How To Manage Your Time Better

People with passion can change the world for the better.

Steve Jobs (via forbes)

9th May, 2016 Almost gave up on matrices, but today’s lecture on determinants really gave me hope again ☺️💪🏻👓 Had the most unproductive weekend since the start of semester, but today has been really productive, so maybe I just needed a reboot 😅👍🏻📖✍🏻 Hope your Monday has been a great start to the week as well~

I’m never over the fact that Juliet, though sunshiney, loving and in many ways naive, is actually a ridiculously morbid and very calculating person.  I love her for it, honestly, and I hate when people cut those lines or play it as though she isn’t these things.

Like, my love for Juliet Capulet knows no bounds as it is–she’s defiant, she’s passionate, she’s nonviolent, she’s loving, and basically  the coolest.  But I feel like the fact that she’s kind of a manipulative genius at times, and a somewhat creepy Gothic romantic at  others is so often overlooked, and I can’t imagine why, because that’s great!

I mean, it’s clear how intelligent she is, and how easily she manages to say what her parents want to hear, without even once letting on what she’s really saying, as the audience knows, most notable in Act III, Scene VL

Indeed, I never shall be satisfied With Romeo, till I behold him—dead— Is my poor heart for a kinsman vexed.

Where she basically knows how to simultaneously say that she’s grieving both for the loss of Tybalt and Romeo, while letting her mother hear that she wants Romeo dead, and then later in the same scene:

I pray you, tell my lord and father, madam ,I will not marry yet. And when I do, I swear It shall be Romeo, whom you know I hate, Rather than Paris. These are news indeed!

Where she manages to basically throw it all out on the table–she’d rather marry Romeo than Paris–and still words it just so they have no idea.  This is an extremely subtle and deft crafting of word and communication and how people hear things.  The girl is basically a genius and could probably have made a terrifyingly good con artist if she wanted.

But then I also love the fact that lots of her other lines are oddly morbid, and that she clearly loves and enjoys darker things, and isn’t quite the wilting, delicate flower people seem to portray her as.  I mean, one need mostly just look at her speech in Act III, Scene II, which I’ll do here, and then it becomes a wonder no one modernizes R&J and makes her an adorable Gothic princess, in a way. 

Gallop apace, you fiery-footed steeds, Towards Phoebus’ lodging: such a wagoner  As Phaethon would whip you to the west, And bring in cloudy night immediately. Spread thy close curtain, love-performing night, That runaway’s eyes may wink and Romeo Leap to these arms, untalk’d of and unseen. 

This part isn’t terribly dark, but it’s got the feeling of a battle  cry, in a way, invoking horses of the gods to go away, commanding the sun to set.  It’s intense stuff.

Lovers can see to do their amorous rites By their own beauties; or, if love be blind, It best agrees with night. Come, civil night, Thou sober-suited matron, all in black, And learn me how to lose a winning match,  Play’d for a pair of stainless maidenhoods:

To me, at least, there’s something witchy about this: it reminds me, in a way, of Lady Macbeth’s “Come, thick night,” speech, where she’s powerful, literally calling evil spirits to do her bidding and change the course of what’s to be done.  Obviously, Juliet isn’t a witch and no spirits come to her aid, but the thought is there, as is her love for darkness, her disdain for light, her romanticization of the night and its cover and the color black.  It makes me want to picture a modern Juliet painting spider-webs on her fingernails and watching the starts for hours in the dark, and listening to The Cure.  

Hood my unmann’d blood, bating in my cheeks, With thy black mantle; till strange love, grown bold, Think true love acted simple modesty. Come, night; come, Romeo; come, thou day in night;  For thou wilt lie upon the wings of night Whiter than new snow on a raven’s back. 

Again, this is something she very clearly loves and thinks is gorgeous, and it’s morbid and dark and rich.  And yet she’s so constantly written off as this silly little girl, foolish and flowery in the way people read her or perform her.

Come, gentle night, come, loving, black-brow’d night, Give me my Romeo; and, when he shall die, Take him and cut him out in little stars, 

Honestly, just to drive the point home, she’s thinking about her lover’s death making him scatter into the stars and literally becoming part of the night.  She wants to be Night’s lover, in an indirect kind of ways, and the fact that she twines darkness with Romeo in this image, indicates that she associates love and things she adores with darkness.  It’s certainly a love for the dark that I’d put into a Gothic Heroine of later literature.

And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun.

And finally, she concludes with calling the sun “garish,” which, if anything, makes me think of a line in a song from Phantom of the Opera–”Turn your face away/ from the Garish light of day”–which also associates romance with darkness, and a contempt for light.  But this isn’t meant to make her bad or wrong, simply private and rich and dark.

So basically, this all boils down to two things:  One is that Juliet Capulet should not be written off as stupid because she is literally too clever for anyone else.  The other is that I don’t get why people portray her wearing all white, or bright colors so often in modern adaptations, because there’s literally text-based justification for goth!Juliet if you wanted.

TL;DR Juliet Capulet is my cunning Goth Daughter who I love to hell and back and would kill someone for and I hate that people do not like her or put a lot of thought into her.  Also, if you’re ever thinking on it, consider goth!Juliet who loves spooky things and sneaking out at night. It could go very well with pastel!Romeo.

Writing an essay without any structure is like trying to find your way around an unfamiliar place without a map; frustrating, ineffective, and a bit of a garbled mess. Structure gives your essay a clear voice and coherency and makes marking a lot easier for your teacher or tutor! Here are a few general tips I often use when writing essays to maximise the effect of my argument and achieve the best results I can both in high school and university.

Text structure While the content of essays varies, the skeleton structure never changes. In order to clearly articulate an idea, an essay needs a beginning, middle, and an end. 

Introduction

Start with a macro sentence - use an interesting quote, fact, or idea which gives the reader a broad sense of what your essay will cover. This is the reader’s first impression of your essay and can determine their whole attitude while reading it, so make it effective!

Briefly outline the main ideas and thesis - in absence of an abstract, your introduction will need to show the main ideas you will be covering so as to support your thesis, or answer the essay question. You will need to clearly express your position and how you intend to argue the point.

Set the limits - sometimes, the scope of an essay question can be very broad, or perhaps there’s a focus to your thesis not all ready indicated. Define the limits of your essay, whether they be a set of years for a history topic, or looking at specific artists who contributed to an art style.

Define key terms - if a term is important to the understanding of your essay, or perhaps you’ve taken your own approach to its meaning, be sure to define it in your introduction!

Body

Separate each idea into a paragraph - ideas can generally be separated chronologically or conceptually. The section below explores this in more detail! 

Start every paragraph with a topic sentence - introduce what the paragraph will discuss and how it relates to your thesis. Signpost it with critical words to make it easier to understand exactly what you are addressing. Ensure it is clear and to the point!

Make a claim and the support it - like in reality, when you make a claim you need to provide evidence to support it so it can be taken seriously. Make your claim early on in the paragraph, generally in the topic sentence, give relevant detail and explanation, analyse it, and then justify it with authoritative quotes, sources, examples, etc.

End every paragraph with a linking sentence - refer back to your thesis or question and make sure what you set out to cover in the paragraph actually addresses it! This is an opportunity to draw a link between this paragraph and the next.

Conclusion

Do more than just restate your points - your conclusion is more than just a rehash of your introduction. Link ideas together and demonstrate how they are interconnected on a less superficial level. An English teacher once told me, your essay is like a mountain. You put in all your hard work to climb it in your introduction and body paragraphs, your conclusion is a chance to look back, make connections where there were none before, and solidify your argument. 

Establish the overarching theme and idea - what idea underlies all the points you have made? How does it relate to your thesis?

Draw a profound and insightful conclusion - what are the implications of this? Is there relevance today? This can transform a standard essay into a more profound and overall, more interesting essay.

Don’t introduce any new information - your essay is complete! All your information should have been expressed in the body paragraphs, so nothing new should be introduced here.

Reaffirm your thesis - restate it with some finality! Your body has provided all this evidence to support it, remind them of this.

Chronological or Conceptual? For the most part, an essay can take one of two approaches; a chronological approach, where each body paragraph follows the text, history, etc., sequentially, or a conceptual approach, where the main idea is broken down into its constituent elements, each addressed in their own paragraph(s).

 In my experience, conceptual essays usually score higher, showing a greater sense of understanding of the topic and its inner workings. You can demonstrate a funnel effect more easily, where each element funnels down from its body paragraph to the conclusion, contributing to the overall idea of the essay. A chronological approach, however, can be easier to follow and is occasionally implicit within the essay question. Choosing which approach to use depends on which you are comfortable writing with, the demands of the essay or your teacher, and can vary from essay to essay. 

Continuity and Cohesion Something I think is highly underrated, yet critical to holding an essay together, is transition words and phrases. They create continuity and cohesion between ideas and paragraphs, and serve as a bridge of sorts within your overall structure. Here are a few posts which have comprehensive lists of transition words and phrases:

Transition Words for Essays - @staedtlers-and-stabilos Essay Transition Phrases - @study-like-you-mean-it Transition Words For Your Essays - @soniastudyblr

I hope this can help with structuring your essays and getting the best marks you can! Please message me if you have any questions :)

Other essay writing posts: How to reduce your word count Understanding the Question How to Write a Killer Unprepared Text Essay

I don’t know if you’ve ever felt like that. That you wanted to sleep for a thousand years. Or just not exist. Or just not be aware that you do exist. Or something like that.

Stephen Chbosky, The Perks of Being a Wallflower (via theliteraryjournals)

writers:

break up your paragraphs. big paragraphs are scary, your readers will get scared

fuuuuck epithets. “the other man got up” “the taller woman sat down” “the blonde walked away” nahhh. call them by their names or rework the sentence. you can do so much better than this (exception: if the reader doesn’t know the character(s) you’re referring to yet, it’s a-okay to refer to them by an identifying trait)

blunette is not a thing

new speaker, new paragraph. please.

“said” is such a great word. use it. make sweet love to it. but don’t kill it

use “said” more than you use synonyms for it. that way the use of synonyms gets more exciting. getting a sudden description of how a character is saying something (screaming, mumbling, sighing) is more interesting that way.

if your summary says “I suck at summaries” or “story better than summary” you’re turning off the reader, my dude. your summary is supposed to be your hook. you gotta own it, just like you’re gonna own the story they’re about to read

follow long sentences w short ones and short ones w long ones. same goes for paragraphs

your writing is always better than you think it is. you just think it’s bad because the story’s always gonna be predicable to the one who’s writing it

i love u guys keep on trucking

University (2) Masterlist

part one

Creating Hope (ao3) - wrightaway

Summary: Dan finally managed to make a few friends at university, but they’re not exactly what you would call “good influences”. On a dare, Dan calls in a professional female cuddler, but a mix up causes a man named phil to show up. Oddly enough, their relationship seems natural, and soon grows to something more. With the help of Phil, Dan begins to see the truly amazing possibilities life provides.

Double-Booked - evacuated-heart

Summary: It’s finals week, and the university’s art and photgraphy studio just so happens to be double booked.

Endless Cities Multiplying Out, Oceansize - krys-etc

Summary: Phil is trying to figure out his gender, and Dan is his roommate.

Every Day - zuzonicorn

Summary: UniStudent!Phil doesn’t really care to watch YouTube sensation danisnotonfire’s videos or live shows, and his uni class always ask why. He always gives them the same answer: “it’s like he hears it every day.” His classmates are about to find out why he always gives the same, dull answer in a way they never would’ve guessed.

Fly Around In Circles - dannihowell

Summary: Dan moves into Uni and finds that his new roommate is Phil, his ex-boyfriend.

I Can’t Do This Anymore (ao3) - alixinsanity

Summary: When Dan returns from his university lecture in tears, Phil comforts him.

I’ll Be Your Sugar Daddy - skinnyjeanshowell

Summary: When Dan is desperate for money for university, he does the one thing he never thought he would do. He goes to a sugar daddy for help.

I Sing The Body Electric - nokomisfics

Summary: genderfluid!phil university flatmates au.

I Will Take You There (If You Let Me Take You) - cafephan

Summary: In which Dan is a fresher and Phil is his RA, and a misunderstanding leads to something unexpected.

Snakebite Heart With A Bubblegum Smile - dark-days-dark-nights-xx

Summary: Phil didn’t want to be there, he really didn’t, but his parents had insisted Uni would benefit and he was determined to hate it. That was until he met his roommate, a guy whose wardrobe consisted of pastel jumpers and flower crowns who made Phil admit who he really was. (Punk/pastel Uni! AU)

Take Every Ounce of Love (And Beg You For More) (ao3) - starsalign

Summary: Uni!AU / Coffeshop!AU in which Dan has finals and the only thing getting him through this week of hell is seasonally appropraite coffees and the cute barista with pretty eyes.

Take My Hand, We’re In Foreign Land - phansomniac

Summary: Dan studies english lit and creative writing at university, a writer wound up in the works of art words can create. Phil transfers to english lit, and after a one night stand they face the trials of living with each other for a year, coping with each other through ups and downs and, eventually, they find they’re closer than anticipated.

Vibrancy - howellesterfics

Summary: Dan is in his third year of studying art in uni. His future is set by societal standards, and he’s prepared for his life beyond graduation: his relationship with Louie will continue to flourish, they’ll tackle the whole white-picket fence thing, have a dog and a kid and a perfect life. He’ll make a living off of his respected artwork. Everything is falling into place - minus the fact that Dan has fallen hard for the photographer on campus, Phil Lester.

Teaching Skills, Not Just Content

Shira Lurie is a PhD hopeful in Early American History at the University of Virginia. Her exploration concentrates on well known political clashes over the American Revolution's legacy in the early republic. You can tail her on Twitter and on her site.

This year I TAed a course on the historical backdrop of Colonial British America for the most part non-history majors. A few understudies were there out of general interest, yet numerous were utilizing the course to satisfy a circulation necessity. While I positively trust that the investigation of history is imperative for everybody, I likewise needed my understudies to see the class as by and by advantageous and, most importantly, helpful for their prospects. I think this is one of the more subtle, yet noteworthy difficulties in post-optional educating: it is regularly the case that the greater part of understudies we instruct won't seek after professions in our field. We likewise know, likely from direct experience, that post-exam cerebrum channel is a fight no instructor can completely win. As TAs, our first obligation is, obviously, to educate content. Yet, given that our understudies will probably not utilize, thus overlook, the vast majority of the data they realize, by what means would we be able to guarantee an effect comparable to the time our understudies go through with us? I think in any event part of the answer is to chip away at ability improvement.

I chose that there were sure abilities I could concentrate on over the semester that would serve my understudies well in whatever professions they in the end sought after. Notwithstanding future convenience, investing a portion of class energy in expertise advancement additionally gives understudies chances to track their own particular advancement in specific zones. Here are a few aptitudes I underlined this semester and a few thoughts on the most proficient method to create them:

Composing

I started the term by disclosing to my understudies that written work would be a high need for us since great composition can separate them in whatever order they pick. About each different class I would break them into little gatherings and have them compose a couple sentences on a given brief or idea. For instance, I would give every gathering a term that they may need to recognize and dissect on the last, most decisive test. We would then put them up on a projector and investigate them as a class. This permitted understudies to get criticism on their composition and to thoroughly consider what makes a compelling sentence, section, and contention. It additionally empowered them to rehearse for the exam.

ARTICULATING AN ARGUMENT

Scientific speculation and the capacity to marshal proof in administration of a contention are likewise generally pertinent aptitudes. It is likewise essential to have the capacity to survey the contention of someone else and give reasons why you concur or oppose this idea. I had my understudies respond to the contentions of the books we read in class, and also to the feelings I and different understudies would voice. Contemplating a power's sentiment and having the capacity to mindfully voice resistance are profitable aptitudes that require sharpening. For instance, I set up a sentence from the book we were perusing on the board and sorted out understudies into two gatherings: the individuals who concurred and the individuals who couldn't help contradicting the sentence. The understudies then discussed with each other, offering proof from the book and different readings to bolster their focuses.

Open SPEAKING

While I didn't have my understudies give formal presentations, I saw investment in class exchange as a decent open door for them to hone their open talking aptitudes. I urged understudies to illuminate any ambiguous dialect they utilized and to work off of every others' focuses. I additionally attempted to discover chances to urge shyer understudies to talk up. For instance, amid gathering work, I requested that calmer gathering individuals be the ones to represent their gathering's commitment when we returned together as a class. This gave them an opportunity to rationally plan and even record their remarks on the off chance that they favored.

Promo for promo

400 years after his death, William Shakespeare has kept his cool

The playwright's work still seeps into pop culture — and resonates with performers of all ages and backgrounds.

“I would love, love, love to play Hamlet,” said James Norton, who was plucked from the Cambridge student body for Trevor Nunn’s production of “Cymbeline” nine years ago and is melting hearts as a jazz-loving vicar in PBS’ “Grantchester.” “But I’m already a bit too old.”

The 30-year-old Norton may think the role has passed him by — although maturity didn’t stop Mel Gibson from doing a 1990 film version at the creaky age of 34 — but there are plenty of other choices in his future.