Tag: Move

  • Debt Cure$ – Book Review

    [ad_1]

    By: Kevin Trudeau (2008)

    ISBN 978-0-9798258-1-1

    Book Price: $25.95

    Exposing the greatest rip off

    Kevin Trudeau is one of the leading consumer advocates in America today. His mission is to expose the greed that has taken over corporate America. Kevin is a bestselling author who has sold over 15 Million books. He is blowing the lid off the banking and credit card industry, and exposing the greatest rip off in USA’s history!

    Eliminate debt

    Kevin Trudeau presents 26 chapters helping readers to eliminate debt. He discusses, negotiation (Ch. 5), reducing interest rates (Ch. 6), turning from bankruptcy (Ch. 15), stopping debt collectors from harassing you (Ch. 20), achieving wealth (Ch. 21), rebuilding credit (Ch. 22), free money (Ch. 24), more free money (Ch. 24.5), & more!

    Reducing debt’s hold

    Kevin Trudeau is clinical, precise and personable in this revealing book. He presents, “The practices of the industry are designed to make sure you are late on your monthly payments, to make sure you go over the limit on your credit cards, and to make sure that the enormous fees and incredibly high interest rates continue to go up and up.”

    Mr. Trudeau points to cultural keys for debt in society, declaring, “People turn to their credit cards when they are in crisis mode, to simply help them get by… We are a convenience-oriented society, and credit cards are convenient.”

    Kevin releases simple, practical steps for reeling in debt. He explains, “The absolute worse thing for you to do about your debt is to do nothing… You need to know your current situation in order to move forward… a balance sheet is a financial snapshot that shows your current financial health… what you made and what you spent… “

    Encouraging words release motivation for readers. Trudeau states, “When you take control of your financial health, every area of your life improves. You can sleep better… you feel less stressed… not so tense… “

    Concise data reveals powerful solutions. Kevin expresses, “Even as little as $15 every two weeks applied to your mortgage can cut one and a half years off!” And “The banks and the lenders do not want us to know that we can reduce our payments, reduce our interest, and reduce the life of the loan.” All of this information is available here.

    Breaking free from the financial industry

    Kevin Trudeau successfully provides a powerful tool for helping readers break free from the financial industry.

    [ad_2]

    Source by Dr. Steven J. Lynne

    Views: 0

  • How To Get Him To Make A Decision To Marry You In 30 Days

    [ad_1]

    There is a way you can get him to marry you. You will understand and learn how and why certain things must be done to accomplish this. This method is fairly simple but it will take some courage on your part. It all depends on how badly you want to marry this man.

    Before we go any further, you need to make absolutely sure that this man is the one for you. You must be sure that this relationship is a good fit for you. Are your needs getting met? The simple fact that he has not married you, says that what he wants is more important than what you want. Don’t rationalize that your needs are not as important as his needs. That is a recipe for disaster. It is critical that you take some time to think seriously about this because there is no turning back.

    There is no such thing as a commitment phobic man who is afraid to commit. That is total hogwash. Do not accept any other excuses either. Because that is what it is, plain and simple, an excuse! He just doesn’t want to marry you and feels he has to give you some kind of reason. If you have made the mistake of moving in with him without at least an engagement ring, you are in a very frustrating and powerless position. He has no incentive to marry you because he is not gaining anything he doesn’t already have. If you are with him all the time and he knows you love him, he really doesn’t have anything to worry about. You need to change all this by being proactive instead of reacting to everything he does.

    These techniques work. They are time-tested and have worked down through the centuries. And this is why it is up to you to make sure that this is the right man for you. These techniques will not make him into a loving and kind man if he not already that when you marry him. So beware.

    What you need to do is absolutely make up your mind that this has gone on long enough and it is time he married you. If you truly believe this, he will sense you believe it too and that you really mean what you are saying to him. You need to tell him in a loving but firm manner that it is obvious that he will never marry you and that you have made up your mind that you are ready to find someone who will. Then you need to move out and not have any contact with him for 30 days, unless he is proposing marriage.

    You will be activating his fear of losing you and the life he has come to enjoy with you. This will cause him to do one of two things. One, he will ask you to marry him as he knows that is the only way he can maintain his life with you. Or, he will not respond and you will have your answer there as well, which will clearly reveal that he does not care enough to meet your needs. And do you really want a man like that? No.

    More than likely he will try to contact you repeatedly and will propose marriage or present you with an engagement ring. During this time you must not cave in. Remember that this is the only way you will get what you need. Congratulations! You had the courage to stand up for yourself and demand that your needs are as important as his.

    [ad_2]

    Source by Betty L Nelson Adam

    Views: 0

  • Giving a Great "Walk Around" Sales Presentation

    [ad_1]

    Salespeople should know that a walk around isn’t just a presentation, it is a chance to discover the customer’s needs and turn your product or services features into a benefit for that customer.

    Learning good selling techniques takes practice and learning how to give a “walk around” sales presentation is essential to the sales process.

    An excellent walk around presentation is not a canned presentation. It has been said, “A good walk around presentation doesn’t work because it’s canned; it got canned because it works.” That’s what a walk around should be – not canned, but planned. Salespeople need to know where they are going all the time. Hopefully they can help guide the customer down the Road to the Sale.

    Before we can attempt a presentation we must understand what a “feature” is and what a “benefit” is. A feature is what something is – a benefit is what something does. Let’s use automobile sales as an example. So let’s look at some car sales techniques. A “walk around” occurs when a salesperson pulls a vehicle out of the line of cars in front of the dealership. The salesperson opens the doors, the trunk, and the hood. They turn on the car and get the A/C running in the summertime (or the heater in the winter time). They take the customer and tell them about the vehicle as they walk around it.

    The aerodynamic styling of a vehicle is a feature; great gas mileage and a quiet ride are the resulting benefits. A lot of salespeople are good at reciting features, but not at explaining why the customer needs them – and this is for two reasons. One is they don’t know enough about the car and the other is they did a poor job qualifying the customer’s needs. Ask questions of your customer. Ask what they want from their next vehicle and listen to what is said.

    How can a salesperson enthusiastically talk about the double steel cargo box if they don’t know what the customer is going to use the vehicle for? They can’t.

    In a typical selling situation a salesperson might say something like, “Yes sir, this car has everything you’re looking for: a fuel efficient engine and a hands-free Bluetooth communications system. It also has ABS brakes, limited slip rear axle, and terrain management.” Sounds all well and good, right? Wrong. There is nothing your salesperson has told this customer that 1,500 other salespeople and brochures and Internet research haven’t already told him.

    So the customer looks at the salesperson like a deer in the headlights. He doesn’t know what he is what he is supposed to say, except what he is probably thinking, “I can see all of these options, Mr. Salesperson. Tell me something I don’t know.” You see, when the salesperson recites his or her cornucopia of knowledge, it isn’t a question so it doesn’t really move the sale forward. He is just repeating what the customer told him he wanted.

    The customer’s only response is, “Yes, Mr. Salesperson, I can see it has everything I asked for. How much is it?” Or worse yet, the customer may say nothing. The worst thing that can enter a walk around presentation is silence. When there is silence, there is pressure and in the selling process, we want no pressure. As I mentioned many times, the only common ground a customer has is the price. When you stop talking, the only thing they can say is how much… or goodbye.

    To do an excellent walk around, salespeople need to remember the thing the customer wants to know more than anything, “What will it do for me?” Until you tell customer that answer, then he is probably isn’t listening.

    Back to the walk around – how long did it take me to recite the options above, 30 seconds? What do I do now? I am out of things to say. Obviously there are lots of options and I could probably go on for a while, but even if I could memorize them all on every model, the customer will be yawning. Why? Because he wants to know what it will do for him. If salespeople are just going to recite options, they would be better off to hand the customer a brochure and send him on his way. The brochure is better than a salesperson will ever be at features. They break down the passenger compartment to cubic inches for heaven’s sake! When it comes right down to it, does the customer even care that there is 28 inches of legroom? No. But he will be interested to know that, “Because of the transverse mounted engine, Mr. Customer, when you and your family take that trip to Colorado this summer you can really stretch out your legs!” That is how you sell legroom. Note: Without asking good questions, how could you make the above statement? But here’s the good news: you can make that statement even more powerful in two ways – by moving the sale forward and by asking for the order.

    There are many ways to move the sale forward, but here are a few. These are simple phrases that keep the customer following you:

    “Let me show you this feature on your new Ford Explorer.”

    “Let me show you this,”

    “Let me show you one more thing,”

    “Great, follow me.”

    Ask for the order, it is quite simple, for example:

    “That’s a feature I’m sure you’d like, isn’t it?” The customer says, “Yeah!” The salesperson says, “Great, follow me,” or “Great, now let me show you one more thing.”

    The above question is one which you should already know the answer. Use it with a feature the customer wants, for example, seat belts, air bags, crumple zones, etc. A customer just won’t say no to seat belts.

    During the sale you are always closing — in sales terminology that means you are always asking the customer for the order. For example, a very successful salesman in a 20-minute presentation will ask the customer in several different ways, in more than a dozen times if they want to buy the vehicle.

    Some of the best closing techniques to use during a sale are called tie downs. Some call them trial closes. A tie down is simply a question at the end of a statement that demands a response. Instead of saying, “Those airbags are a wonderful feature.” In the eyes of a customer, this is just an opinion. But, if I added, “Aren’t they?” to the end of that statement, it forces the customer to respond, hopefully in a positive way.

    Or, “On a scale of 1 to 10, with 10 being the highest rating, how would you rate this vehicle so far? What would it take to make that number a 10?”

    However, sometimes a customer may say something that implies that they don’t like the vehicle. For example, “Oh, that looks like something else that will break.”

    One way to handle these “objections” is to address the issue with the “Feel, Felt, Found” response. For example, you might respond by saying, “I can see why you might feel that. A lot of people have felt the same way, but once you’ve found out the engineering behind, you’ll see how beneficial this can be for you.”

    These few tips will build the foundation for a confident walk around presentation.

    – Learn your product inside and out, research what’s being said about your product on the internet.

    – Get to know your customer’s needs in the initial greeting and qualification.

    – Present with confidence and tie the features back to their needs.

    – Help make their needs become their wants.

    – Remember to refer to competitive brands and create value.

    – Take full advantage of your product expertise when doing a walk around presentation and SELL yourself and your product.

    And remember, selling is a process of listening to customer needs, finding solutions to their needs, building value you in your product or service, and giving them an opportunity to buy that product or service that serves their needs!

    [ad_2]

    Source by Vincent Hennigan

    Views: 0

  • The Versatile Ranch Style House

    [ad_1]

    Over the years I've designed and drawn many different styles of homes for clients. I've had the honor of making plans for stately Colonial Manors, Cottages, Modern Contemporary, Federal Style, Mediterranean, etc., but the most versatile of all these layouts is the American Ranch Style home.

    Conceived in the US in the 1920s, and patterned after the Midwestern homes use by ranchers and farmers in the late 19th and early 20th century. Hence the name: "Rancher". The Rancher was also known as the "Tract House" because this was the style of choice for developers creating large sub divisions. Thousands of these homes were built in subdivisions across the nation. If you've ever watched the movie, "It's a Wonderful Life" starring Jimmy Stewart at Christmas time, about 45 minutes into the move you'll see a whole bunch of these Ranch styles in the back ground.

    Simpler because of its single story design, the Ranch House can be made into a large rectangle with a long central hallway. But the house can also be built in a "T" or "C" shaped configuration, a "L", and even an "E" or even a double "E" layout. This gives this design an ability to adapt to the needs of the family living in it and fit the terrain, no matter what the topography of the lot it's built on.

    The foundations or basements are also a simple matter for these homes. That's because we have the simple rectangular design. With a rectangular layout, there's always an easy way to support the floor system with all the piers or post evenly spaced.

    Roofs on this style also can vary in shape. The most common roof for the main rectangle of the home is the simple gable, hip, half hip, or even a flat roof. But if the other appendages are added, you can have multiple roofs in whatever direction the homes extensions happen to go. I've seen some built with angled appendages at 30 to 45 degrees.

    But the design even lends itself to more class by adding a steep roof pitch that another ½ story can be added to the house making it a story and a half. From that steep roof, dormers can be placed to add even more beauty to the home. One of the prettiest Ranchers I've ever seen had this steep roof configuration with a large center dormer and smaller dormers on each side of the large one. It was also decorated out with many of the classic brick work, columns, and trims of the colonial homes. It was a sight to behold and the owner was very proud.

    [ad_2]

    Source by Tim J. Davis

    Views: 0

  • The History of the Modern Money Clip

    [ad_1]

    The history of the money clip is not a very long one since the need for a them only arose with the invention for paper money. Paper currency was first developed in China during the 7th century due to shortage of copper. Before this time ones wealth was worn around the neck in the form of necklaces the wealthier you were the heavier the chain you wore. This became physically uncomfortable and problematic, so the Chinese developed a system where they could leave their coins with a person of trust in return for a paper note. They could get their money back by showing the note at a later time. This practice was later discontinued and paper money doesn’t arise again until 1690 in Europe. During this time England produced paper money to facilitate the movement of goods and services while waging colonial war in faraway Canada. It was much easier to move paper money then large amounts of heavy coins.

    So as paper money gained popularity the need to hold ones money became a necessity. The first patent for a money clip was patented on May 7 1901 by B.G Deovich for a safety holder for paper money. This clamping device held the money and also had an attached chain to secure to and convenient button. The ones we know today was not invented until 1931 when L. weeks applied for the patent that we know today as the modern money clip. Before this time paper money was hap hazardously carried in pocket of in change purses or in folded pieces of fabric.

    Today there many styles and types they are made of different metals and materials and come in many different styles to fit anyone’s taste. Some money clips have time pieces on them; some have secret compartments, some even have knives in them or flash lights. They come all metals from platinum encrusted with diamond to silver and gold and the more readily accessible stainless steel. Stainless steel is prized for its durability and low cost and is the most well known of all the materials. Many groups such as the Mansions carry money clips with special logos on them. They can are used as an extension of one’s personality or to show affection or affiliation with an affinity group such as sports teams or military units. They are given as both corporate and personal gifts because they can easily be engraved and made as personal or impersonal as needed.

    [ad_2]

    Source by Brenda L Hopkins

    Views: 0

  • Emotional Upsets As We Age – Adult Health and Wellness

    [ad_1]

    As we age, it is more likely that we will eventually experience emotional upsets, loss and change. Many of us go from busy, full time workers or full time parents to partial workers, empty nesters and grandparents, to full time retirees, with or without a life partner, adequate financial resources, secure housing, or a network of close family and friends. We may move from a familiar neighborhood to a different retirement community. Friends, neighbors, close relatives and even our beloved house pets may become ill and pass away. Depending upon whether we have developed the positive mental attitudes, uplifting and life affirming spiritual connections, healthy lifestyle, social contacts, and continued passion for living – which researchers describe as the formula for healthy aging – we are more likely to suffer more from illness, disability and emotional instability as we age.

    Complications of Emotional Upsets and Stress

    Stress Accelerates Cellular Aging

    Research is beginning to substantiate the devastating effects of long term stress on health and aging. Telomeres, the DNA-protein structures that cap the ends of chromosomes and promote genetic stability, appear to play important roles in cellular aging and disease. Elisa Epel and colleagues examined the effects of psychological stress on telomere maintenance in 58 healthy premenopausal women. Results, appearing in the December 1, 2004 Proceedings of the National Academy of Sciences, indicate that the psychologically stressed women had shorter telomeres and less telomerase, a telomere producing enzyme which affects immune function cells in the blood.

    Stressful Jobs Affect Health of the Elderly.

    In workers over age 60, problems on the job raise blood pressure in although these older workers often claim to be less upset and less sad than younger employees when work problems hit. They seem to “feel” less emotion, but their bodies reveal greater stress factors. Older workers may be more vulnerable to heart and cardiovascular problems if they remain in high-pressure jobs or situations.

    Emotional Stress May Precipitate Heart Problems

    Emotional stress can precipitate severe left ventricular heart valve dysfunction in patients who do not apparently have coronary disease. This reversible condition, called myocardial stunning, cardiac stunning or myocardial stress, is brought on by severe emotional stress. Research corroborates the phenomenon that severe emotional stress and heartbreak, such as the break up, loss, or death of a a loved one, can release an onslaught of stress hormones that cause the heart muscle to contract and spasm, possibly leading to severe complications and even loss of life.

    Emotions Affect Blood Cells

    Photos of frozen water crystals imbued with different emotions appeared in the book, The Hidden Messages in Water by Japanese researcher Masaru Emoto. Inspired by these photos, Rebecca Marina attempted to replicate the experiment by having her own blood samples photographed on slides while she caused herself to feel specific emotions.

    She focused first on sadness. In this photograph, her blood cells seemed to actually take on the formation of teardrops and were seen moving rapidly (rather than slowly and sluggishly as we might expect) with a lot of white blood cells predominant, more so than in a normal blood sample.

    When she felt fear, the blood cells moved around rapidly and frantically with an increased number of white blood cells and then stopped moving rather abruptly, as if exhausted.

    Feelings of love produced slower, more placid movement and some sparkly substance in the fluid. Interestingly, when she felt love, the blood cells on the “sadness” slide that had remained on the screen began to change. In other words, even when her blood was no longer inside her body, her feelings of love actually affected the movement, shape and quality of her blood cells on the slide.

    But the most astounding effect was when she focused on Divine Mother or spiritual love and peace. The fluid part of the blood became clear, the movement of the cells was placid, and the cells were just gliding along. The white blood cells that showed had a white glowing center and a pulsation in that center almost like a heartbeat! And some of the cells actually took on a heart shape. (EFT – Emotional Freedom Technique Research)

    [ad_2]

    Source by Erica Goodstone, Ph.D.

    Views: 0

  • What Is the DXY Dollar Index?

    [ad_1]

    The DXY is an indicator that many market watchers and commentators reference and quote. So what is the DXY or US Dollar index?

    The DXY is a geometrically weighted index of some of the major trading partners of the United States. The composition if the DXY Index is heavily weighted towards the Euro and European countries that have not joined the European common market. The components of the DXY Index are (by weighting): Euro (57.6%), Japanese Yen (13.6%), Great Britain- Pounds Sterling (11.9%), Canadian Dollar (9.1%), Swedish Krona (4.2%), and Swiss Franc (3.6%). Because of the composition of the DXY, it is sometimes referred to as the Anti-Euro Index.

    The DXY is a convenient index to use as a simple method for referencing strength and weakness of the US Dollar (USD). But its ubiquity disguises the fact that it does not reflect the value of the dollar against a broad enough basket of currencies. The DXY was created by JP Morgan in 1973, and it has only been updated once, for the introduction of the Euro currency.

    The DXY is heavily weighted towards European currencies, it underweight’s the Canadian Dollar, as a proportion of US trade, and it largely ignores important Asian and Pacific trading partners, including Korea, Australia, Taiwan and necessarily China. Even if one were interested in including the Chinese Renminbi (Yuan) it would be both difficult and of questionable informational value to include the Renminbi because China keeps their currency pegged to a range that is based on the dollar.

    A more accurate basket of currencies to track the relative value of the USD would be to value the dollar against the top US trading partners. The top 6 US trading partners, from high to low are: Canada, China, Mexico, Japan, Germany and the UK. It’s hard to say why JP Morgan created this index and how it came into such prominence. One odd thing about this index is you cannot trade it. There is no market that you can go to and buy the DXY. The closest you can get are futures and options contracts traded on the InterContinental Exchange (ICE).

    If it’s so inaccurate, then why is it so widely quoted? While there are more accurate ways to benchmark the USD, absolute precision is not always important for an indicator. Many traders and institutions likely have their own indices that they use to track the USD, but for the sake of comparison, it is very convenient to have a common index. The DXY is also highly correlated to a trade-weighted index most of the time. Relative strength or weakness moves by the USD represents huge flows of money. As I’ve written previously, the recent +10% move by the DXY represents more than $1 trillion of nominal wealth destruction. Moves of this magnitude do not happen in a vacuum and the relative weakness of the DXY is mirrored by corresponding weakness in the trade-weighted index.

    While there are shortcomings, the DXY does serve as a reliable indicator of USD strength and weakness and can be used as such, as long as one keeps in mind that it will occasionally be skewed if there are large currency moves that occur in the Euro.

    [ad_2]

    Source by Christian Koch

    Views: 0

  • Implementing the Character’s Emotion

    [ad_1]

    Now that you’ve made your choices, how do you generate these emotions and make them readable to the audience? And in doing so, does the actor actually feel the emotions or simulate them? These are the questions often asked about portraying the emotion.

    It stands to reason if you want to affect the audience and move them, you, playing a credible character, must feel these emotions. But you must feel them in such a way that they are conveyed to the audience. The degree to which you feel each emotion will depend upon the method used to carry out this feat and your ability to master it.

    Actors involved in what is termed “Method Acting” use the affective memory to generate emotions. Here the actor recalls a specific event in his own life that has produced the required feeling. For example, remembering a fight you had with another student in high school could arouse the emotion of anger. Recalling the death of a close relative might generate the emotion of grief. The actor has to go back, replay the experience leading to the desired emotion, and relive those moments in his mind. Through this method, the required emotion is revived.

    There are some benefits and also some dangers in this type of emotional generation. Usually, emotions derived this way seem real and deeply moving, more so to the actor than the audience. That’s because there is a tendency to internalize these emotions so much that they are not fully evident to the viewer. The method does make producing emotions seemingly easy, but at a price.

    You will find that emotions take time to evolve naturally and resist abrupt changes when deeply seated in ones memories. This is one reason few method actors make it big in comedy. The changes come too quickly and the method actor usually lacks the required emotional agility. Likewise, the method process takes up valuable rehearsal and production time as the crew and cast wait for the actor to call up the right emotion.

    Actors using the method are likely to develop a self-indulgent feel “good” attitude which gravitates towards feelings closest to them and more comfortable for them to generate. The performance then becomes one that portrays the actor’s reality and not that of the character’s. You can see how this may stifle the actor’s imagination and limit the search for emotional truth. The method can likewise put a strain on the actor’s psyche. Using past events, some best left forgotten, can lead to situations where it affects the actor’s mental stability.

    Another danger is that of becoming bored with affected memory when repeated retakes or performances are required. There is also the possibility of being so caught up in past events one does not relate as the character.

    Another way to generate emotions is to rely on our emotional conditioning, the response to the word for each feeling, and the ability of the body to remember the resulting psychical (of the mind) and physical manifestations. This is the most simple way to produce a whole galaxy of emotions with little effort on our part. Through our childhood development, we are conditioned by the meaning of words, especially with regard to feelings. We respond to them without any conscious thought.

    Consider what happens when you are reading a good book or script. You become involved in the story and the characters. You see and feel their imaginary lives. And when you read the action description:

    She looks at his mangled body, then turns away in horror.

    The word itself is the key to what she felt. We don’t have to stop, reflect back on our own life and re-experience some past event. The response is there before we have time to think. The word itself is the signal to release all the information we have on that emotion and to invoke an immediate physical response.

    This response, while different for each person, still has common traits and a behavior that tells others which emotion is being felt. It’s almost a language in itself and a part of our non-verbal communications.

    The answer lies in the fact that in physiological terms, all emotions have similar traits. That is to say, if we were to test the breathing, heart rate, skin temperature, etc., of two people, one feeling rage and the other joy, the “physiological” signs would be similar. Only the face, gestures, and movements would signal which emotion they were actually feeling. But the flush face, the pulse and breathing rate, etc., all signifying the energy behind the emotion, would determine the size of the emotion.

    Through this process we have learned how to reach and find the emotion. But now, we must learn to nurture these feelings, making them big enough for the performance and adapting them to build credible characters.

    As we said before, emotions are feelings large enough to change your life or destroy it. They need to be powerful feelings, but all that you start with is the small sensation that the name of the emotion evokes. How can we make it bigger?

    As the word for the emotion is read, the actor feels a response centered somewhere in his body. For instance, the emotion “fear” might be felt in the stomach. For another actor, it might be in the shoulders and neck. “Suspicion” causes a response around the eyes. “Lust” in the hips or groin. “Desire” could be centered in the lips or eyes.

    For each actor, the physical response will vary. But the important thing is that the actor feels these responses and gains awareness of the physical symptoms in various parts of his body.

    How do we increase this energy level? There is a technique taught by Don Richardson, a well know TV director. It entails having the actor do some physical exercise, such as push-ups, until he’s completely out of breath. Then after a few moments, have him go directly into the scene with his intention and emotion located and his energy level at a peak. The result is astounding for the actor has no choice but to emote fully.

    The next step is to start from a totally relaxed state, retaining the selected intention and emotion, and then adding what one felt at the peak when doing the push-ups. The small emotion is now fired up by a burst of adrenaline flowing through the system as the body recalls the effect of the push-ups. The emotion is thus achieved on a large-scale as the body remembers the intense physiological state attained earlier.

    Now the emotion has to be adapted to create your specific character and make him credible. Credible emotions evolve out of the character’s perception of reality, their past experiences (emotional conditioning), and their struggles as they strive toward their goals. Character traits also play an important role in how emotions are adapted. For instance, is the person you are portraying mainly rational, mainly emotional, or a balance of the two, and as a result, would the feelings be out flowing, repressed, or even denied? Is there a great deal of inner conflict where the emotions hinder the character from attaining his objectives? What is the dynamic range of feelings, deep, shallow, explosive, etc? All these questions entail a good deal of research into creating the emotional side of a credible character.

    To assist you in this regard, I’ve compiled discussions on the various root emotions. These will aid you in adapting emotions to your specific character needs as well as improving your emotional range and awareness.

    The third way is indicating the emotions through mechanical acting. In this approach, the actor imitates the physical responses, mimicking the feelings as displayed by others.

    People often look down on mechanical acting. Yet sometimes, it becomes a necessity, either as a training or rehearsal tool exploring possible expressions and gestures, or when the actor’s capabilities cannot fulfill the complex demands of the scene. Demands such as acting style, blocking, stage business, and/or quick precise attitude and emotional changes. In such situations, producing the proper emotional illusion through a mechanical response will, at least, get the actor through these difficult moments. In addition, the director may specify certain emotional responses to attain his vision of the story, responses that may later be embellished by editing, music, and sound effects.

    In certain types of performances, particularly comedy sketches, parities, certain sit-coms, and stand up comedy, experience with mechanical acting is helpful. This is because the focus is centered on dialogue emphasis, precise timing, and clarity of attitudes. Likewise, exaggerated surface emotions have the potential to change unexpectedly while deeply felt realistic emotions lack this agility.

    This is not to say that the actor can not feel these emotions. In fact, he may feel them strongly, but the expression begins as a duplication of some physical response. Life studies, the observing of real people, nurture such emotional beginnings.

    ROOT EMOTIONS

    Root emotions are active feelings that clearly convey what is felt by the characters. They do not include happiness, sadness, sorrow, loneliness, or nervousness as these are not an emotion, but state of being. The state of being is the result of an emotion. Root emotions, on the other hand, are the cause and have the potential to affect change.

    Certain weak and complex emotions should likewise be avoided. Self-pity is weak in that it plays an effect and is often resented by the audience. Disinterest and boredom are likewise poor choices as there is no active force to motivate the character.

    Love is also a poor choice in that it is a complex emotion made up of many other feelings. Playing the feeling of love immobilizes the character rather than inviting action. A better choice would be to play a definitive emotion such as desire, lust, joy, exhilaration, or exaltation. In an unstable relationship, other emotions such as jealousy, suspicion, bewilderment, guilt, or embarrassment, along with certain other emotions, could be used. By using one single root emotion at a time, subtle shadings within the realm of love can be clarified as well as changes in the intensity.

    The emotions of the characters also plays into the psychological experience of the audience. It might be the voyeurism of spying on the character’s intimate moments. It could also be the vicarious experience of identifying with character’s situation or problems. It could also be the visceral feelings we experience as we watch the scene unfold, emotions moving us and giving us a sense of being entertained. Strong emotional choices and well-portrayed feelings, ones that connect with the viewer, can make for interesting and memorable scenes. They can help create anticipation, arouse curiosity, and hook us enough to be intrigue and involved.

    I’ve divided the most frequently used root emotions into five different categories. Each category is further clarified as to the focus of the emotion as well as the general clarifications.

    ROOT EMOTIONS

    DARK EMOTIONS (Active – Directed at or against someone, something.)

    Rage

    Anger

    Hatred

    Contempt

    Jealousy

    Envy

    SURVIVAL ORIENTED (Reactionary – Selfish – Focus usually on the expected or imagined.)

    Terror

    Horror

    Fear

    Dread

    Despair

    Grief

    Suspicion

    Apprehension

    GOAL ORIENTED (To find, to obtain, to provide – Focus usually on wants.)

    Revenge

    Ambition

    Greed

    Hope

    Desire

    Lust

    Determination

    Compassion

    Curiosity

    EGO ORIENTED (Self evaluation & result – Focus usually on masking or repressing the emotion.)

    Guilt

    Shame

    Indignation

    Intimidation

    Embarrassment

    Resentment

    BRIGHT EMOTIONS (Enjoyable – upbeat – Focus usually on the continued enjoyment.)

    Exaltation

    Joy

    Pride

    Exhilaration

    Wonderment

    Bewilderment

    In review, root emotions motivate you to fight for something, to change your (the character’s) life or destroy him (the character’s dramatic soul). To be a strong sympathetic character, always play the fighter’s side of the emotion, thinking you can win rather than loose. The physical look of one particular emotion will vary depending on the story situation, the characters, and the natural casting chemistry within and between actors.

    To further your knowledge on this subject, explore the physical sensations, sources, forms, and dynamics of the most common root emotions. Observe emotions in life as well as performances. What are the defining characteristics? Such research will also serve as a guide in stretching the clarity, strength, and polarity of your emotional repertoire.

    This chapter has covered the basic skills used in building and implementing dramatic emotions. Use these skills as tools to nurture and release the character’s true feelings, and make them readable to the audience. Most important, create emotions that serve the story, its genre and purpose.

    [ad_2]

    Source by Erik Sean McGiven

    Views: 0

  • What’s The Difference Between Direct Sales And Network Marketing?

    [ad_1]

    My purpose and commitment is to really help you understand and appreciate the MLM industry. One of the things you need to know when shopping for a business opportunity that is built on the multi-level marketing format, is not only how these businesses work but which one will compliment your skill set, personality and area of expertise.

    The Difference Between Direct Sales and Network Marketing

    Direct Sales and Network Marketing are both based on the multilevel marketing business model. MLM or Multilevel simply refers to the business structure in which the compensation plan is mapped out. The Direct selling and Network marketing vehicle is the actual distribution system or the way the products are dispersed.

    With Direct Selling, the emphasis is usually on direct, person-to person product distribution, which typically involves the independent sales representatives earning a commission from the products that they sell directly to the customers.

    The usual way of getting their products out to the masses or finding customers is by hosting product parties, trunk sales, booths and etc., by way of their circle of influence. Advancing in rank is dependent upon the volume of products sold.

    In some companies you can recruit other people to hosts parties in which they would be offered a discount on the products for hosting that party and also earn free products if they sell a certain amount of merchandise.

    This is important to know if happen to be a really good sales person or if you hate the thought of selling in this way, when choosing a mlm company.

    Some examples of Direct Selling companies are:

    Avon, Natura, Vorwerk, Herbalife and Mary Kay

    Now with Network Marketing, the emphasis is on team building. Building a team of partners who are in agreement to use the company products in their household as well as share products with others outside of their network.

    You are basically the customer as well as the business owner and you are able to sponsor, support and train others who want to build a business of their own. So the importance here is on building an organization of like minded individuals who use and move product within and outside their network.

    In network marketing, you also have the flexibility to host product parties or have a booth, etc., in order to promote your products if you so choose. You are the business owner, not just a sales representative so you have the power to run your business as you see fit.

    This model is a great if you love networking, team building and training others.

    Some examples of Network Marketing companies are:

    Sisel International, Vemma, Amway and Visulas.

    Some direct sales companies also incorporate the network marketing team building model as well depending on the compensation structure, so make sure to do your research.

    Understand that the purpose of both models is product distribution, but, it’s the way the distribution happens and the way you, the marketer, gets compensated, that makes the difference.

    On a side note, steer clear of companies that don’t have a product OR they have a limited product line that offers little to no value to the public.

    End the end, the difference between direct sales and network marketing is fairly minimal. Both serve as an opportunity for the ordinary individual to build their own business, delivering quality products to the masses in a less expensive and more personal way.

    By eliminating the middle men; expensive advertisers and merchandisers, the network marketer and direct seller can create residual/ passive income from home with less time, less money and less hassle than the traditional business model.

    So Tell Me…

    Have you ever owned a network marketing or direct sales business?

    What did you like or dislike about it?

    Did you find it too challenging? If so, tell me why.

    I would love to hear from you!

    [ad_2]

    Source by April Ray

    Views: 0