DVD Review At Deaths Door Essay Example | Topics and Well Written Essays - 1000 words

DVD Review At Deaths Door - Essay Example Dr. Patel is accused of conducting operations on patients that would have survived without the operations. The doctor also defends himself on several occasions, at one point arguing that his patient Barry that had cancer could survive after an operation Unit (ABC News, 2010; Sparkk TV, 2014). Several legal and ethical issues are identified in DVD especially by Toni Hoffman and other nurses. First, Dr. Patel conducted surgery in the hospital despite being informed that the facility would not allow for successful surgery (ABC News, 2010). This surgery led to the death of the patient. On another note, the doctor was said to be extremely concerned with making money as opposed to the general well being of the patients (ABC News, 2010; CNN, 2010). The doctor is seen to constantly pressuring the nurses to meet the deadlines set. Worse still, a great percentage of the patients were forced to take on surgery despite their conditions not being worse. ABC News, (2010) and CNN (2010) indicate that Dr. Patel even worked in odd hours all in an attempt to make more money. The doctor also gave old fashioned treatments, filled wrong information on the charts and even the patients had long delays before transfers. Dr. Patel even conducted medical treatments that were wrong such as treatin g the man with a caravan roll on his chest who later died (ABC News, 2010; CNN, 2010). The nurses involved were affected in a great way by the activities conducted by Dr. Patel. From the movie, it is evident that the nurses were affected both psychologically and emotionally and some could barely stand the deaths that were taking place. A notable example is Toni Hoffman who is indicated to go through emotional stress and even went through sleepless nights trying to figure out what would be the suitable resolution to their problem (ABC News, 2010). Toni’s mother explains how she went through stress and could barely lead a normal life. Among the positive actions undertaken by all parties

Gradgrinds system Essay Example for Free

Gradgrinds system Essay In this fifth chapter the readers are certainly convinced of Bitzers unpleasantness because of what he says about horse riders. He says, The horse riders never mind what they say, which shows that he has been affected by Mr.Gradgrinds teaching method in that now he looks down upon anything that is slightly fanciful. This lets the readers know that Mr.Gradgrinds system is failing because although the pupils he is teaching are becoming more intellectual, they are also becoming more devoid of sentiment, and therefore more unkind to others around them. I think that Sissy becomes a much more favoured character in this chapter because she seems innocent and frightened when she says things like, he frightened me so. I think that this is Dickens trying to prove that the more fanciful and spirited character in the book should be treated better and listened to more.  By the last chapter in the second book it is completely clear that Mr.Gradgrinds views have been wrong all along. At this point in the story Louisa has been married to Mr.Bounderby, and Sissy is living with the Gradgrinds. It is obvious throughout the book that Louisa dislikes Mr.Bounderby intensely; however her father never picks up on these emotions. That is why, during this chapter, Louisa breaks down and tells her father how she feels. I think it is significant that Louisa arrives at her fathers house drenched from the storm, as this makes the scene seem more dramatic and her seem in a much greater state of desperation. She says a lot about what she feels and she lets go of all her pent up frustration when she says things like, I curse the hour in which I was born to such a destiny, if you had only neglected me, what a much better and much happier creature I should have been this day, and, What have you done O father, what have you done with the garden that should have bloomed once, in this great wilderness here? These are all very powerful words and I think that it is when Louisa has made all her points that the readers see Mr.Gradgrind for what he really is: not a man who wishes to crush the happiness of anyone he comes into contact with, but a father who loves his children and only has their best interests at heart, regardless of how misguided his ideas on upbringing are. I can tell this because he says things like, my poor child, and, I never knew you were unhappy, my child. The plot outcomes really bring Dickens points of view out into the open as he has shown how the characters that were oppressed by Mr.Gradgrinds system have been destroyed and how the people who stayed true to themselves have succeeded. For instance, Louisa had become the sorry, wretched woman who broke down in front of her father, and Tom has resorted to stealing and deceit. Also Bitzer, who has been brought up alongside Mr.Gradgrinds system has become an unemotional man of facts and figures, who doesnt care for anyones feelings. Sissy on the other hand who had remained kind and spirited for the whole of the story, and who was raised by the circus, becomes a very carefree and happy woman.  Mr.Gradgrind when shown the error of his ways becomes a much more tolerable man and I think the readers respect him for making a change. I think this is how Dickens tries to express the fact that a change in society must be made, and if it were the person who was responsible for the change would be greatly respected and honoured.

Essay --

America is one of the most obese countries in the world, and the reasons are quite obvious. Take a look around. Fast food chains on every block, more and more technology to make our lives easier, and high amount of stress are just a few factors to weight gain in our country. There are many different views on obesity and how the people think it should be resolved, whether it's government making the change or the people taking care of themselves. Childhood obesity has more than doubled in children and tripled in adolescents in the past 30 years. Are we doing enough to bring these statistics down? No. In the last 40 years, there has been a growth to more than 160,000 fast food restaurants in America (â€Å"Adolescent and School Health†). Restaurants (such as Wendy's, McDonald's etc.) serve more than 50 million people per day, generating about 65 million in sales annually. Only since obesity has become a national epidemic have fast food restaurants changed their ways. But we need to do more than just change the kind of oil the french fries are fried in. Better yet, why don't we remove, or intensely decrease the number of the unhealthy fast food chains, and spread more healthy fast food chains, such as Subway? Is it something government could take act in? Should the United States government take measures to fight the rise of obesity in the country, or are choices concerning diet and nutrition better left to the individuals, free of government interference? As many people are trying to put the blame of obesity on restaurants, others, like myself, have a strong opinion that the restaurants have nothing to do with obesity and the customer has the right to order what they would like. Some supporters believe that government should take action to... ...ents decision. According to the World Health Organization (WHO), obesity now ranks as the 10th most important health problem in the world (â€Å"Obesity Seen as a Global Problem†). Childhood obesity has more than doubled in children and tripled in adolescents in the past 30 years. Centers for Disease Control and Protection estimates that obesity contributed to the deaths of 112,000 Americans in 2000 (â€Å"Obesity in the U.S. Fast†). It is estimated that annual medical care cost of obesity are as high as $147 billion (â€Å"Obesity in the U.S. Fast†). Government-provided food stamps are often expended on junk or fast food, because it tends to be less expensive than fresh or cook food. Governments fund producers of meat and dairy products to keep prices low. For now, governments are taking a smarter and more productive approach through regulation, and by working with manufacturers.

Realism and television Essay

Question : Discuss realism by considering a television program that has realistic qualities. In your discussion specifically refer to Chapter 14 of the textbook, ‘Documentary and â€Å"reality TV†Ã¢â‚¬Ëœ, by Branston and Stafford (2006). Realism plays an important role in the success of a good television program. The ability to relate and appeal to the senses of the target audience is an essential characteristic of any media form. This essay explores how realism is perceived in television today with reference to both reality and documentary genres of television. The remainder of the essay will present a case study of a television program which demonstrates realistic qualities. What is Realism? It has been argued that we are living in a ‘postdocumentary’ culture, a time of talk shows, reality t. v, game shows and the persuasion of celebrity (Branston, Stafford 2006: 455). When we refer to ‘realism’ within the context of television it conjures up a multitude of meanings. For example, realism may indicate that the program is ‘realistic’ because of the subject matter, like that of a documentary. Moreover, a television program could be considered ‘realistic’ because it features. Unscripted ordinary people in contrived situations, like Big Brother. One thing is certain, realism, or the illusion of realism, is very prevalent in television today. Reality tv? Distorted Realism†¦ Flick on the television during peak times on a week night and it’s pretty difficult to avoid reality television. From home makeovers to celebrity fit clubs, the popularity with ‘so called’ reality television is astounding. But is reality tv just another highly produced product of the culture industry? More often that not, these reality programs are highly constructed to attract viewers. As Andrejevic. questions, â€Å"Why is Reality tv pretending that it’s real, so that we may cannily believe it’s phony, when it accurately portrays the reality of contrivance in contemporary society? â€Å"(Andrejevic 2004). These programs are clearly not an accurate representation of how most people live. It seems the message of reality television is that ordinary people can become so significant that millions of people will watch them, and as a result, ordinary people are considered potential media stars. Ordinary people watch these programs, see people like themselves and imagine that they too could become celebrities by being on television (Reiss 2001). This is evident by the large number of reality tv stars that have gone on to have careers in the media. For example, Elizabeth Hassleback from the first series of the reality tv program Survivor is now a co-host of the popular talk show in the US â€Å"The View†. ‘Reality tv’, definitely has it’s fair share of critics. It has been blamed of damaging our youth’s perception of what reality truly means, even going to the extent of accusing it of being and abusive and exploitative of children in shows like, ‘Wifeswap’ and ‘Trading Spouses’ (Schlessinger 2004). The perception of what is fact and fiction in regards to television is no longer a clear margin (Study guide 9:5). Semiotic codes (study of signs) in television represent a kind of ‘language’, and we all learn how to decode these signs and symbols in to explain what we see (Herrman, 2000). With any luck, the viewers of these reality programs can distinguish what is true reality and not when they are watching these programs. Documentaries – The Art of Performing Just like news, documentaries are recognized as reproducing the truthful version of the story to the audience. With the popularity of the reality tv culture it has been argued that these types of shows have tainted the significance of documentaries (Branston, Stafford 2006:. 455). Documentaries have the ability to showcase complex subject matter with an accurate and credible approach. It has been argued that a documentary is a â€Å"performative act whose truth comes into being only at the moment of filming†(Bruzzi 2000:6). Moreover, documentaries portray a ‘real’ perspective according to the film maker themselves, just as reality tv, documentaries are constructed to a certain extent. In other words, the audience assumes the point of view from where the camera shooting. Branston and Stafford suggest in the example of Micheal Moore’s documentary Fahrenheit 9/11 where there were key issues that were not mentioned like the role of Israel, which in effect, persuades the audience in a certain position (Branston, Stafford 2006: 469). Of all the genres of television, documentaries still continue do the finest duty of relaying an accurate interpretation of ‘real-world’ issues with minimal construction. Case Study: â€Å"Intervention†(Mondays 9. 30am, Channel 115, Foxtel). The television program which I have chosen to critique in relation to it’s realistic qualities is ‘Intervention’. It’s a powerful and transfixing US-based series in which people confront their addiction and seek a route to recovery. The series profiles individuals whose dependency on drugs, alcohol or other compulsive behavior has brought them to an all-time low and estranged them from their family and loved ones. The addicts featured in the series believe they have signed up to participate in a documentary on ‘addiction’. Each episode begins with a brief introduction to the subject, and then he or she is followed around by a camera crew. The program ends with a surprise intervention that is staged in which they are confronted with a life-altering choice: rehabilitation or risk losing all contact with the loved ones who instigated the intervention. Often, other tactics are used to persuade the addicted person into treatment, which vary depending on the situation. Interviews with the subject, as well as family members or friends who have agreed to participate, are interspersed throughout. The Intervention falls under the reality tv genre of television and can be described as an ‘information programme’, as it uses true stories to educate the audience on the subject matter (Branston, Stafford 2006:474). The show has more the feel of a documentary than a reality TV program, although predominately factual there a certain aspects of the program that are clearly constructed. The producers and creators of the program make the rules, they create the setting, they film it according to specific guidelines as to what they think are going to provide good television. So Why Is ‘Intervention’ So Realistic? There are a number of characteristics that this television program possesses which contributes in creating a sense of realism for the viewer: 1). Subject Matter ‘Intervention’ is the dramatic and disturbing insight into the day in the life of an addict that features graphic footage of addicts shooting up on television has prompted some controversy. â€Å"It makes prime-time sport of vulnerable, desperate people and their spiral to the bottom,† wrote Matthew Gilbert of the Boston Globe. All though it’s ugly to watch, unfortunately the reality of addiction and the dysfunction it creates is very real for many families. Most viewers would know someone who it has been impacted by the power of addiction. According to Addictionintervention. com, the interventions that are staged on the series represent a realistic and account of what actually takes place during a professional intervention. http://www. addictionintervention. com/intervention/interventiontv_response. asp 2) Drama-documentary ‘Intervention’ series utilizes a ‘drama-documentary’ style which combines elements of documentary and drama (Branston, Stafftord 2006:456). This hybrid genre produces a very authentic sense of reality for the viewer, absent are the contrivances of most reality shows. Moreover, the participants of the show are ordinary people with real addictions, there are no million dollar prizes, no mansions, no bachelors, or games. According to the series, millions of people struggle with addiction, so the subject matter is a very real problem existing in society. There are no actors or re enactments, these are ‘real’ people going about their life. ‘Intervention’ demonstrates the characteristics of a documentary by presenting the strict facts of the event but also the program has the ability to raise the larger issues associated with addiction, such as family disintegration. Unfortunately the stories that are told are true, it’s something that we would like to believe does not exist in this world, but we all know that it does. 3) Camera Angles The series is shot in a documentary-style, which makes it less refined and more credible (Branston, Stafford 2006:458). The participants bring an honesty and rawness to the show that supersedes the blatant expectations that are all too common to reality programming. The unrehearsed reaction to the intervention from the addict is completely unpredictable. Sometimes the addict agrees to the treatment but more often than not the addict runs away, so without warning the production crew are unexpectedly running down the street. The scrabbling footage adds to the authenticity and legitimacy of the program (Branston, Stafford 2006: 458). 4) Unscripted Narratives ‘Intervention† does not use a narrator, instead, the subject and his loved ones tell the story, with occasional text commentary, which contributes to the realism. The leading characters of the program are ‘ordinary’ people from working class backgrounds, which is very relatable to a broad audience (Branston, Stafford 2006:460). The unscripted narratives between the addicts and their families generate a sense of normalcy, quite often they have to bleep out language when arguments get heated. The music is very limited in the program, there is some intense music just before the intervention which makes for an element of drama. 5) Format The ‘Intervention’ series, has the identical structure in each program. The first half hour profiles the individual, the next 20 minutes focuses on the intervention itself, the last 10 minutes focuses on the follow-up of the individual. There is no set, no staging, the program is filmed on location, meaning where ever the individual lives. The program is filmed in the home of the individual and the intervention, usually takes place at a nearby hotel. The fact that the program could be filmed anywhere is a factor in producing a sense of realism. 5) Not Always a Happy Ending The ‘Intervention’ program does not always have a happy ending, which contributes in creating a sense of honesty for the audience. In a recent episode of ‘Intervention’, the featured addict did agree to go to a rehabilitation facility but was kicked out not long after for breaking the rules. Unfortunately he went back to living on the streets and still struggling with his drug addiction and still estranged from his family (Intervention, aired 20/4/2007, 10pm,A&E channel). This program reiterates that sometimes real life is not pretty, and some situations cannot be resolved in a 60 minute episode. Although the ‘Intervention’ program is a cutting edge and controversial, the fact of the matter is, addiction is a very real issue in today’s society. According to the National Drug Strategy, the tangible social costs of drug use in Australia were estimated to be $18. 3 billion from in 1998-99. With these statistics like this, addiction should be a matter certainly worthy of attention. (http://www. aihw. gov. au/publications/phe/sdua04/sdua04. pdf) In conclusion, it’s apparent that there are still some programs on television that are able to give a ‘realistic’ insight into certain subject matters. After all, the television is our interaction with the outside world, media should continue to focus attention on these social problems to generate awareness and education with this type of programming. Bibliography Andrejevic, Mark ‘Reality TV:The Work of Being Watched’ Lanham MD: Rowman &Littlefield, 2004 1-20 Branston, G. and Stafford, R. , 2006. ‘Documentary & ‘Reality tv’, in The Media Student’s Book, 4th ed. , Routledge, Abingdon, UK, and New York, pp. 455-478 Herrmann, Stefan ‘Do we learn to ‘read’ television like a kind of ‘language’? May 2000http://www. aber. ac. uk/media/Students/sfh9901. html Reiss S, Wiltz J ‘Why America loves reality TV’ – Feature – Brief ArticlePsychology Today, Sept-Oct, 2001 http://findarticles. com/p/articles/mi_m1175/is_5_34/ai_82261905 Schlessinger, L ‘Realism in family television? ‘ October 27, 2004 http://www. worldnetdaily. com/news/article. asp? ARTICLE_ID=41125.

Jose Rizal: Reaction Paper Essay

Jose Protacio Mercado Alonzo y Realonda Rizal (June 19, 1861 – Dec 30, 1896) Is most venerated and acclaimed patriot in the Philippines recognized for his unselfish contribution in the historical and social transformation in the country, he is one of the National heroes of the Philippines together with Andres Bonifacio. He also writes El Filibusterismo and Noli me Tangere. Rizal as a child was a lover of a Literature arts and wrote a poem named â€Å"Ang aking mga kabata† . Rizal was born from wealthy Family in Calamba, Laguna and Seventh of eleven children of Francisco engracio Rizal and Teodora Alonzo Realonda de Quintos. Rizal had a Spanish and Japanese Ancestors. The grandfather and father of Teodora was a Half Spaniard engineer named Lorenzo Alberto Alonzo. His maternal great-great-grandfather was Eugenio Ursua, a descendant of Japanese settlers. Before he enrolled in Ateneo Municipal de Manila, Paciano Rizal advice Rizal dropped the last three names to make up his full name as â€Å"Jose Protasio Rizal†. Rizal writes â€Å"My family never paid much attention [to our second surname Rizal], but now I had to use it, thus giving me the appearance of an illegitimate child† Rizal first study under Justiniano Aquino Cruz in Binan, Laguna. Before he sent in manila he take entrance examination in Colegio de San Juan de Letran and at age 11, He enrolled at the Ateneo Municipal de Manila (now Ateneo de Manila), earn a Bachelor of Arts diploma and studied medicine at the University of Santo Tomas in Manila, he continued his studies of medicine in Universidad Central de Madrid in Madrid, Spain, earning the degree of Licentiate in Medicine, make him eligible to practice medicine. He also attended the University of Paris and earned and second doctorate at the University of Heidelberg. The 25 year-old Rizal he finished eye specialization in 1887 under professor Otto Becker. By 1896 he was arrested en route to Cuba via Spain and imprisoned in Barcelona. He was sent back to manila to stand in trial and imprisoned in Fort Santiago by issued a manifesto. And sentence in death by court martial by Rebillion, sedition and conspiracy. At December 30, 1896 before his execution by the squad of Filipino soldier of Spanish, a backup force of regular Spanish army stood ready to shoot before he was shot he requested to be shot in looking at the  shooter and without a blindfold but they disagree but they agree on without a blindfold. Before be shot he shout his last word â€Å"consummatum est† (â€Å"it is finished) He was secretly buried in Paco cemetery in Manila with no identification on his grave but they mark the site with â€Å"RPJ† his initials in reve rse.. â€Å"He who does not love his own language is worse than an animal and smelly fish† -Jose Rizal – This quotes means if we use our own language to communicate with the same Filipino we will understand what we talk and to share. But we use other language to communicate to other countries to share ideas and talk to them.

How to find out what you’re worth at work

How to find out what you’re worth at work Have you ever had the suspicion that you’re not being paid exactly what you’re worth? A lot of people have, but how can you know for sure? How can you assign a dollar amount to your value? Is it even possible? The short answer is â€Å"yes.† Here are a few tips for figuring out your magic number- or at least a figure close to what you should be making at your current position.Research using several sources.Googling is usually your first step in solving almost any conundrum, and answering the question of â€Å"How much am I worth?† is no different. Start by searching sites like Payscale.com, Salary.com, Glassdoor.com, or even the Bureau of Labor Statistics. On these sites you will probably find wide ranges in figures, so you’ll have to factor in where you might fit within those ranges. Where you fall on any given position’s salary range is going to be determined by a bunch of factors unique to you, such as your job experience and education. Th e more experienced you are, the more advanced certification you have, the more likely you will be to end up higher on the salary range.As you can probably tell, Googling probably won’t turn up a definitive answer to your question, but it is a good starting place to see if you’re in the ballpark of what you should be earning.Know that location matters.Your geographical location is another big factor when it comes to how much you should be earning. Check local salary statistics on the Bureau of Labor Statistics site to get a sense of the average pay for your area. The results will be very different in a small town as opposed to a big city. For example, according to Payscale.com, the average salary in New York, New York, is $69,115 while the average salary in Binghamton, New York, is only $44,275.Consider your resume.How many responsibilities do you have? Are you doing the work of two or three people? Is your workload equal to your assumed pay grade? Have you been rewarde d for any of your efforts or achieved anything or contributed anything noteworthy to your company? Answering these little questions will help you answer the big one. The more bullet pointed accomplishments you have, the better your case when asking for a raise toward the higher end of your earning spectrum.Talk to people.When appropriate, you can ask other people in your field how much they’re making. Don’t necessarily inquire directly, as direct salary talk is still considered an etiquette breach. But do consider asking for their advice or feedback on what a fair compensation package might be considering your personal details. Some people will probably be happy to help and even willing to share their own specific numbers.Ask recruiters.Recruiters are a great resource for concrete information on what similar positions pay. They can also provide valuable insight into how well particular companies pay compared to other companies in your field.Plan for the future.Don†™t get nearsighted about your current position or think only in terms of your current annual salary. Think about growth opportunities, the potential for your position to evolve, and the trajectory of your career once you’ve paid your dues at a lower level. If you’re at the lower end of earning for your career right now, just make sure you’re doing all you can to set yourself up for promotions into the upper levels. If you have a goal in mind, you can structure your career to reach it.

Taking Some of the Stress out of Publishing in a Literary Magazine

Taking Some of the Stress out of Publishing in a Literary Magazine Literary magazines have served as gatekeepers for new writers since the first one was published in 1684 (Nouvelles de la rà ©publique des lettres). Some writers, such as T.S. Eliot, were first discovered through publishing in a literary magazine, and most well-known writers have published in them at some point.From webzines to university-funded publications, to The Paris Review- literary magazines have only increased in popularity over the past few decades, especially with the growth of online publishing. As a periodical devoted to literature, literary magazines (also known as literary journals) typically publish essays, poetry, short stories, interviews with authors, letters, literary criticism, book reviews and more.Why writers should publish in literary magazinesAs we mentioned before, many great writers have either gotten their start or increased their publishing opportunities significantly through publishing in literary magazines. Publishing in a literary magazine- especially i f its a well-known one- significantly increases exposure of a writers work and will open up other publishing opportunities, as well. Additionally, many literary magazines offer contests, allowing new or un-agented writers the opportunity to get their work out there and earn credibility in the publishing world at large.First things first: Find the right literary magazineWith a wide scope of literary magazines available, most have a niche market as their readership, and look for a very specific genre or format of writing to include in their publication. That being said, one of the first steps you should take to ensure better odds of getting your writing published in a literary magazine is to find the right one out of the hundreds available. Some cater to very specific crowds (like mothers of young children or green living enthusiasts) while others have wider audiences. Some publish only a few times a year, while others publish quarterly.There are several online resources available to help writers sift through whats available and find the literary magazine(s) that best suits their intended submission. Although its a paid service, DuoTrope is another great resource to help writers find everything from the best literary magazines to publish in for their specific niche or genre to agents interested in potentially representing their work. With this narrowed scope, writers have a much better opportunity of getting published in the literary magazine of their choice.Second: Follow the rules and dont submit blindlyLiterary magazines are generally very good about being specific regarding the exact type of writing they want, how to submit it, and what to expect. Following the publications rules regarding submission plays a big role in increasing the writers chances of getting accepted. Many literary magazines are run as a side project, which means their editors often dont have time to sift through manuscripts that dont follow submission guidelines or dont sync with the pub lications overall feel and purpose.Most respected literary magazines and webzines provide detailed submission guidelines on their website. Some allow email submission of a manuscript while others want a hard copy and SASE (self-addressed return envelope). Some literary magazines will charge a submission fee, as well, so its important to look at all of the submission guidelines before making a choice regarding which ones you want to submit your work to.Next, learn the lingoNext, its important to learn the lingo of the literary magazine market. Here are a few terms you might encounter in your search for the right publication for your work:Simultaneous Submissions†¯Ã¢â‚¬â€œ Simultaneous submissions are when a writer sends out his or her work to several magazines at once. Literary magazine editors will vary in their rules about simultaneous submissions: some will allow it while others are very clear they dont want a writer to do it. There are multiple reasons why an editor might no t want simultaneous submissions, including issues of publishing rights, which well cover later in this article. If submission guidelines advise against simultaneous submissions, dont be tempted to do it anyway. Many editors know other editors within the world of literary magazine publishing, so you dont want to get started on the wrong foot with any of them by not following this request.Withdrawal†¯Ã¢â‚¬â€œ This is the process you will need to go through if simultaneous submissions are acceptable and a literary magazine decides to publish your work. Usually, you can submit withdrawals of your manuscript via email or online, but some literary magazines have more formal ways of doing it. Refer to a magazines submission guidelines for more details about their preferences.Reprints†¯Ã¢â‚¬â€œ While most literary magazines prefer to be the first to publish a particular piece, some will offer publication of reprints, or work that has been previously published elsewhere.First Seria l†¯Rights – First serial rights are the rights held by a publication to publish a piece for the first time. After publication, the writer may then resell the piece to another publication.Non-exclusive / Exclusive Rights †¯Ã¢â‚¬â€œ Non-exclusive rights are rights held by the publisher to publish your work while acknowledging that your work can also be printed elsewhere. Exclusive rights are the opposite, in that the literary magazine or publication owns exclusive rights to your work and it cannot be published anywhere else, including on your author website.Know the slush pile and how to get out of itBrigid Hughes, former Executive Editor of The Paris Review, stated in an interview that the publication receives between 15,000 to 20,000 submissions in a year. Considering these numbers, its important to understand the dreaded literary magazine slush pile and what to expect of it. The slush pile is the pile (whether literal pile of paper or digital pile) of unsolicited m anuscripts sent in by writers wishing to be published in the literary magazine or webzine. Especially for the most well-known and exclusive publications, this slush pile is not the editors primary concern, and will often take a while to get to any manuscript within it. Further, the larger publications have readers who go through the slush pile, which means the editors might never see your manuscript in the first place.To end up in the non-slush pile for these exclusive publications, youll need to either have been solicited from the editors to submit your work, have an agent, or have published with the magazine before. But since most writers seek first-time publication in these literary magazines, its important to a) be patient as your manuscript makes it through the slush pile process and b) follow submission guidelines and magazine content style to the letter to increase your chances of surviving the slush pile. Simply put, busy slush pile readers might pass over great writing simp ly because its not formatted correctly, doesnt fit with the publications scope of content, or wasnt submitted following submission guidelines.If your work doesnt get accepted- keep tryingWith so many literary magazines and webzines currently in print or online, getting published in a literary magazine has never been easier. However, most editors of literary magazines have a very specific type of piece or writing style theyre looking for. If your manuscript is rejected- or worse, you just dont hear back at all- take heart in knowing that the more manuscripts you send out, the better your chances are at getting accepted for publication in a literary magazine.Another benefit to querying multiple publications (that are likely to reject you) is youll have several different opportunities to receive feedback on your work from experts in the industry. This type of feedback is invaluable for a writer and should always be received graciously. This is especially true since some editors will si mply reject your work without explaining why, while others will give you a general excuse, such as: Your work does not fit our publications goals at this time.