“@catagator: Let’s talk about the differences between “criticism” and “censorship,” over at Book Riot: http://bookriot.com/2013/10/21/lets-talk-censorship/”
Category Archives: LIBGuides
our KSS LIBRARY weekly sharing post dedicated to the creative use of language. I’m receiving staff submissions and collecting recommendations. Creative writers will be eligible for a modest draw prize and bragging rights. This weeks post is a reblog from an online course ETMOOC where the five card story was introduced. Cards(photos) from Flickr.com are generated and act as story starters. Text of the story that compliment the 5 images are at the bottom. – Al Smith
5 Card Flickr 1.5 is released! It has been heavily recoded, simplified, and now uses flickr API to fetch photos- see it in action athttp://5card.cogdogblog.com/
It is modeled, or even conceptually copied, from Five Card Nancy game (http://www.scottmccloud.com/inventions/nancy/nancy.html) devised by comics guru Scott McCloud and the nifty web version at 741.5 Comics (http://www.7415comics.com/nancy).
In the Nancy game players are dealt cards made from separate panels from the Ernie Bushmiller cartoon strip, and must try and create a coherent story from randomly drawn panels. It is a fabulous exercise in visual storytelling.
I wrote this web site to provide the same functionality, but with images drawn from a particular set of images in the photo sharing site flickr.com given a particular tag.
So, in 5 Card Flickr, in 5 rounds you are dealt 5 random photo from public shared photos in flickr, and the player picks the best one to create a story. At the end of the round, they can save their story and annotate with comments that are saved on the Gallery portion of the web site.
In this implementation, you can set up multiple versions, e.g. a different flickr tag for a set of photos and stories (e.g. a part that does stories on all glickr photos tagged “dogs” and another one for all flickr stories tagged “cats”)
The site works by using the flickr API to poll for new photos with a given tag, and storying basic data for that photo locally so we can construct a a link to the thumbnail on flickr and a link to the original.
Also, version 1.5 features a “Tweet” button so users can send a twitter announcement for their own story, or one they have read on the site, a cut and paste HTML version of a story, and a new admin interface.(CogDog)
Images from Flickr Creative Commons
a #etmooc story created by mssanderson_ITS
flickr photo by ncaramanico
flickr photo by Henriksent
flickr photo by cogdogblog
flickr photo by mrsdkrebs
flickr photo by cogdogblog
Can’t I just have one? Or twenty?
I’ll need to wear out my sneakers to work that off.
“Blahhh…Go ahead, we eat anything and we’re fine!”
Fruit substitute: the healthier choice.
[pley-juh-riz-uh m, -jee-uh-riz-] Show IPA
Student Online Gateways- brought to you by the KSS Virtual Library
Many resources are accessible from off campus but these subscription databases or reference resources and ebooks need authentication. Until our SD23 portal is running full force, use the login procedures to access from off campus. ASK-A-LIBRARIAN if you get stuck. email@example.com or DM @kssreads or TXT 250-878-0578
Database Passwords are at : User: ksslibrary Password: ####### ASK [ http://www.kss.sd23.bc.ca/commons/studentDB.rtf
Some subscription services are purchased by the KSS Library Program. Other services (SD23) are provided by KSS.
PASSWORDS: access>> http://www.kss.sd23.bc.ca/commons/studentDB.rtf
Anatomy of a Periodical
- Any reading material- in technical use- periodic means “at regular or predictable intervals, such as, magazines, newspapers literary journals, newsletters etc. Not exclusive to print material, periodicals could now include blogs or digital e-publications.
- CONSUMER MAGAZINES:
- - general interest or hobby specialty can vary in amount of ads and amount of written story content
- - some hobby magazines are like self-help or how-to publications. ie. model airplane
- ONLINE READING:
- DESIGN TIPS and PARTS of a MAGAZINE: sticky notes
- Find example of strong TYPE
- Find an example of sans-serif font
- Find an example of pull-quote
- Find example of strong IMAGE
- Find example of strong 3 GRID layout
- Find example of SIDEBAR
- Find example of 2 fancy FOLIO
- Find example of DROPSHADOW text of image
- Find and example of 2 page spread
- READING TASK
- PROJECT: plan, create and build a mockup magazine.
1. Your cover should be a key selling point.
OK, so internal communications don’t actually get sold, but your cover should demonstrate what the magazine has to offer. Arresting and relevant imagery with great headlines and clear navigation can grab the reader’s attention and make sure your publication gets read. When you think you’ve finished the job, always take a step back, look at the cover and ask yourself if you would pick it up.
2. Create a natural pace and rhythm.
It’s a good idea to break the reader in with a few shorter stories up front. A simple news section can bridge the gap between your cover and major features and help the reader familiarise themselves with the magazine’s format and tone of voice. Presenting a weighty feature too early can be daunting and off-putting.
3. Stay on the grid.
The grid is the architecture of your magazine, the framework that keeps every page element in its place. It keeps columns consistent and anchors photographs, panels and boxes so they don’t float around. If you want something that offers more than just three basic columns, go for a much higher number such as 12. It might seem like structural madness at first, but, once you get used to it, you’ll see that it can divide down nicely into two, three, four and six.
4. Get the hierarchy right.
When dealing with spreads that have multiple stories or when grouping stories on a theme, take the time to look at the overall hierarchy. Make sure a lead item is given prominence. It’s easy to get this wrong and a lesser story can end up looking like the most attractive element. Use larger headlines, prime positioning and strong imagery to achieve a sense of importance.
5. The art of type.
For centuries, typesetters and letter-writers have concerned themselves with the size, shape and forms of characters. They mulled on the leading, kerning and tracking of each word on the page to ensure that all was legible and print-ready. In a way, the computer age has meant that this has become a lost skill. Whether headlines are the centrepiece of a spread or top smaller news items, take the time to concentrate on the letter spacing. Avoiding legibility issues, character clashes and unsightly gaps will make things easier on the reader’s eye and help with overall accessibility.
6. Don’t be afraid of white space.
When it comes to internal publications, which can be copy-heavy, just thinking about leaving blank space on the page can ring client alarm bells. Equally, stuffing as much as you can onto each and every page may leave the reader overwhelmed. Experiment with white space in your new multi-column layout. Or on larger features, try starting your article just above the halfway point of the page. You’ll be surprised how much a little bit of white space helps to soften the reader’s eye into the layout.
7. Be sensible with your colours.
Employee publications often have their colour palettes dictated by the branding of the parent company, but that doesn’t mean you should saturate every page with the same vivid purple as the company’s logo. Think about colour from the reader’s point of view. Avoid assaulting their senses. Instead, use your colour scheme to create warm, friendly and appealing environments, both for your readers and your content. A spread that’s so bright and lurid that it actually hurts the eyes simply won’t get read.
8. Avoid the grey mountains.
Any reader faced with two pages of solid text will see something of a mountain to climb. Look for ways to give them a few footholds by breaking up the text with interesting box-outs, panels or tables. The more you can break the information down into manageable pieces, the more likely it is to get read. Crossheads and pull-quotes will not only break up the grey, but can make the article more appealing and help the mountain seem worth scaling.
9. Every picture tells a story.
But I’ll have to give you the abridged version. Best practice for photography and illustration and getting the most from your budget warrants a top ten list of its own. To be brief: use images that help convey the content and attract the reader. Imagery should always be relevant and of good enough quality to at least look professional. If you think a photograph looks bad, consider not using it. Your editor wouldn’t include a bad article just because they had it on file, would they?
10. Achieve a healthy balance.
So you’ve got all your pages designed and laid out according to your flatplan. Now take a look at the whole magazine. Does it flow properly? As you go through, do you get a sense of rhythm and pace? Does the article on page 5 sit too heavily alongside the lighter piece on page 4? Have you achieved variation, or does every page and image box look the same? Does one page feel crammed and claustrophobic while another seems empty and spread out? If anything feels like that to you, it will to your readers too. Take the time to address these issues and your end product will benefit.
Typography is the art of arranging type and type design. The arrangement of type involves the selection of typefaces, point size, line length, line spacing, and the adjustment of spaces between groups of letters (tracking) and between pairs of letters (kerning). Typography comes from the Greek words typos, which means “mark, figure” and grapho, which means “I write.” It is basically the discipline of shaping written information; thus it can be applied to anything which has to do with text, including web design. Authors write the text, designers and typographers manage the typography, and users read through it.
— KSS Library (@kssreads) March 2, 2012
Geek Out @ your libraryCHICAGO– As Web-enabled tools such as Facebook, texting and smartphone apps become a staple of teen culture, school and public libraries from coast to coast will throw open their physical and virtual doors to teens and showcase technological resources available @ your library during Teen Tech Week™, March 4 – 10, 2012. Teens by the thousands will improve their digital literacy skills as they take advantage of free library social networking and digital media workshops, e-books, databases, online homework help, gaming tournaments and much more.
Before you ship your query to an agent or publisher, take a long look at your manuscript and see if there are last minute changes to be made. This checklist will save you a lot of rejections!
1. Was the premise proved? If a writer cannot remember what the premise is, or never had one, the story is in big trouble. If the synopsis does not state the premise and does not indicate how it is proved, a publisher will not even read the manuscript. The premise is the reason for the story. It is the purpose which guides every decision made by the characters.If the writer set out to prove the premise, self-sacrifice leads to happiness, has that been done? Was the outcome of the story dependent on the self-sacrifice of the hero or heroine, or both? Was the resolution a matter of luck, fate, or hard work? Even if the story is built with scenes aimed at proving the initial premise, if the actual outcome of the book does not relate to that premise, organic unity has not been achieved. The story will fall apart.
2. Will the reader be touched emotionally? Can the reader truly identify with the hero? Are all characters sufficiently developed for the reader to care deeply about them? Are they sympathetic? Have they acted inconsistently in any scenes, doing something mean or stupid and alienating the reader? If so, have they redeemed themselves or suffered the consequences?
3. Do the characters ring true? The hero and heroine of a romance must have opposing traits to make them interesting and to support conflict. The same can be said of heroes and villains in any story. Are the characters too much alike? Does the action of the story allow them to display their characteristics to the maximum? What are their ruling passions? Are they well motivated in every scene? Would they really behave as they did in every circumstance?
4. Did the characters change? Was there growth? Did the outcome of the story evolve as a result of the changes in the characters? (The main characters of any novel should grow and become changed by the events of the story. They should discover new strengths and virtues along the way.)
5. Were the characters securely bound? If the protagonist and antagonist, or the hero and heroine, could have just walked away from the situation to avoid the conflict, the risks were not real and the story will be unsatisfying.
6. Were the characters plunged into rising conflicts? Did the action lag or conflicts become static or jumping?
7. Are all the conflicts resolved? This is not just question for crime novels. Were all the loose ends tied, or is there more story to be told?
8. Was there variety? Are the action scenes repetitious? Are the love scenes distinct?
9. Did writer start the story in the right place? Was the situation set up so carefully in Chapter One that the reader will lose interest before the action begins? Where does the interesting part start? That is where the story should begin! The reader should be plunged into the action.
10. Do the events of the story grow out of each other? The outcome of scene one should lead to scene two, etc. The reader should be drawn from one conflict to the next with an understanding of the progression of the events and the cause and effect relationship between the scenes and sequels.
11. Does the climax have impact? Is it revolutionary? Was there a surprise? Is it satisfying? Was the emotional impact powerful?
12. Was there irony or poetic justice? Could there have been? This is a very satisfying element to a reader.
13. Were the characters fully revealed? Will the reader come to know the hero and heroine well? Are various emotional states explored? (Some action and thriller books have the hero angry from page one to the end. That is a static situation, regardless of the intensity events.)
14. Are there extraneous bits of business or anticlimactic events? They should be cut out to keep the writing tight.
15. Did the writer choose the best narrative voice? Will the narrative get on the readers nerves? When the narrative is done in the voice of a character, rather than in the authors natural voice, it may sound right for the first few chapters, then become increasingly distracting.
16. Was the right point of view employed? Would the story be better if told from another point of view? Was the choice of point of view too restrictive? For example, romance novels tend to be told from the point of view of the heroine, but that is not a law. The story might be better told from the point of view of the hero, or could have greater depth if more than one point of view were used. Changes of points of view within a scene are confusing to the reader, but between scenes, or with each new chapter, the writer has a choice.
17. Are flashbacks necessary? They should be avoided if there is any way to tell the story without them. Flashbacks are gimmicky and bring the action of the story to a grinding halt.
18. Is there a prologue? Can it be eliminated? Prologues are a sign of not being able to fully integrate the elements of the story. They run up a red flag to editors who will keep looking for other signs of amateurism. If the story can stand on its own, the prologues should be eliminated. (The same goes for epilogues.)
19. Have conflicts been avoided which could to be exploited? Stories are built on conflict. A writer should never pass up the chance to use one to good advantage. Have all significant actions been described fully? Good writers will show, not tell. That makes readers feel they have witnessed the events.
20. Were symbols used? Symbolism can be a powerful tool, but all symbols must be appropriate and must have a reason which is significant to the story.
21. Does each scene have a rising conflict? Is it as exciting as possible? Does it move the story forward? Is it essential? Any scene which does not adequately support the story should be cut.
22. Does every line of dialogue enhance characterization and further the story? Dialogue in a story does not have to supply a response for every comment, or reflect the way people converse in real life. A few comments or questions may convey the meaning sufficiently. Is all dialogue original, colorful and emotional? Strong and profane language should be avoided, even if it is appropriate for the characters. Profanity tends to have a stronger impact on the written page than in normal conversation. Often, it stops the action, which should be avoided.
23. Is the writing sensual? Does it appeal to all five senses? Can the reader taste, feel, see, hear and smell what the characters do? Are readers drawn into any 6th sense situation when appropriate?
24. Is the writing more active than passive? Use of active verbs, not passive ones, will make a greater impact. Characters must actually do things, not just be the recipient of action. (Look out for the words had, was, have, did, and infinitive forms…to ______ They slow down the action.)Action should take place on stage so to speak, not just be described as having occurred in the past or in another place.
25. Adjectives and adverbs should be used with a light touch. Writing sounds more powerful with fewer modifiers and stronger verbs and more descriptive nouns. However, the texture or tone of the story may be enhanced with more description. The writer needs to find the proper balance.
Found this helpful list
1. Don’t abbrev.
2. Check to see if you any words out.
3. Be carefully to use adjectives and adverbs correct.
4. About sentence fragments.
5. When dangling, don’t use participles.
6. Don’t use no double negatives.
7. Each pronoun agrees with their antecedent.
8. Just between you and I, case is important.
9. Join clauses good, like a conjunction should.
10. Don’t use commas, that aren’t necessary.
11. Its important to use apostrophe’s right.
12. It’s better not to unnecessarily split an infinitive.
13. Never leave a transitive verb just lay there without an object.
14. Only Proper Nouns should be capitalized. also a sentence should begin with a capital letter and end with a full stop
15. Use hyphens in compound-words, not just in any two-word phrase.
16. In letters compositions reports and things like that we use commas to keep a string of items apart.
17. Watch out for irregular verbs that have creeped into our language.
18. Verbs has to agree with their subjects.
19. Avoid unnecessary redundancy.
20. A writer mustn’t shift your point of view.
21. Don’t write a run-on sentence you’ve got to punctuate it.
22. A preposition isn’t a good thing to end a sentence with.
23. Avoid cliches like the plague.
24. 1 final thing is to never start a sentence with a number.
25. Always check your work for accuracy and completeness.