Thursday, March 19, 2020

How to Write a Romance Novel ðŸ ðŸ

How to Write a Romance Novel ðŸ’â€" 📕 How to Write a Romance Novel Romance novels have always captured our hearts - they contain the intrigue, intimacy, and basic human drama that all readers love. And while it was once a â€Å"shameful† genre read mostly in secret, romance today is having a huge moment, with mega-popular books like Outlander and Crazy Rich Asians even being adapted for film and TV. So why not get in on the zeitgeist and learn how to write a romance novel of your very own?Luckily, though love itself may be hard to explain, the process of writing about it isn’t. Here are our seven best tips for writing romance, including all the crucial elements you need. We’ll use examples from a variety of sources to show you how to employ them - though not all these examples are strictly romance themselves, their tropes and techniques are key to the genre. How to write romance that'll make your readers swoon  Ã°Å¸Ëœ  1. Find your nicheIf you've never even tried to write romance before, don’t worry - we’ll start you off easy. The first thing to know is that the genre, like Walt Whitman, is large and contains multitudes. There’s no one right way to write romance, as evidenced by the fact that it encompasses so many subgenres!Popular subgenres of romance include:HistoricalContemporaryYoung adultFantasyParanormal/supernaturalReligious or spiritualEroticSo if you’re concerned that your writing won’t â€Å"fit† with the genre, never fear: you just have to find the right niche. And the best way to do that is by reading romance yourself! Of course, you may have already read quite a bit within a particular subgenre and you’re confident that’s where you fit in. But if not, now’s the time to explore the many glorious facets that romance has to offer. 2. Set the stage effectivelySetting is absolutely paramount in romance. Why? Well, for a couple of reasons:Romance is all about escape - and if the setting isn’t immersive enough, readers won’t be able to lose themselves in the story.Many romance authors go on to write a series based on their first novel (more on that later). So the setting needs to be a place both reader and author will want to return to, book after book.What defines a strong setting in romance?Contemporary romances tend to have cozy, small-scale settings: quaint villages, college campuses, etc. There might be a local haunt where the main characters frequently meet (such as a diner or bookstore), and where gossiping friends and neighbors hang around to add a bit of comedy. If you’re sticking to the standard, you’ll want to have one of these â€Å"compact† settings where people can’t help but run into each other. 😉If you’re writing for a more specific subgenre , however, your setting could take on different qualities. For example, the historical romance Outlander takes place in a small settlement in the Scottish Highlands, but the constant tension and violence that occurs there doesn’t exactly make for a cutesy, cozy setting. Nevertheless, it works for the story because threats from the outside ultimately bring the main couple closer together. A strong main couple is key to compulsively readable romance. Image: Buena Vista Pictures4. Use tried-and-true tropesNow we’re getting into the meat and potatoes of the story. Again, there are so many possible paths for your main couple to take, it’d be impossible to describe them all! But here are just a few tried-and-true devices that many romance authors have used successfully. (If you’re hungry for more, you can always check out this post on classic romance tropes.)Friends/enemies to loversTwo of the most beloved romantic devices of all time. The main couple knows each other, but they just don’t see each other in that way - or they may not like each other at all.  Ã°Å¸Ëœ § Luckily, all that's about to change.Friends to lovers tends to work best when there’s another big conflict or project distracting one or both of the main characters, so they don’t get together until the very end. This is basically the plot of that Netflix movie Set I t Up: the two main characters are so focused on getting their bosses to fall in love, they don’t realize that they themselves would make a great couple.Enemies to lovers is the perfect device for two characters who clash in some fundamental way. For example, one might be very Type A and the other more Type B (see: 27 Dresses). Or one is a hardworking single parent while the other is a spoiled rich bachelor/bachelorette who’s never had to work a day in their lives (see: Overboard).And of course, there’s always enemies to friends to lovers - arguably the most effective and realistic iteration of this trope, as evidenced by Pride and Prejudice and When Harry Met Sally. The hero and heroine hate each other at first sight, gradually get to know one another and become friends, and ultimately fall deeply in love. It’s the perfect combination of fiery tension and genuine connection, and if you can pull it off, the payoff is incredibly satisfying.One helps the ot her one healAs we discussed, the hero in romance often has some deep psychological wound inflicted by his past. (The heroine can, too, but it’s more common among heroes.) It might just be a backstory detail, but it can also serve as a source of conflict for your couple: the damage impedes their relationship or his mental health, so the heroine has to help the hero heal.A prime example of this device occurs in Me Before You, in which the heroine, Louisa, literally becomes a carer for a quadriplegic man named Will. Will is bitter and depressed at first, but eventually he opens up to Lou and becomes much less negative - not to mention he helps her see own potential. We’re not going to give out any spoilers, but it’s safe to say that he’s much better off for having met her, and both agree that their time together was invaluable.Choosing each other all over againAh, the quintessential trope of Rachel McAdams movies. For those who haven’t seen The Noteb ook or The Vow, this device involves the hero and heroine either being separated for a very long time, or one of them outright forgetting who the other one is - due to amnesia, dementia, or some supernatural phenomenon. Then they have to choose each other all over again, hence proving that they’re well and truly soulmates. (For a more recent example, check out the season four Black Mirror episode â€Å"Hang the DJ.†)Also remember that, as much as readers love these devices, it’s still important to put your own spin on them. Infuse unique elements to add intrigue/suspense, or just for pure entertainment! For example, Ten Things I Hate About You is based on Shakespeare’s classic romantic comedy The Taming of the Shrew - but it’s set in modern day with high schoolers, which makes it much more fresh and accessible. A new romance book template... that's made for you Read post One of the best tactics for writing intimate scenes is to simply study those that you think are written well. The author you emulate will depend on your subgenre and personal taste, but some mainstream authors who write good, nuanced love and sex scenes are Curtis Sittenfeld, Sally Rooney, and yes, Nicholas Sparks. The more you read and hone your own language for it, the better your love scenes will be. Trust us: your readers will thank you. Tips for writing love scenes 🔠¥ and more on how to write romance ⠝ ¤Ã¯ ¸  6. Don’t neglect secondary charactersWhile the main couple is obviously where most of your characterization focus should be, secondary characters are critical to a well-rounded romance. After all, when the heroine’s agonizing over her hot-and-cold text conversation with the hero, who’s she going to ask for advice? Why, her Tinder aficionado roommate, of course.Secondary characters fill out the world of your romance novel. Friends, family, neighbors, coworkers, and even arch-enemies - say, someone who’s competing with one of your main characters for the other character’s interest - all contribute to making the story come to life.Best friends are typically the most important secondary characters in romance, since they’re the ones who dispense advice, give pep talks, and generally add color to the story. They’re often a little bit quirky, but that’s why the main characters love them†¦ and why readers do too!Still, ensure tha t most of the focus remains on your main couple, as we mentioned. Former Harlequin editor Ann Leslie Tuttle notes that secondary characters can sometimes become â€Å"too pervasive† in romance, which is a big no-no. â€Å"You don’t want to run the risk of making them more interesting than your own hero and heroine,† she says.Series potential?Having a solid secondary character presence is especially important if you want to turn your novel into a series. There are a few ways to create a series from a standalone romance, but one of the easiest (and most enticing to readers!) is to write the next novel about one (or two) of the secondary characters - especially best friends, siblings, or romantic competitors of the main characters. Emily Giffin does this seamlessly in her novels, Something Borrowed and Something Blue: two of the heroine’s best friends in the first book, who initially seem like opposites, end up getting together in the sequel.This strategy i s great because it ensures a smooth transition from book to book, since readers will already be familiar with the setting and cast of characters. Plus, it sets you up for a cycle that you could theoretically repeat ad infinitum: each new sequel simply centers around characters who were secondary in the previous book. Best of luck and have fun romancing your readers!  Ã°Å¸â€™ËœWhat's one of the best ways to hone your romance writing craft? Reading, of course! Here are some Reedsy Discovery lists of romance books to get you started (and possibly find your niche):40+ Paranormal Romance Books with Bite30+ Best Young Adult Romance Books That You Can't Miss Out OnThe 10 Best Historical Romance Novels Like Outlander

Monday, March 2, 2020

About Architect David M. Childs, Design Partner

About Architect David M. Childs, Design Partner Architect David Childs (born April 1, 1941 in Princeton, New Jersey) is best known as the designer of the One World Trade Center we see today in Lower Manhattan. His long relationship with Skidmore, Owings Merrill (SOM) has given this senior statesman of American architecture wide-ranging experience and success. David Magie Childs was priviledged to attend the best private schools in the United states - from the Deerfield Academy in Deerfield, Massachusetts to his 1963 Bachelors degree from Yale University. His career as an architect began after completing a graduate degree from Yale School of Art and Architecture in 1967. He began his professional career in Washington, D.C. when from 1968 to 1971 he joined the Pennsylvania Avenue Commission. Fresh out of Yale University, Childs formed a strong relationship with both Nathaniel Owings, a founding partner of Skidmore Owings and Merrill (SOM), and Daniel Patrick Moynihan, a future U.S. Senator from New York State. From 1964 until 1973, Childs future employer, Nathaniel Owings, was chairman of President Kennedys Temporary Commission on Pennsylvania Avenue in Washington, DC. In the early years of the Kennedy administration, the plan to redesign Pennsylvania Avenue was the most significant redevelopment project in the country, claims the SOM website. Daniel Patrick Moynihan, the young Assistant Secretary of Labor in the Kennedy Administration, led the governments plan to revitalize Pennsylvania Avenue and the National Mall. Through this Commissions hard work, negotiations, and consensus, Pennsylvania Avenue is now a designated National Historic Site. One could argue that Childs early experiences on the Commission led the young architect to a lifelong proficiency in public architecture, city planning, and the politics behind construction and design - skills needed to accomplish his goals in the complicated days after September 11, 2011. David Childs has been associated with SOM since 1971, at first working on projects in Washington, D.C. From 1975 until 1981 he was Chairman of the National Capital Planning Commission involved in the 1976 Washington Mall Master Plan and Constitution Gardens. He worked on the 1984 National Geographic Society M Street Building and then the U.S. News and World Report Headquarters, both in Washington, D.C. By 1984 David Childs had moved to New York City, where hes been working on SOM projects ever since. A portfolio of his projects highlights a number of buildings in New York City  - the Worldwide Plaza at 825 8th Avenue (1989); Bertelsmann Tower at Times Square (1990); Times Square Tower at 7 Times Square (2004); Bear Stearns at 383 Madison Avenue (2001); AOL Time Warner Center at Columbus Circle (2004); and, of course, 7 World Trade Center (2006) and 1 World Trade Center (2014). Moynihan Station Redevelopment at the James A. Farley Post Office and 35 Hudson Yards are his latest project for the City of New York. Outside of The Big Apple, Childs was the design architect for the 1998 Robert C. Byrd United States Courthouse in Charleston, West Virginia and the 1999 U.S. Embassy in Ottawa, Canada. In May 2012, David Childs was one of fifteen Architects of Healing receiving a special AIA Gold Medallion for his redesign of One World Trade Center and Seven World Trade Center in New York City. Childs is a Fellow of the American Institute of Architects (FAIA). David Childs In His Own Words I like big complicated projects where you have to assemble teams, deal with the down-and-dirty contractors, the marketplace and the leasing agents with an imagination level only as high as what made money last time. - 2003, The New York Times Each of us architects has had mentors and teachers whose work and words have guided us as well. For me they include Nat Owings, Pat Moynihan, Vincent Scully. It is thus been a very collective effort in the fullest sense, and I believe every American can equally take pride in what is and has been accomplished. - 2012 AIA National Convention You know what a Richard Meier building will look like; theres a style. Im more like Eero Saarinen, whom I revere. His buildings all look different. - 2003, The New York Times The U.S. invented skyscrapers, but weve fallen behind. WTC 1 is a solution to many technical problems, and it represents the very best in codes, structure, and safety. Its a concrete core with steel exterior, which is an efficient and safe system, but it had not been done in New York for a host of reasons, mostly because of the arrangement between trade groups. The form tapers on its four corners, which buildings - like trees - want to do anyway. - 2011 AIArchitect What Others Say Throughout his years of practice in Washington, Mr. Childs became noted for his design of appropriate architecture, buildings and spaces that respond to their settings and programs rather than pursue a preconceived architectural image. - U.S. Department of State Your work demonstrates that architecture is the art of compromise and collaboration, that it is a social act, never created by one person working alone and always creating community. As a creative artist successfully negotiating within a world governed by corporate objectives you have shown that aesthetic vision and functional considerations can coexist, that architecture is the art of both the real and the visionary. You compose steel and glass the way a poet constructs phrases and in so doing create physical entities that reflect personal aspirations and a collective self-image. Your buildings grace our environment and enrich our lives. - Colby Collge Sources Pennsylvania Avenue National Historic Site, National Park Service, https://www.nps.gov/nr/travel/wash/dc41.htm [accessed September 2, 2012]Nathaniel A. Owings, FAIA, Architect and Founding Partner, 1903-1984, Skidmore Owings and Merrill (SOM), www.som.com/content.cfm/nathaniel_a_owings [accessed September 2, 2012]The New Ground Zero: The Invisible Architect, Julie V. Iovine, The New York Times, August 31, 2003 [accessed August 15, 2012]Architects of Healing Videos, American Institute of Architects, 2012 [accessed August 15, 2012]AIArchitect Talks with David Childs, FAIA, John Gendall, AIArchitect, 2011 [accessed August 15, 2012]U.S. State Department, http://canada.usembassy.gov/about-us/embassy-information/frequently-asked-questions/embassy-architects.html [accessed September 5, 2012]Citation for David M. Childs, Colby College, May 22, 2005, colby.edu/news_events/commencement/2005/honorary/citation-childs.cfm [accessed August 15, 2012]

Saturday, February 15, 2020

Google chrome Research Paper Example | Topics and Well Written Essays - 750 words

Google chrome - Research Paper Example Its current stable version for Windows is Version 33.0.1750.154 m. It is available for iOS, LINUX, OS X, Android and MAC. (Firtman,  2013, p.  66-67) Google Chrome has the function to save pages that were visited number of times on the homepage of the browser. These pages appear as thumbnails normally below the Google’s search box. One just has to click to the thumbnail to visit the website. This option is not enabled by default. User has to enable it by entering "about:flags" in your Omnibox and then search "Stacked Tabs" on the Flags page. (Rome & Loton,  2013, p.  36-37) This will not let the tabs to squeeze into the browser instead it will stack on top of each other when space runs out. One more thing to know is that, this option is available for â€Å"Windows† only. Circle on the fig. (b) explains the view. Google Chrome is the first browser to have its own task manager like the windows Task Manager. It enables the user to observe the active processes (within Chrome), the amount of memory, CPU, and network resources these processes are consuming. It can be accessed by right clicking on Google Chrome’s title bar. Fig., (c) can ease to understand. Google Chrome by default has this option only to search in its search engine using voice. One can send messages even get direction and can perform other voice related tasks. Google chrome may even reply in the voice if a question is being asked. Only thing to make sure is the correctly working microphone either internal or externally connected. Fig. (d) can explain it. Using Chrome’s address bar type the required thing and hit enter and it will redirect to the required search page automatically. Chrome eliminates the difference between a browser and a search engine by redefining the navigation window. User does not have to use the separate search box for searching the phrase (as shown in Fig., (e) below). Google has integrated most of its services into Chrome. Services like Google

Sunday, February 2, 2020

Fair value accounting Coursework Example | Topics and Well Written Essays - 2500 words

Fair value accounting - Coursework Example Fair value accounting has been an important aspect of US GAAP (United States Generally Accepted Accounting Principles) for over five decades yet its implementation increased significantly since issuance of Fair Value Measurement Standard (FAS 157) in 2006 by the Financial Accounting Standards Board (FASB) (Ryan, 2008; Khan, 2010). Fair value accounting, which is also known as mark to market accounting, gained considerable amount of spotlight as a result of its controversial role in the financial crisis of 2007-08. Critics argued that if fair value accounting does not have direct role in the crisis, it at least exacerbated the severity of the crisis. The prominent allegation suggests that fair value accounting results in heightened leverage during the market boom period while market bust resulted in excessive write-downs. The write-downs resulted capital depletion for financial corporations, required them to sell assets, and thereby initiated downward spiral (Ryan, 2008; Laux and Leuz, 2009). The paper scrutinizes the accusation against the accounting approach with respect to various facts. Additionally, the paper assesses benefits and weaknesses of the fair value accounting which has further been compared with traditional accounting for better evaluation. i. In an illiquid market, fair value accounting can be considered as a weakly defined concept that focuses on hypothetical transaction price which cannot be measured in a reliable manner irrespective of any kind of guideline that is provided by the FASB. ii. Studies suggest that when fair value of an asset or a liability is determined from a source that is different from the liquid markets, the scope of engagement of the corporation in certain accounting behaviour such as discretionary income management increases due to unverifiable nature of the information regarding fair value. iv. Under this accounting approach, recognition of

Saturday, January 25, 2020

Flannery OConnors Good Country People Essay -- essays research paper

In Flannery O'Connor's short story "Good Country People," Hulga is a woman who lives with her mother, Mrs. Hopewell, and has an artificial leg. Mrs. Freeman is a lady who was hired by Mrs. Hopewell to work around her property. A theme that seems to recurr in "Good Country People" is lying that becomes harsher each time. Mrs. Freeman works on tricking Mrs. Hopewell into leaving Hulga alone. She is constantly telling Mrs. Hopewell about each of her daughters and always gossiping. Perhaps she occupies Mrs. Hopewell because she does like her company. On the other hand, Mrs. Freeman could have felt sorry for Hulga and tried to get and keep Mrs. Hopewell's attention so that Hulga could have a temporary reprieve fro...

Thursday, January 16, 2020

Not a Good Day

The classroom was stuffy. The lesson was boring. There was a heavy atmosphere in the room; everyone was tense wondering if the teacher was going to explode again, ranting and raving. The teacher, Mr Perry, was being as annoying as possible, talking in a deep, slow, flat voice, pronouncing each word as slowly and perfectly as possible. â€Å"So, if you multiply together these two numbers, and divide the answer by six, you get the answer to the question.† It hadn't been a good day for him so far today. His car had broken down this morning, he had loads of overdue marking to do, his year eight class earlier in the day had caused him a load of hassle and he had a meeting with his boss after he had finished teaching and he knew it wasn't going to be good news. It was the end of the day and no-one wanted to be in the lesson. It was one of those beautiful, warm sunny summer afternoons outside, but inside it felt like the calm before the storm. Earlier on in the lesson it hadn't been pleasant. Anna had just been sitting at the back keeping herself to herself, at least she had been pretending to be, but when there's an interesting piece of gossip going round, it has to be thoroughly discussed and looked at from every angle. It's not really the best idea to write the note on a fluorescent pink post-it note, its not exactly subtle. Of course, he saw the note, stormed over, snatched it away and of course read it out loud to the class. The note had just been from one of Anna's friends and it had just been asking if she was going shopping on Saturday. It was something innocent, luckily it had been, seeing as it was read out to the entire class. That had been about half an hour earlier. â€Å"Sir, can I open the window please? I feel as if I'm about to faint.† whined Cassie. â€Å"No.† was the short, sharp simple reply. â€Å"Sir, can I pull the blinds down?† â€Å"No.† All of a sudden there was a loud crash. Someone had knocked their tin on the floor. Anna quickly bent down to retrieve her tin, it had been an accident, she didn't mean to knock it on the floor. â€Å"Who did that?† Mr Perry boomed, his voice echoing around the room, making everyone wake up. All of a sudden everyone was awake and alert and tense again wondering what his reaction would be. His first reaction made the situation worse. He was silent, he did nothing. Then slowly, he stood up and walked towards Anna, with his eyes boring deep into hers, cold and icy. â€Å"Anna, could you come here a minute please?† he said as sweetly and non-threateningly as he could. â€Å"Er, sir, do I have to? The look he gave her in reply gave her the answer loud and clear. He marched over towards the door, and opened it and politely said â€Å"after you.† There was a muffled whisper of good luck from the back of the room as Anna disappeared out of sight. There was more air out in the corridor, the fresh summer breeze felt good on her face, it was easier to breathe, and she went and stood by the open window, a luxury they weren't allowed in the classroom. â€Å"What do you want sir?† Anna wanted to get straight to the point and know what she had done wrong. â€Å"Is there something wrong Anna, at school, or at home maybe?† â€Å"No, why?† † I just wanted to know if there was something bothering you, something that you wanted to take your mind off. You seem to be becoming a persistent troublemaker and I don't want you to be because you're a good student the majority of the time. Recently though your behaviour has been starting to slip, you're letting your standards drop. I don't like troublemakers in my lessons. If you think that you are going to get away with any of this bad behaviour, you can think again about coming back to my lessons. You can go back inside now.† He had a very strange expression on his face as he was saying this, he was frowning, it was as if something was puzzling him, and he just stood there completely upright with his hands on his hips. Anna on the other hand looked completely shocked as if she couldn't believe what she was hearing, and what he was saying about her. Her mouth hung open a little bit and her eyes were wide and starring straight at Mr Perry. She was slouching and her arms just hung by her sides, as if she had no control over them and she couldn't move. Anna was left standing there, shocked and not entirely sure what to think or say. She wasn't thinking straight now. Anger was boiling up inside her, and she didn't know when she was going to explode. She walked back into the classroom as if she was on autopilot, and collapsed into her seat. She stayed like that for the next ten minutes or so and then†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. â€Å"Sir, I don't know what you think you were talking about out there. I am not a persistent troublemaker, I don't have any problems here or home, and you know what? I have been thinking about what you said and it is my pleasure to tell you that I will not be coming to any more of your lessons. You must be joking to think that I'd actually want to spend an hour each day with you, an hour of your bad tempers, an hour or your rude and insulting comments, an hour of your yelling and shouting.† Mr Perry looked up sharply, surprised and not expecting this sudden outburst. He wasn't in the mood for dealing with troublesome teenagers. He was going through a bit of a rough patch, he had bills piling up, he was possibly going to get evicted from his flat, and he had his boss constantly hanging around and watching his every move. He wasn't really thinking straight and he just snapped. â€Å"THAT IS ENOUGH. GET OUT OF HERE NOW.† He stood up from his desk and strode over to where she sat. He gave her that evil glare again but this time it was full of evil and hatred. He towered over her, shaking with anger â€Å"I SAID ANNA TAILOR, GET OUT OF HERE NOW.† He raised his fist, and that did it for Anna, she leapt out of her seat, and ran to the door screaming â€Å"You haven't heard the last of this, I'll be back you know, I swear that I'm going to get you fired.† Mr Perry stood there, perfectly still and silent, realising what he had done as he stared at Anna disappearing down the corridor out of sight. The rest of the class was shocked, no-one said a word, no-one moved. Work was the last thing on everyone's mind. Luckily, the bell went. Time seemed to have disappeared. Everyone packed their bags in silence and just crept out of the room. Mr Perry still stood in the exact same place, not moving at all with a frozen expression fixed on his face.

Wednesday, January 8, 2020

Othello, By William Shakespeare - 1203 Words

Most other Shakespearean characters commit malicious actions in order to achieve a particular goal. Oftentimes the reason is ambition, as in Macbeth, or revenge, as in Hamlet. What is interesting about Iago is that the audience never knows for certain why it is that Iago wants to destroy Othello. His evil comes without a motive. The characterization of Iago as a motiveless malignity was first proposed by Samuel Taylor Coleridge as he was preparing a series of lectures delivered in 1818. Coleridge calls him a motiveless malignity at the end of Act 1, Scene 3 when Iago leaves Roderigo, saying, Go to, farewell. Put money enough in your purse, and then gives the soliloquy beginning Thus do I ever make my fool my purse (1.3.423-426).†¦show more content†¦Another example is at the very beginning when Iago proclaims to Brabantio, â€Å"Even now, now, very now, an old black ram, Is tupping your white ewe. Arise, arise!† (1.1.89-90). He uses strong racist language to incite a nger in Desdemona’s father, and manipulates him into being very angry. These examples of his persuasion throughout the plot contribute to the fact that he is able to manipulate anyone however he likes. His manipulative tendencies are important in regard to the motiveless malignity. A motive is a reason for doing something, and it is generally to achieve something. With the knowledge that Iago is able to get anything he wants, one can only assume that there is nothing that is trying to get by manipulating these people, which shows that he is just being evil for the sake of being evil with no particular reason. Nevertheless, one can easily argue against the conclusion that Iago is evil for no particular reason. There are specific instances throughout the text when Iago soliloquizes about specifically why he hates the Moor. However, these reasons are not very consistent and continue to change. The story begins with Iago resenting Othello because of professional jealousy, but the n he changes the reason of hatred to his potential feelings for Desdemona and his dislike for the relationship between the two of them. It again changes to the possibility of