Writing Tips

Ten facts about gender inequality in business

Gender is a central concept in modern societies. However, gender gaps are still a wide-spread phenomenon. While gender gaps in education and health have been decreasing remarkably over time and their differences across countries have been narrowing, gender gaps in the labour market and in politics are more persistent and still vary largely across countries.

The following ten facts, written by Paola Profeta (Associate Professor in Public Economics at Università Bocconi), help shed light on the gender-gap problem:

Gender gaps have historical roots: These roots can be traced back to the organization of the family and to traditional agricultural practices.

Culture matters in determining gender gaps: Gender stereotypes are well-established, both among men and among women.

Men and women have different attitudes and behaviours: On average women are significantly less likely than men to make risky choices and to engage competition.

Maternity does not explain it all: There is no trade-off between fertility and female employment – but maternity is a penalty in the labour market.

Education is the first engine of gender equality: Women and men are currently equally educated, and women often surpass male educational attainments in developed countries.

Gender gaps in employment and the glass ceiling are different phenomena - although they often go hand-in-hand. 

Labour demand is as important as individuals’ choices: Firms’ decisions, employers’ attitudes and beliefs, are as important as individuals’ incentives and choices.

Institutions play a crucial role in supporting female employment: Family policies, parental leave, and formal child care provisions may help supporting female labour supply.

Institutions play a crucial role in determining the glass ceiling: How to promote female leadership and the presence of women in top positions is a highly debated issue.

Women’s empowerment and economic development are interrelated: Economic development improves women’s conditions and reduces inequality – and the involvement of women in the economy is a key engine for growth.

For more information about gender inequality, check out Paola Profeta’s article on the OUPblog.

Image Credit: ‘Office, Tax, Business’, Image by FirmBee, CC0 Public Domain, via Pixabay.

Capitulo 6: El Libro

Como conociste a mi mama? preguntó Stephanie mientras se recuesta en la cama al anochecer 

En el río, en la luvia, un rayo cae y la luz hace su presentación, dijo el papá mientras recorre las sábanas para cubrir el cuerpo de la niña.

Era Hija del Rayo? infirió la menor mirando la imagen de su presentación.

Se puede decir. Por la potencia de su luz, contesta el papá

Cómo se quedó? inquirió intranquila la niña 

Le dije que si volvía, le escribiria con mis propias manos unos cuentos y se los leeria todos los dias en el parque 

Volvió?

A veces 

Que pasó?

Los escribimos los dos, y después los leíamos los dos, dijo mientras apagaba la luz, y cerraba la puerta de la habitación.

The Ultimate Guide to Writing Persuasive Arguments

Within the vast landscape of written expression, where words hold the potential to shape opinions and ignite change, the art of crafting compelling arguments stands as a formidable force. As an author, I recognize the tremendous opportunity we possess to harness this power and leave an indelible mark on our readers.

I was recently asked to write a blog about creating argumentative scenes, I found the topic quite interesting as arguments and persuasion are something authors of all genres can find themselves writing. Anger is a very raw emotion that authors often feel the need to perfect, I hope this guide on how to write persuasive arguments can help you reach that point of perfection. 

Understanding the Power of Persuasion in Fiction

Persuasion in fiction goes beyond convincing readers of a particular argument or viewpoint. It involves crafting narratives that engage readers on multiple levels, influencing their emotions, thoughts, and even actions. Just like skilled orators sway their audiences, we can use the tools of persuasion to captivate readers, immerse them in our stories, and make them feel deeply connected to our characters and themes.

By masterfully crafting persuasive narratives, we can make readers question their assumptions, reconsider their beliefs, and view the world through a new lens.

However, it's important to note that persuasion in fiction doesn't mean manipulating or forcing readers to adopt specific viewpoints. Instead, it's about presenting compelling arguments within the context of our stories and allowing readers to engage with them organically. Through our characters' journeys, conflicts, and personal growth, we can subtly challenge readers' perspectives, encourage empathy, and foster critical thinking.

Your character doesn’t have to necessarily be wrong or right and it is important to remember your readers can always have a viewpoint completely different from your opinion of your character and that scene. 

Developing Convincing Characters and Narratives

Captivating characters possess the power to sway readers' hearts and minds. They are multidimensional, relatable, and possess qualities that make their actions and beliefs compelling. By carefully sculpting our characters, we can infuse them with the ability to embody persuasive arguments and engage readers in thought-provoking ways.

To create convincing characters, we must delve into their backgrounds, motivations, and desires. What drives them? What are their core values? Understanding their unique perspectives allows us to shape their beliefs and opinions, providing a foundation for persuasive storytelling. When our characters' convictions align with the arguments we wish to convey, their authenticity and passion become catalysts for reader engagement.

Character Examples 

In Angie Thomas' powerful novel, "The Hate U Give," the protagonist, Starr Carter, serves as a compelling argumentative character.  

Through authentic dialogue and poignant internal monologues, Starr articulates her experiences, frustrations, and desires for a more just society. Her arguments against racial profiling, police brutality, and the need for equality are rooted in her personal journey, allowing readers to empathize with her and reflect on their own biases and prejudices.

By skillfully intertwining character development with persuasive arguments, Angie Thomas creates a protagonist whose voice and convictions leave a lasting impact. Starr's transformation from a reluctant witness to a courageous advocate exemplifies the power of persuasive storytelling, inspiring readers to challenge injustice, examine their own beliefs, and work towards a more equitable world.

Crafting Engaging Dialogue

When it comes to persuasive writing, crafting engaging dialogue is a powerful tool that allows us to convey arguments, challenge beliefs, and captivate readers. Effective dialogue not only propels the plot forward but also serves as a vehicle for persuasion.

To craft engaging dialogue with persuasive impact, consider the following techniques:

Character Voice: Each character should have a distinct voice that reflects their personality, background, and beliefs. Whether it's through word choice, dialect, or speech patterns, make sure their dialogue is authentic and consistent. This authenticity lends credibility to their arguments and makes them more compelling.

Conflict and Tension: Engaging dialogue often thrives on conflict. Introduce opposing viewpoints and create tension between characters with differing opinions. These clashes of ideology can spark thought-provoking debates and allow readers to see multiple sides of an argument.

Subtext and Nuance: Effective dialogue often goes beyond surface-level conversations. Include subtext and underlying emotions to add depth to your characters' interactions. What remains unsaid can be just as powerful as what is spoken, allowing readers to infer hidden motives and subtle persuasions.

Relevance to the Plot: Ensure that your dialogue serves a purpose within the larger narrative. Use it to advance the story, develop characters, or explore thematic elements. When dialogue aligns with the overall arc of the narrative, it becomes an integral part of the persuasive storytelling process.

Emotional Impact: Infuse your dialogue with emotion to create a deeper connection with readers. Engage their empathy, evoke their curiosity, or stir their passion through the heartfelt words exchanged between characters. Emotional resonance enhances the persuasive power of your arguments.

Utilizing Descriptive Language and Imagery

By skillfully utilizing descriptive language and imagery, we can immerse our audience in the world of our story and strengthen the persuasive nature of our arguments.

Appeal to the Senses: Engage readers on a sensory level by incorporating descriptive details that evoke sight, sound, taste, touch, and smell. By immersing readers in the sensory experience of a scene, you can make your arguments more tangible and relatable.

Paint Vivid Settings: Transport readers to vibrant and immersive settings that act as a backdrop for your arguments. By creating a rich visual landscape, you can enhance the persuasive impact of your words and immerse readers in the world of your story.

Evoke Emotions: Harness the power of emotion to make your arguments resonate deeply with readers. Use descriptive language that elicits a range of feelings, whether it's anger, empathy, awe, or hope. Connect with readers on an emotional level, and they will be more likely to embrace your persuasive message.

Plotting and Structuring Persuasive Storylines

Crafting persuasive storylines requires careful plotting and effective structuring to engage readers and convey your arguments in a compelling manner. By strategically organizing your narrative elements, you can captivate your audience, build tension, and ultimately deliver persuasive messages that resonate long after the final page. Here are key considerations for plotting and structuring persuasive storylines:

Establish Clear Goals: Define the central objectives of your narrative, both in terms of the overall story and the persuasive arguments you aim to convey. What do you want readers to understand or believe? Set clear goals to guide your storytelling, ensuring every plot point and character arc serves the purpose of advancing your persuasive message.

Build Rising Tension: Structure your storyline to escalate tension and keep readers invested in the outcome of your persuasive arguments. Craft each plot twist and revelation to heighten the stakes, gradually intensifying the conflict and presenting new challenges that test characters' convictions.

Use Narrative Devices: Employ narrative devices such as foreshadowing, flashbacks, and dramatic irony to enhance the persuasive impact of your storylines. These devices can provide deeper insight into characters' motivations, reveal hidden truths, and strengthen the arguments you present.

Balance Pace and Reflection: Find a balance between fast-paced action and reflective moments to allow readers to digest and connect with your persuasive messages. Provide opportunities for characters to contemplate their beliefs, engage in meaningful conversations, and undergo personal growth, which reinforces the authenticity and impact of their arguments.

Editing and Polishing Your Argument

Editing is the key to refining and enhancing the persuasive impact of your writing. As you revisit your work, focus on clarity, coherence, and compelling language. Here are essential editing steps to maximize the persuasive power of your piece:

Streamline Your Argument: Trim unnecessary details and tighten your arguments. Ensure each sentence and paragraph contributes to the central message, eliminating any tangents that may dilute the persuasive impact.

Enhance Clarity: Clarify your ideas by simplifying complex concepts and using concise language. Avoid jargon or technical terms that may alienate or confuse your readers. Opt for clarity over complexity.

Strengthen Structure: Check the flow of your piece, ensuring a logical progression of ideas. Arrange your arguments in a coherent manner, guiding readers from one point to the next with clarity and coherence.

Choose Compelling Language: Use powerful and evocative language to captivate readers. Employ vivid verbs, descriptive adjectives, and figurative language to engage their senses and emotions, heightening the persuasive impact of your words.

Proofread for Errors: Eliminate grammatical, punctuation, and spelling errors that can distract readers from your persuasive message. A polished and error-free piece lends credibility and professionalism to your arguments.

I hope this blog on the ultimate guide to writing persuasive arguments will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and marketing tools for authors every Monday and Thursday

BEFORE THE FIGHT

Oh Ms Beautiful Ms Beautiful

Oh Ms Beautiful, Ms Beautiful

How many times have you fallen into the same spot? 

Implementing strategies, you think they are right

And some others, mistakenly understood, your purpose and the right

Be brave! Be brave

Only heroes in their own characters stand the weight

And the purpose of your own inside the mess

Fight, the fight for you

For your principles

For your career

Fight, the good fight

But do not let them win the fight

Of liberating a mind, in a conflicted spot

Of a broken mind

Writing Tips

Maintaining Motivation to Write

❀

➼ if you’re bored writing a part & want to move on to another scene… imagine how bored your readers must be

➝ keep it interesting and meaningful ; write every scene like it will be your favorite

➼ if you’re stuck on a scene — skip it

➝ use placeholders and come back to it when motivation strikes

➝ personally, I do something like: {ENTER: battle scene} and then I’ll list details, lines, or dialogue I want to include so I don’t lose my ideas

➼ if you’re stuck on where to go with a scene — delete the last line and reroute

➝ keep your last line saved somewhere or in brackets — never actually delete anything, but this can help broaden your perspective and encourage creativity

➼ if you’re stuck on a character name — use placeholders

➝ I love to research my names intensely; I’ll spend way too long researching that I’ll forget what I wanted to start writing ; plus once I get attached to a name I am reluctant to change it, even if I think of a better one

➝ so I’ll temporarily replace the name with something like: [A] or [Villain] or [King]

➼ if you don’t have motivation to write an entire excerpt, write a sentence for each of the five senses in the scene

➝ touch, sight, hearing, taste, smell

➝ having these details can help immerse yourself back into the scene when you’re ready to write it

I met Vikki Carr long time ago thanks to my sister. She used to wake up in the morning by listening to Vikki Carr’s songs using my old stereo system. She listened that Spanish song “Total” that says “At the end, if you would have loved me I would have forgotten your love/ You see, it was a lost time the one you have meditated to tell me now that this can not be possible”.

I liked that song, really, as I like to have this interview with the one that woke me up in the morning in a mysterious way. She is right now through the phone, with a set of pre-determined questions underling the kind of relationship with the entertainment business people.

Vikky Carr, according to her website (http://vikkicarr.com) was born in El Paso Texas "and raised in Southern California, the eldest of seven children, who later change her name to Vikky Carr." She started singing at the age of four, but it was not until 1961 when she signed a contract with Liberty Records. She recorded He's a Rebel which became the first hit in Australia, and later on she sang It Must Be Him "which charged up the charts in England" says her website.

With almost 50 years of professional experience as a singer, we had this awesome opportunity to talk with this wonderful woman, who have tasted the fame without losing her charm, her singularity, her qualities as a human being, and this is my way to thank her for this interview, which in this case is focused in making entertainment deals around the world due to her singing career.

  How do you deal with people in a negotiation process, do you play hard o soft ball?

“I think the artist should always be dedicated to his art, and let the manager or lawyer deal with those details of negotiation. My function is to sing to an audience and I do not want to get involved in those little details of the agreement. When I get involved in the contract is just in the final phase when it is time to sign that deal”, said Vikki Carr.

To his manager, Dann Moss, playing hard or soft ball depends on “who you are negotiating with, in what country you are negotiating with, because people in different countries negotiate in different ways”. To Vikki Carr’s lawyer you need to make sure that the money is there, in the USA, before the performance because “you do not want to get involved in a lengthy negotiation process” in case something is wrong. The Japanese, he explains, when you sign a contract “their word is their bond and integrity is their word that they will honor that contract”, while in the Middle East, he explains further, the negotiation starts when you sign the contract. We need to understand, resumes Vikki’s manager, “what every person or country or people put into the importance of a signed contract, and their words and what it means to them.” It is also then when we have a beautiful negotiation process.

  Have you ever applied dirty tricks in a negotiation?

  “We always play clear, says Vikki, and we do not want to make dirty tricks and we try to play fare. We recognize that everybody in the game should get something; however there have been times when the singer gets less than the other agents in the process, and this is the reason I got an agent who deals with those issues.”

I think at the end of the day, replies Dann, a good philosophy is that everybody needs to win something, and you cannot take everything off the table. Everything is about sharing, he explains, and “we need to make sure that the people we are negotiating with, make money so they can come back and do another contract”. According to the manager they do not take all the marbles off the table in a negotiation process.

Dann Moss is Vikki Carr's lawer. According to his resume Dann was a co-founder and partner in the Law Firm of Thompson, Shankman, Bond and Moss. The firm specialized in the entertainment and communication industries. Dann then began, his own practice discovering and building new artists, negotiating television, publishing, licensing and recording agreements and producing international television specials and motion pictures.

  What happen -I asked- with those people that are tricky in your negotiation and what do you do Dann?  Have you ever found people like that, trying to get advantage from you?

  Yes, says Dann, in Paris. We had an agreement with my director and the theatre manager to reserve 27 seats for 3 sets of camera that were supposed to record the show. We marked those seats in the planogram to make sure those seats were not sold to the public so we can record the show. A month later we came back to put our cameras in place using those spaces, and the theater manager approached to me to tell me I could not use those seats since they were already sold. I told the manager our agreement and he said, “I am sorry, they are sold”. Don’t worry, I said, I will take care of the problem and talked to my secretary to print an invitation saying “Please excuse the inconvenience. You are cordially invited to seat on the stage for the performance and I personally invited to a champagne reception with Ms Silva Gartan after the show”. Then the manager came and said “you can not have people on the stage and I said “that is your problem”. Obviously, he said finally, there were more people giving out their seat so they can go to the reception. In that way, he concludes, we separate people from the problem.

Tras Bambalinas

Tuércele El Cuello Al Cisne de Engañoso Plumaje.

Era en la mañana. 

Apenas las luces, primeras luces del día, solían aparecer en el salón de clases. 

Era especial pasar de la noche oscura del dîa a las 7 am, a la entrada del crepúsculo del dîa a las 7.01 am, en sólo un minuto digamos,( sin ser preciso en el tiempo, sino solamente mencionarlo como referencia), y pasar del anochecer al amanecer literalmente en un minuto, de lo oscuro a la luz, de las lámparas amarillentas que iluminan el salón de clases, a la luz natural del amanecer que lo ilumina todo con facilidad. 

Y entonces estar en la clase de Español, con mi maestra alta, espigada, güera, de tez blanca, en sus 30’s, que pareciera española de cepa, y pasar por esa clase de “Tuércele el Cuello al Cisne de Engañoso Plumaje” de Enrique González Martínez.

Y lo recuerdo mucho, no tan sólo a él, sino también el tema. 

Y es que realmente Don Enrique hizo una propuesta, y no sé si sepa el tedio de trabajar siempre lo mismo, escribir siempre lo mismo, poner las misas cüitas de donde mismo, de “copiar y pasar”, que este autor decide figurativamente “Tuércele el Cuello al Cisne de Engañoso Plumaje”, y eso era una rebeldia frente a un romanticismo que ya estaba agotado, que ya debería empacar sus maletas y subirse al avión para aterrizar en una selva perdida. Entonces el autor hace unas propuestas muy hermosas como 

“ Huye de toda forma y de todo lenguaje, 

Que no vayan acordes con el ritmo latente

De la vida profunda… y adora intensamente

La vida, y que la vida comprenda tu homenaje”.

Entonces es aquí, donde se observa toda la gama, amplia, vasta, inmensa del lenguaje no sujeto a clichés, formas, contenidos dados por otros, sino sólo vive… “la vida profunda y adora intensamente la vida”,  pero al final que “la vida comprenda tu homenaje”, y resalta aquí el autor “la vida” porque el autor ya no busca su propia gloria ni su propio reconocimiento, vamos!, ni su propio ritmo en el verso, sino más bien que la poesía sea libre en el verso, y su aportación en la escritura sea significante, que tenga algo profundo, en lugar de las quimeras, paraísos, duques, palacios, amores y palabras llenas de rimas altisonantes, pero faltas de contenido “Tuércele el Cuello al Cisne de Engańoso Plumaje”.

Y entonces uno mira el concepto que encierra el concepto de   “Torcerle el Cuello al Cisne de Engañoso Plumaje”, y  da con algunas ideas.

“Tuércele el Cuello Al Cisne de Engañoso Plumaje” con los likes, porque masifican e imponen una personalidad masificada en un individuo que es único, y no desea que su valor, sea en función de millones de likes, sino en función de ser uno mismo, y no quiero que me malinterprete, porque no digo que los likes son malos, digo que son buenos cuando tienen una personalidad definida, un nombre que responde al contenido, que no son copias de lotería, o barajas de naipes, o cartas marcadas en historias perdidas, o bolts de companías con inteligencia artificial que magnifican las cantidades para dar sentido de cantidad, no de cualidad. Y entonces tener likes de “elprincipedeasturiasaquipresente” (1 Like), “soytumamaidiota”,(1 like) “TitoCaputitoPaServirleAUsteYAsuMerced”, (1 like) “PrincipedeAsturiasApoyandolalabordeTitoCaputito”, (1 Like), ‘PrincipeWilliamsEnAgenteSecretodelFBi” (1 like), “AutolikedePrincipeWilliamsqueapoyasulaborsecreta” (1 like)… No Manchen! Como decía mi sobrina

“Tuércele el Cuello Al Cisne de Engañoso Plumaje” con los copiados, con los “copy and paste”, porque sólo expresan una mentalidad negligente, con una falta de compromiso de la persona para comprometerse personalmente a esgrimir ideas propias, a pelear principios, con nombres propios, para plasmarlas, como espadas en un duelo de esgrima, para que seamos como oradores en un Partenón, discurriendo las virtudes de la verdad, del amor, de la esencia del ser humano, de su propósito, de su fin, en una cultura que propicia lo vacío, lo simple, lo de fácil copiado. 

“Tuércele el Cuello Al Cisne de Engañoso Plumaje para decir que los likes no serán los huesos de Pavlov, en condicionamientos de experimentos con animales -siendo humanos-  de “portante bien y recibes hueso y likes”, sino WTF con sus Pavlovs y sus likes, con los conductismos de Pavlov para realizar ciudadanos en serie, homogéneos en el comportamiento, porque la esencia no estará en los otros, sino en lo que un individuo piensa, acierta, concluye, define, aplasta, esgrime, acentùa, compromete, establece; y defiende con su espada, con sus palabras, con su raciocinio, sus ideas, las analiza, las sopesa, las esgrime, tira espadas aqui y allá, pero conoce al oponente como en todo concurso. No tira la espada a fantasmas, a espiturus, a almas sin cabeza, a caricaturas, a mofas de si mismos y lo que pretenden ser, sin cara, sino seres humanos cabales que tienen una boca para expresar y decir, y defender. Y los que participan en el discurso, en la arena, en el podium, son seres honorables que tienen una cara, un nombre, un pronunciamiento, una definición, y como parte de ello, se enfrentan en los rings, en las arenas, en los podiums con su decir, porque sus ideas son claras, están sujetas a análisis, a revisión, les podemos agregar o quitar, pero del otro lado existe una cara definida, con un pensamiento que expresa travez de una boca suya.   Se hacen discursos de altura, se oyen dos oponentes con caras, con nombres. No andan nombres con nombres ficticios, ni risas de si mismos.

Porque al final de día, lo ùnico que diferenciará a uno de los otros, serán lo que producen nuestras ideas y pensamientos, y si nos queremos diferenciar de los demás en un mundo de 24 billones de personas, es mejor empezar por hacer lo que somos, pensar lo que somos, producir lo que somos, entramar lo que pensamos, hacemos y decimos, para generar productos e ideas únicas; que para reproducción de los demás, ya tenemos millones de copias. 

Tuércele el Cuello Al Cisne de Engañoso Plumaje cuando las voces se levantan y dicen “este loco va solo”, y el otro contesta “van con muchos, pero son como coral arrastrado por corrientes de olas que no son suyas ni ustedes las producen”, “remedos de otros”, “copias de otros”, “marionetas manejadas por ventrílocuos y con hilitos que les dicen qué manos y pies mover”, “qué valor”, “qué excelsitud de pensamiento en lideres con cartas marcadas”.

Y mire que no pretendo hacer un pronunciamiento como la perla de la virgen aquí, perdonen ustedes, sino sólo hacer una apología de meditar nuestras posiciones en los medios, y sí sentirse bien cuando existen likes de personas reales, con intenciones reales, con nombres reales y que como dice mi mentora, amiga, y carácter de novela “vives en un mundo fuera de este mundo”, y uno contesta: “Lo sé, pero uno no es lo que quiere, sino lo que puede ser”. (Canción de José José)

Pero por favor, “Tuérzanle el Cuello al Cisne de Engańoso Plumaje”, no deje que los medios le determinen, lo definan en quien es usted y lo que quiere ser, no se deje, defienda su cultura, sus patrones familiares, sus formas personales de ser.

FOOTNOTES: Las ideas contenidas en el artículo “Córtenle el Cuello Al Cisne de Engañoso Plumaje” no se refieren EN NINGUN MOMENTO a los trabajos realizados por Creativepromptsforwriting a los que les damos crédito por las labores realizadas.

Baraja de cartas con cartas hipnóticas

Baraja de cartas con cartas hipnóticas