruments, in particular in the field of medical technology and flight safety; magnetic data carriers, stored computer operating programs and computer software, computers, computer peripheral equipment, computer keyboards, computer drives, trackballs, computer mice, computer hardware; recorded and unrecorded sound and image carriers of all types (cassettes, sound recording discs, compact discs, CD-ROMs, mini discs, DVD, DAT tapes and DAT cassettes, video, floppy discs, hardcopy).

10  Medical and veterinary instruments and apparatus for medical and veterinary use, namely diagnostic apparatus for medical use, analysis apparatus for medical use, electrodes for medical use, furniture especially made for medical use, all the aforesaid goods in particular for the field of cardiology; medical equipment for testing whether an individual is medically fit to fly; instrument cases for use by surgeons and doctors.

12  Aeronautical and space travel apparatus, machines and appliances.

41  Providing of training, further training and training courses, in particular in the field of medical and veterinary cardiology; organisation and conducting of trade fairs, exhibitions, congresses, seminars and cultural and scientific events; consultancy in the organisation and conducting of events of this kind; compiling and producing multimedia (online/chat), radio and television programmes; sports and fitness centre services, namely power and endurance training, rehabilitation and body building, training to promote weight loss, including the providing of training programmes; publishing, publication of printed matter of all types, including books, journals, newspapers, periodicals, including online versions thereof; entertainment and cultural activities; compiling multimedia (online/chat), producing and compiling radio and television programmes, organisation of concerts; entertainment events; organisation and conducting of trade fairs, exhibitions, congresses, seminars and entertainment and sporting events.

42  Medical and veterinary services, clinics, in particular heart clinics; medical and veterinary research; computer programming, namely updating, design and rental of computer software; consultancy in the field of computers; providing and distribution of databases including online access; rental of access time to a computer database; engineering and flight engineer services; franchising, namely providing economic and organisational know-how for a fee for the marketing of goods and/or services, including the exploitation of industrial property rights; operation of a swimming pool and sauna and of solaria, massages, physiotherapy treatments, cures; physiotherapy and psychological care.

Vienna classes

Records history

21.1.2017 The current state is Registration expired
Current state
17.5.2009 Trade mark expired
D.1 Renewal of a mark
1.7.2008 Expiry
Expiry date of the trademark 000867804 CYBERNETIC V VISION
22.10.2007 Published
Insolvency - Entry of mentions
15.11.2001 Registered
Proprietor - Change of name and address
15.11.2001 Published
Representative - Change of name and professional address
12.4.2001 Registered
Representative - Deletion of the representative
6.7.2000 Registration
Registration of the trademark 000867804 CYBERNETIC V VISION
1.7.1998 Application
Application of the trademark 000867804 CYBERNETIC V VISION

Further trademarks of the owner


text:
 Trademark Nikki registered by Lgf Virtual Management Aktiebolag at OHIM

Word mark

Trademark: 'Nikki'
Lgf Virtual Management Aktiebolag
European Community Trademark, no. 001723774, Word mark

On 26. 6. 2000 the community trademark application no. 001723774 was filed for Nikki (Word mark) by Lgf Virtual Management Aktiebolag before the OAMI.The goods and services in respect of which registration of the trademark was sought are in classes 9 and 25. The current status of the trademark is registration expired.

Status is 'Registration expired'
The Community Trade Mark has not been renewed by the trademark owner and has therefore expired.

Registered14. 6. 2002
Expiry date26. 6. 2010
Nice classes9, 25

You can follow this trademark. You will receive an email, whenever we detect changes of the trademark filing.
This service is for free. You can unsubsribve whenever you want. More information.

Lgf Virtual Management Aktiebolag
Box 3097
10361 Stockholm

If you are the trademark owner and the data above are not correct, then please update them soon by clicking on Update address.

If you want to transfer the trademark to another owner, click on Transfer trademark.

You can transfer a trademark partially or completely to another owner. A partial transfer means that you can transfer a trademark in specific classes.

Still questions? Call us : 0049 (0) 89 6666 10 89

Klarabergsviadukten 70
107 24 Stockholm

If the data above is not correct, then please choose Update.

Nice classes

9  Registered computer software, recording, transmission or reproduction of sound or images, magnetic data carriers.

25  Clothing, footwear, headgear.

Records history

21.1.2017 The current state is Registration expired
Current state
1.5.2011 Trade mark expired
D.1 Renewal of a mark
26.6.2010 Expiry
Expiry date of the trademark 001723774 Nikki
14.6.2002 Registration
Registration of the trademark 001723774 Nikki
26.6.2000 Application
Application of the trademark 001723774 Nikki

Further trademarks of the owner


text:
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Alyssa Nassner - tattoo flash art!

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The Daughter of Dawn

by Glenn Erickson Jul 02, 2016

Filmed in the Wichita Mountains of Oklahoma, this silent tale of Native American life has an all-Kiowa and Comanche cast, and is credited as accurately recreating cultural details and costumes. Thought lost for the better part of a century, it was rediscovered just a few years ago.

The Daughter of Dawn
The Milestone Cinematheque
1920 / B&W (tinted) / 1:33 Silent Ap / 80 min. / Street Date July 19, 2016 / vailable through MVD Entertainment / 27.96
Starring Esther LeBarre, White Parker, Belo Cozad, Hunting Horse, Wanada Parker.
Produced by Richard Banks
New Music Score
David Yeagley
Written by Richard Banks, Norbert Myles
Produced by Richard Banks
Directed by Norbert Myles

Reviewed by Glenn Erickson

“Constancy, thy name is Red Wing!”

Ethnographer alert! As one of the go-to destinations for unusual or difficult cinema discoveries, Milestone Films’ Dennis Doros and Amy Heller has turned out exceptionally good theatrical and home video restorations of important films like The Exiles, Killer of Sheep, The Connection and On the Bowery. The company’s In the Land of the Head Hunters is an early silent film about American Indians, that recreates authentic tribal customs.

In the same vein but even more interesting is the 1920 silent film The Daughter of Dawn, which until recently was presumed to be lost. Filmed with a cast of authentic Comanches and Kiowas, it’s a polished show with a consistent dramatic tension. In Milestone’s extras we hear from a couple of individuals who claim to have worked on the film, or are related to the ‘stars.’ Two of the actors were children of the famed Quannah Parker.

The story is a simplified drama of Native American life before the white man came. The Chief (Chief Chain-To) of the peaceful Kiowa tribe is unaware that a band of interloping Comanches has been stealing their ponies. Having few women, the Comanches are intent on stealing those of their neighbor tribe. The Kiowas are distracted by a romantic triangle (identified as such in the inter-titles!) between two braves and the Chief’s daughter, “Daughter of the Dawn.” (Esther LeBarre) The wealthy but underhanded Black Wolf (Jack Sankadota) wants Dawn’s hand in marriage, but she sets her cap for the more noble and worthy White Eagle (White Parker). Terribly hurt by all this is Red Wing (Wanada Parker), whose love for Black Wolf is unrequited. The chief knows that whoever marries Dawn will become a chief of the tribe. He is pleased when White Eagle says that a test should be required to choose Dawn’s mate, and chief declares a tough test indeed: both suitors will have to jump off a high cliff — and the winner survivor will take all.

The Daughter of Dawn has none of the rough edges and cinematic klunkiness we expect to see in filmmaking from outside the fledgling industry. Scenes are nicely paced, and camera angles well chosen. Black wolf does a lot of unwelcome stalking of Dawn, as if she were a deer he was hunting. Those scenes are often filmed in depth, with a good sense of spatial relationships. The camera stays stock still at all times, and the lenses used are of relatively long focal length. Yet the angles and compositions are well thought-out; we never confuse the Comanche camp with that of the Kiowas. The opening scenes cover the discovery of a buffalo herd, and a major scene later on shows the Kiowas giving chase. It’s not Dances with Wolves, but for 1920 it’s pretty good, both accurate and well staged… all in wide shots.

The actors perform in a sort of respectful pageant style as if determined to portray their culture with the utmost dignity. Their actions are measured; nobody does any wild gesticulating. The chief summons one of his braves, and stands still while the brave makes his way through camp to the chief’s tent. Black Wolf is rather expressionless, and the director allows his cowardly actions to fill in his character. White Parker has a nice smile as White Eagle. A friend always accompanies Daughter of Dawn as she walks about the campsite in her spotless deerskin princess costume. This companion quietly exits whenever a suitor shows up. Dawn and White Eagle’s big romantic encounter, in which White declares himself, takes place while the two of them sit politely on a fallen tree (see cover illustration). A pair of women make knowing looks at the hopeful Dawn and the lovelorn Red Wing.

The story builds some highly dramatic developments. One brave becomes a traitor to the Kiowas, and when the Comanches raid the camp, Dawn becomes a kidnap victim. We’re told that writer Richard E. Banks spent 25 years living with various tribes. It might be true — the movie doesn’t have the tone of hype and fakery of comparable Hollywood fantasies, then or now. According to the IMDB, at least, director Norbert A. Myles appears to have gone forward with a a makeup career in Hollywood, including a credit on The Wizard of Oz. He’s done a creditable job.

The key to The Daughter of Dawn is its respect for its authentic details. The Native Americans in the cast look as if they stepped out of a museum display. The impressive costumes are said to be authentic. All the characters’ hair is braided; the women wear elaborate dresses of leather and jewelry. The chief is likewise decked out, while the braves traipse around in loincloths. In addition to the buffalo hunt, we see a communal dance. The Indian actors are fine horsemen, and ride with only a blanket on the horse’s back.

Director Myles’ dignified approach plays well. One is reminded of the Indian Princess played by part-Cherokee Elizabeth Threatt in Howard Hawks’ The Big Sky, made 32 years later. Threatt is obviously an Anglo beauty in heavy makeup, yet by her regal manner she generates viewer respect for the Indian culture.

The show was registered with the Library of Congress, but we’re told that it saw very few screenings. Both a script and some film stills were in existence but no known print was thought to have survived. Then, about ten years ago, a private detective from North Carolina contacted the Oklahoma Historical Society, saying that he had taken ownership of a film print in lieu of a fee. It turned out to be an intact nitrate copy of the film. Several years of negotiation followed before the film was returned to Oklahoma. Milestone was recommended for the job of restoration.

The silent film’s inter-titles not written in the florid style popular in the 1920s. There is little effort to imitate the poetics of, say, ‘The Song of Hiawatha.’ But one terrific exception near the end sticks in the memory. After an impressive show of romantic loyalty, an extra inter-title is slotted in: “Constancy, thy name is Red Wing!”

The Milestone Cinematheque’s Blu-ray of The Daughter of Dawn is a handsome encoding of this ultra-rare one-of-a-kind show. The original color tinting is retainedThe print recovered has some scratches but none are serious. Although the film is intact, there is minor nitrate deterioration visible, and other slight imperfections. The show often uses ‘vignette effects’ that employ slight masks to alter the shape of the frame. The intent may be to isolate characters for dramatic effect, in place of a closer angle. The lenses used are of excellent quality but they don’t quite cover the field of the silent-aperture frame, so most shots have a cylinder-shaped masking in the corners as well. It’s almost like looking at scenes through a gun barrel.

Milestone and the Historical Society have given the film a lush new orchestral score, which is quite effective and even seeks to imitate some Native American instruments.

The disc extras are a series of short featurettes. A retired member of the Historical Society recounts part of the acquisition story for the print of the ‘lost’ movie, and Native American contributors talk about the actors in the show, how they were hired, etc. One expert presents evidence supporting the idea that large numbers of tribe members were recruited for the cast. In an old Indian Agency document, a woman supervisor complains that they aren’t getting any work done while filming. Another Native American tells us that the extras were paid 75 cents a day.

Several more short featurettes discuss the film score, which was produced and recorded by the Oklahoma City University Orchestra. The student musicians are seen performing quite professionally, as a spokesperson tells us how much experience they’re getting. It sound like Hollywood values are beginning to reach the Midwest — even the original filmmakers paid their talent a daily rate!

The Daughter of Dawn is also available on DVD.

On a scale of Excellent, Good, Fair, and Poor, The Daughter of Dawn Blu-ray
Movie: Very Good
Video: Very Good
Sound: Excellent
Supplements: Featurettes on the film’s recovery, Native American Heritage, the production of the music score.
Deaf and Hearing-impaired Friendly? YES; Inter-titles: English
Packaging: Keep case
Reviewed: June 2, 2016

Visit DVD Savant’s Main Column Page
Glenn Erickson answers most reader mail:

Text © Copyright 2016 Glenn Erickson

About Glenn Erickson

Screen Shot 2015-08-24 at 6.51.08 PM

Glenn Erickson left a small town for UCLA film school, where his spooky student movie about a haunted window landed him a job on the CLOSE ENCOUNTERS effects crew. He’s a writer and a film editor experienced in features, TV commercials, Cannon movie trailers, special montages and disc docus. But he’s most proud of finding the lost ending for a famous film noir, that few people knew was missing. Glenn is grateful for Trailers From Hell’s generous offer of a guest reviewing haven for DVD Savant.


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Pretty in Pink 1986

  • Howard Deutch
  • February 28, 1986
  • 96 mins
  • English
  • Comedy
Blane's a pretty cool guy. Andie's pretty in pink. And Ducky's pretty crazy.
Andie is an outcast at her Chicago high school, hanging out either with her older boss, who owns the record store where she works, or her quirky classmate Duckie, who has a crush on her. When one of the rich and popular kids at school, Blane, asks Andie out, it seems too good to be true. As Andie starts falling for Blane, she begins to realizes that dating someone from a different social sphere is not easy.

If you like Pretty in Pink, check out...


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Corporations Meet Owners MVIS 2012

Welcome back my friends to the show that never ends. It’s June and time for the MicroVision Annual Stockholder’s Meeting (more correctly the annual meeting of shareholders.) It is the time for the owners of the company to hear from the people they hired about how well the company is being run. As usual, it was more sales pitch than business critique. But I get ahead of myself. The ability to drop in and listen is a key advantage to investing locally. Every year I do this if I can. You can too. Corporations aren’t abstractions. They aren’t people, but people populate them; and people are the best way to learn about the company.

For those that want the details, head out to the MVIS boards on The Motley Fool, Investor Village, and Silicon Investor. I post the full notes there so comments and replies can benefit broader audiences.

I encourage people to attend the meetings when they are convenient. Just showing up is a learning experience, and great people watching. Drag out the stereotypes and watch the suits gather in one corner, the fashion plates trying to relax in tiny seats, folks in business casual that may be employees, and the motley crew of individual investors who can and do dress anyway they want. MicroVision’s meeting didn’t have any fashionistas. They tend to show up at companies like Microsoft or Starbucks and may be early investors who hung on long enough. Granted that is just the stereotype. Living around Seattle means getting comfortable with the idea that the guy in shorts might be a billionaire. It breaks down the class structure in some fun ways. But that’s another story or five.

A more useful exercise was watching the way people avoided or were attracted to the various groups. Sometimes the CEO is a star with a crowd gathered as soon as they walk in. Other times they are avoided by all except the other suits. There was a bit of both today. What I missed were the demos. Some companies can’t have demos. Biotechs aren’t going to hand around pathogens. But consumer electronics and retail firms can have fun. The Starbucks meetings were the best, back when this tea drinker owned a bit of SBUX. Free food, good music, and a fun atmosphere. Rising stock prices helped. MicroVision’s meetings have been fun as they’ve developed the technology. I’ve seen projectors that fit inside cell phones, eyewear displays that pre-date Google by years, videos drawn on my retina (really quite natural), innovative gaming guns, tiny cameras, and user interfaces that worked in air with the flick of a finger. Very cool. This year that didn’t happen, and that told me something. Whether I mis-interpret it is my own consequence, but it is an insight delivered for free and not filtered by Wall Street analysts and spin doctors.

Going to meetings is not for everyone. It can be dull. I’m naturally curious so I always learn something, even if it is in what they didn’t say. Today’s meeting didn’t have a financial report. Evidently they don’t think that’s necessary at a stockholder’s meeting. I wonder if they will finally produce one when they have good news, but not before.

It was a bit of a trudge. Get up at 4:45, thankfully catch a ride to the ferry with a friend at 5:30, jump onto the bus that doesn’t wait long, try to figure out what and how to pay, jump onto another bus that doesn’t wait long and do the same, walk in at 7:30 and early enough for the demos, sign in, and find that there will be no demos. The demos will be part of the 9:00 presentation. Hang out with other shareholders, because the demos and employees aren’t available and because I can learn more from investors than from managers, and finally settle into my favorite seat in the back of the room. Back there we can resort to high school and pass messages back and forth, but these messages are like the asides delivered by Stephen Colbert’s “The Word”. I didn’t get home until 3:00 because of a good lunch and a missed bus.

Without the demos, and with such a small company, the audience dispersed quickly; but not before business cards were traded and lunches arranged. Individual investing can be solitary and intimidating, but online discussion boards provide community, and meeting off-line provides confidence. Each investor can only know a bit, but collectively a group of investors can produce better insights and analyses than the major financial institutions; especially, because they tend to overlook small companies. Investing benefits from gaining advantage, and community is inexpensive, powerful, and can be enjoyable. Besides, the price is right.

Oh yeah, and don’t forget the goodies. At some meetings I’ve been given about $40 worth of freebies. Smart retailers know that shareholders are also customers and keeping the customers/owners happy is a good idea. MicroVision gave out pens. Well, it isn’t much. Someone else snagged most of the ones around me as he walked out, but I grabbed a couple extra for the first MVIS friends that I meet. It isn’t much, but at least for a while I suspect it is the closest we will get to a dividend.

Next week is the Dendreon meeting, and this year they are actually going to have it in Seattle, you know, where the company is based? DNDN’s trading at $6, down from $55, yet the treatment seems to work. This will be interesting.

Stay tuned.

About Tom Trimbath

consultant / entrepreneur / writer / photographer / speaker / aerospace engineer / semi-semi-retired More info at: and at my amazon author page:
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The moving speech from Khizr Khan, the Muslim father of a deceased war hero killed in action, was one of the most impactful from the Democratic convention.

Khan fearlessly took to the stage on that Thursday evening to share the story of his son’s life as well as appeal to voters to recognize the hatred inherent in Donald Trump’s campaign.

Khan asked the possible future president, “Have you even read the Constitution?”, before offering to allow the candidate to borrow his own copy which he was holding in his lapel pocket.

Khan returned to the political world on Friday to talk about his experiences and try to turn more people away from the cult of Trump.

On MSNBC, Khan focused foremost on trying to bring GOP leadership to their sense. Khan was near tears as he begged Speaker Paul Ryan, Majority Leader Mitch McConnell, and others to finally cast off Trump and repudiate the candidate once and for all.

“They have disagreed with his practices, his threats to minorities, disrespect to the legal system and legal institutions. I want to ask them, ‘If your candidate wins and he governs the way he has campaigned, this country, my country will have constitutional crises like never before in the history of this country.’”

“There is too much at stake and I appeal to both of these leaders. There comes a time in the history of a country when a moral stand must be taken, regardless of the political cost.”

Sydney Robinson is a political writer for the Ring of Fire Network. She has also appeared in political news videos for Ring of Fire. Sydney has a degree in English Literature from the University of West Florida, and has an active interest in politics, social justice, and environmental issues. She would love to hear from you on Twitter @SydneyMkay or via email at


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True Strange Library

The curious collection of a slightly mad scientist

Seven New Luminescent Mushroom Species Discovered new glow-in-the-dark mushroom species have been discovered, increasing the number of known luminescent fungi species from 64 to 71. Reported in the journal Mycologia, the new finds include two new species named after movements in Mozart’s Requiem. The discoveries also shed light on the evolution of luminescence, adding to the number of known lineages in the fungi ‘family tree’ where luminescence has been reported.

San Francisco State University Biology Professor Dennis Desjardin and colleagues discovered the fungi in Belize, Brazil, Dominican Republic, Jamaica, Japan, Malaysia and Puerto Rico. The discoveries include four species new to science and three new reports of luminescence in known species. Three quarters of glowing mushrooms, including the species described in the study, belong to the Mycena genus, a group of mushrooms that feed off and decompose organic matter as a source of nutrients to sustain their growth.

“What interests us is that within Mycena, the luminescent species come from 16 different lineages, which suggests that luminescence evolved at a single point and some species later lost the ability to glow,” said Desjardin, lead author of the study. He believes that some fungi glow in order to attract nocturnal animals that aid in the dispersal of the mushroom’s spores which are similar to seeds and are capable of growing into new organisms.

“It’s pretty unusual to find this many luminescent species, typically only two to five percent of the species we collect in the field glow,” Desjardin said. “I’m certain there are more out there.”

The newly discovered fungi glow constantly, emitting a bright, yellowish-green light, and are tiny, with caps smaller than one centimeter across.

via Seven New Luminescent Mushroom Species Discovered.

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Arizona Public Media
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Episode of Newsline

Season 50, Episode 20 of 99
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NEWSLINE is produced by NHK, Japan's news leading public broadcaster, featuring global news and current affairs, business, sports, science and technology trends plus global weather forecasts from over 30 news bureaus throughout the world.

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Kulluck drilling rig refloated, being towed to shelter in Alaska

The conical drilling unit Kulluk sits grounded 40 miles (64 kms) southwest of Kodiak City, Alaska in this U.S. Coast Guard handout photo taken January 3, 2012.

An oil drilling rig that ran aground off an uninhabited island in the Gulf of Alaska last week was being towed in stable condition Monday, with no sign of environmental impact or fuel leakage, recovery workers said.

Salvage crews secured tow lines to the Kulluck drillship, a Royal Dutch Shell rig, prior to refloating the 266-foot diameter vessel late Sunday, according to the recovery and response team. They began towing it a few hours later to Kiliuda Bay, where they plan to anchor it.

The escort ships were using infrared sensors to examine the water for any sign of discharge from the vessel, and so far, none had been reported. The Coast Guard plans to send aircraft over the Kulluk at first light, "to look for any signs of sheen, weather permitting."

The rig is carrying about 143,000 gallons of diesel fuel and about 12,000 gallons of lube oil and hydraulic fluid, according to federal on-scene response coordinator, Coast Guard Capt. Paul Mehler.

More than 730 people are now involved in the response and recovery operation, the Coast Guard said.

Watch US News videos on NBCNews.com

The Kulluck broke loose of its tether to a tug boat on New Year's Eve in "near hurricane" conditions and ran aground on the sand and gravel shore of Sitkalidak Island, 40 miles southwest of Kodiak City, Alaska, the U.S. Coast Guard said.

U.S. Coast Guard via Reuters

A salvage team aboard the conical drilling unit Kulluk moves lines from an emergency towing system in this U.S. Coast Guard handout photo taken January 2, 2013.

Environmentalists have seized on the accident as proof Arctic Ocean oil operations are too risky. The drilling rig was being moved from its Arctic drilling grounds to Seattle for maintenance, and had passed through the Bering Sea and was set to cross the Gulf of Alaska when the storm hit.

“Oil companies keep saying they can conquer the Arctic, but the Arctic keeps disagreeing with the oil companies,” Rep. Ed Markey, D-Mass., a member of the Natural Resources Committee, said in a statement.

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A Shell official said the drilling rig was built with a double-sided hull of reinforced steel that is three inches thick. It recently had undergone $292 million in improvements before being put into service for a short time this summer in the Beaufort Sea off Alaska's north coast.

Sean Churchfield, operations manager for Shell Alaska, said an investigation will be conducted into the cause of the accident. He did not know whether the findings would be made public.

The Coast Guard said it would investigate too and make its findings public.

The Associated Press contributed to this report.

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Coffee Break - Seattle, WA

Description: During winter and summer breaks, current Vanderbilt MBA students are in a variety of locations around the world hosting Coffee Breaks. You will have the opportunity to ask questions about life at Owen, Owen students, professors, the curriculum, Nashville, the Leadership Development Program, career management and more in a relaxed and comfortable environment.
Category: Coffee Breaks
Host(s): Vanderbilt MBA Admissions
Contact Phone: 615-322-6469
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Ends On: 09 Aug 2014 05:30 PM PT
Location: Bellevue, WA
Address: 459 N. 36th St. Seattle, Washington 98103
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Cat Boarding

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So that we can best accommodate your cat, please make reservations in advance, especially during the holiday season. For your convenience, we offer boarding for the day, overnight, and a “home away from home” for cats that require an extended stay. Please call us today to set up your pet’s reservation!

Pet Boarding

Free First Exam

Sign up for a free pet health exam. The team looks forward to meeting you soon.

Book an Appointment

Select an appointment type to get started.

My Pet is Sick

My Pet is Sick

Physical Exam or Vaccines

Physical Exam or Vaccines

Wellness Plans for Your Pet

Preventative nose-to-tail care.

Get to Know Our Team

Highly knowledgeable and skilled veterinarians and well-trained, qualified staff are ready for your pet and you.
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