Story-Writing Masterclass 10 Tips for the Perfect Piece of Fiction - Freewrite Store

Story-Writing Masterclass 10 Tips for the Perfect Piece of Fiction - Freewrite Store With the rise of self-publishing on platforms like Amazon’s Kindle Direct Publishing and Lulu.com, it’s never been easier to realize your dreams of becoming a published author. You can publish with Amazon - both paperback and Kindle editions - for zero cost. There’s nothing holding you back from seeing your name in print. But the availability of self-publishing for all isn’t an entirely positive thing. With no quality checks, no requirements for your books to be edited, and no painstaking procedure of submitting to publishing companies (and waiting for the inevitable rejections), there’s much less pressure on would-be authors to spend time really honing their craft. That is a travesty. Don’t be one of those writers who, just because you don’t have to worry about publishers rejecting your novel, cut corners in the writing process. Your (potential) readers deserve so much more. That’s why, in this masterclass article, I’m going to share with you my ten top tips for the perfect piece of fiction - drawing on the wisdom of some of the greatest bestselling authors of all time. 1.The Glint of Light on Broken Glass The great 19th-century Russian story-teller, Anton Chekhov famously advised: â€Å"Don’t tell me the moon is shining; show me the glint of light on broken glass.† You will, of course, recognize the cornerstone piece of advice that every fiction writer reads in every single book on writing: show, don’t tell.  Ã‚  It’s not a secret, it’s not new or revolutionary, so why is it still at the top of my list? Because it’s the single most important piece of advice a writer needs. It doesn’t matter whether you’re starting your first short story or you’ve got twenty novels under your belt, if you forget this rule, you’ll let your readers down. And even the most seasoned writers have off-days (or, more commonly, off-books) where their writing becomes more tell than show and loses its impact.    So, how do you ensure that you’re showing and not telling? For me, the magic happens when I’m editing, so I don’t worry too much about the first draft. No one is going to see that but me, so it doesn’t really matter how bad it is. When I’m editing, I’m ruthless. In fact, the more books I publish, the more ruthless I get - because, seriously, I cringe when I read back my first (traditionally) published novels and wonder how on earth they managed to get published in the first place. When I’m editing, I distance myself from the writing and imagine I’m a reader, not a writer. I get bored easily, which is a good thing when I’m looking for too much tell and not enough show. If I’m bored, there’s too much tell. What works for me may not work for you (so I’m not promising anything here). You need to find what works for you. However, when you’re editing, think of Chekhov’s words. Are you writing sentences like â€Å"the moon was shining brightly†? Bo-ring! Isn’t â€Å"the glint of light on broken glass† so much more evocative? That’s what takes you from a regular writer to a masterful writer. 2. Storm Through the First Draft - and Don’t Look Back Do you know what one of the biggest stumbling blocks for would-be authors is? The fear of the blank page. I’ve worked with hundreds of writers in my years as a writing coach, and it seems to be a universal fact that the black page (or the blinking cursor) keeps a lot of people from ever realizing their writing dreams. Don’t let that happen to you! Fearing the blank page is a totally irrational fear, but it can be crippling. You probably know exactly what I’m talking about - sitting at the computer or with a notebook in front of you for hours, worrying about somehow starting your story wrong. Here’s a secret I learned from bestselling author James Patterson: There’s no such thing as starting your story wrong. The only way you can start your story wrong is if you quit and never start it at all. Beating that fear of the blank page has one simple solution: start writing. It doesn’t matter how bad it is. It doesn’t matter whether you scrap scenes later when you’re editing. The most important thing is to get words - any words - on the page. Never edit while your writing your first draft. The moment you start editing, you start questioning yourself, and that can stall the writing process all over again. So, start writing, get words on that page, and don’t you dare look back until you get to the end. 3. To Plan or Not to Plan, That is the Question This is one thing that can divide authors into two different camps - and the debates can be ferocious. I don’t want to start an all-out war, so I’m not going to tell you which camp I sit in. Instead, let’s look at both sides of the debate - and you can decide which you prefer. Just don’t make the mistake of discussing it with your writing buddies - it can get real ugly, real fast. First, let’s tackle the dedicated planners. Bestselling authors like James Ellroy and James Patterson are firmly entrenched in this camp. Ellroy, for example, writes a synopsis for his books that can be over 200 pages long. Likewise, Patterson, who writes several books a year, puts every plot detail into an outline before he starts writing his first draft. He reckons that makes it easier to start writing the first draft. What about the non-planners, or, the write-by-the-seat-of-their-pants camp of authors. British author Ian Rankin is one of these. For him, not having a plan for his novels means that writing is much more of an adventure. It’s a bit like the novel has a mind of its own and will control its own destiny - which is a pretty cool way of looking at it. Rankin’s first draft is an opportunity to get to know the characters, and that wouldn’t work if everything was planned in advance. 4. Building Your Writing Muscles You know how if you miss a week (or six) of your gym routine, getting back into the swing of it is a real struggle? The same goes for writing. Your writing ability is, in fact, a muscle, that, if not regularly exercised, will quickly atrophy. When you’ve missed a couple of gym sessions, have you ever noticed that it’s much harder to convince yourself to go back? Are you, perhaps, like me, who, once I’ve missed a couple of weeks, then there’s virtually no chance of me going back? The same can happen with writing. You can so easily get out of practice, out of the habit of daily writing, so when you do schedule time to write, you almost have to force yourself to do something that you love to do. It’s not just about keeping up a routine, either. When you’re writing fiction, writing every day keeps your relationship with your characters fresh and the plot tight. For horror-writer extraordinaire Stephen King, a daily writing habit is essential for the successful completion of a manuscript. 5. Disconnect From Distractions The internet is amazing. It connects us to like-minded people on the other side of the world, makes researching facts for your fiction an absolute breeze, and allows you to easily communicate with your fans. But for writers, the internet is also the biggest enemy of creativity and productivity. Smartphones have made the situation even worse. There are so many distractions. Social media notifications, email notifications, websites that steal our time and give us nothing in return. The number of hours I’ve lost to aimless internet browsing is embarrassing. I’m easily distracted, and since I can’t get back the hours that I’ve lost, I now resolve to disconnect from all potential distractions. When I’m working on a novel, I deliberately turn off the WiFi. Not on my computer - it’s much too easy to turn that back on. I turn off the router, because I’m less likely to give in to temptation if I have to go downstairs to reconnect to the internet. If turning off your WiFi isn’t practical, or you have other family members to think about, a distraction-free device like Freewrite may be the perfect solution for you. With no browser to distract you, you can focus on the craft of writing - and see your productivity levels soar! 6. Creating Complex Characters One of the major keys to quality fiction is characters that your readers can really care about. Creating three-dimensional characters that seem as if they could walk right off the page is a skill that can be difficult to develop. I love to read - but there’s nothing so disappointing as a book full of flat, cardboard-cutout characters. Even the best, most riveting plotline can’t save those books for me. You’ve probably noticed that human beings can be unpredictable. For your characters to be believable, then, they also need to be unpredictable. It’s important that you’re able to show different sides to your characters because that’s how your readers get to know them. For example, beginner writers often make the mistake of having villainous characters that only ever show their menacing side. However, that kind of predictability makes villains too easy to forget - and you want your characters to stick in the minds of your readers long after they’re finished reading the book. Think about it - what’s more memorable: the villain who only ever does nasty things, or the villain who’s nasty 90% of the time but spends every Sunday afternoon teaching his kid brother self-defense? 7. The Movie Reel in Your Mind Screenwriters are usually able to make the switch to writing fantastic fiction quite easily, but fiction writers don’t find it so easy to write scripts. That’s not always the case, and there are always exceptions to the rule, but there is a really good reason why that’s the case. Writing for the screen means having a kind of birds’ eye view of your story, picturing every detail as if the movie is already made and running on a reel in your mind’s eye. When I coach writers who are struggling with mastering story elements like point of view (POV) and bringing their stories to life on the page, I often recommend a short course in scriptwriting. Having to constantly think about whose point of view each scene is from and focus on the details of the setting, what characters are doing as they speak, and even what’s visible at the edge of the shot is great practice for writing realistic fiction that really draws your readers in. There are short courses in screenwriting that you can find online - such as courses on Udemy - and it’s worth trying these out to see for yourself how your writing can improve when you’re running every scene through the movie reel in your mind. 8. Follow Your Characters Wherever They Lead If you fall into the camp of painstaking planners we discussed earlier, this one may make you feel a bit uncomfortable. Planners don’t like to take diversions. But if you’ve never had the joyful pleasure of allowing your characters to take your story in a different direction, then you’re missing something really quite exhilarating. Sometimes it doesn’t work out, and you have to go back, but other times your characters take you on an adventure of discovery that allows you to share the same sense of excitement and anticipation that your readers get to experience. To be able to follow your characters, though, you have to bring them to life on the page. It’s the larger-than-life characters that take you on the best adventures - and help you to discover the true depths of your own imagination. I love to read books that suddenly head off in an unexpected direction because I know that the author has been on one of those wonderful adventures - and their writing is so much richer for it. Never be afraid to see where your characters want to take you - what’s the worst that could happen? 9. Live Your Character’s Life Has your character eaten today? I’m serious. Have they? Did they shower this morning? You might be thinking that I’ve lost the plot (pardon the pun) but the details of your characters lives matter to your readers. Or, at least, they should. I’ve lost count of the number of manuscripts I’ve reviewed for coaching clients where I’ve started to get seriously concerned about the characters. No, I don’t need to know each time a character takes a bathroom break, but your characters need to have some level of humdrum in their lives to be believable. A really effective tool you can use to see how believable your characters’ everyday lives are is to try to live your character’s life for a day. If you get to the end of the day and you’re exhausted and grumpy because you’ve been dashing around all over the place without eating a single meal, then you might be able to see the cracks in the believability. Regular things have to happen as well as the exciting things that keep the plot moving forward - or your readers might start losing interest. 10. If You Don’t Read Regularly You’ve No Business Being a Writer That may sound a little controversial - and I am aware that there are some bestselling authors who insist that they cannot possibly read anyone else’s fiction while they’re working on their own novels. If I’m honest, I used to worry about how reading novels would affect my writing - until I realized that not reading was worse for my craft than reading ever could be. Not only does immersing yourself in another author’s creation offer the opportunity to relax and unwind, but it helps you hone your craft. Even if the book you’re reading is terrible, there’s something you can learn from it (like how not to write a novel). Reading books that bestselling authors have written is an excellent way of developing your own skills. You can enjoy a book and learn from it at the same time. Recognize the techniques that have the most power. Discover ways of using language that you haven’t considered before. Examine the pacing and the plot twists and all the myriad ways that authors show instead of telling - and pillage and plunder those same techniques for your own writing. Bonus Tip - Write For Yourself One of the biggest mistakes you can make as an author is to start to worry about what other people are going to think about your masterpiece. The moment you start staring into that particular black hole, you’re setting up a whole load of trip-wires for yourself. Don’t worry about who might - or might not - read your novel. Don’t give them a second thought - not while you’re writing. Write your novel for you. Enjoy it. Savor it. When you get too focused on the mysterious ‘potential reader’ you start questioning and second-guessing yourself, until your creativity gives a big sigh and stomps off in frustration - leaving you staring hopelessly at that flashing cursor on the blank page - right back where you started.

How to Identify a Target Audience for Your Book in 3 Steps

How to Identify a Target Audience for Your Book in 3 Steps How to Identify a Target Audience for Your Book in 3 Steps Don’t you feel like your book could be a massive hit, if only the right people knew about it? If there were only some way of finding your target audience, you'd be able to reach out and get your novel into their hands or e-readers.This post will lay out a method on how to identify a target audience. You will find the ‘right people’ for your book, learn to see things from their perspective, and discover the most effective channels for reaching them.If you're a self-published author, you probably don't have the resources to market to everyone. The only sensible approach is to appeal to people who are actively seeking books just like yours.   If those people love your book, word of mouth will quickly spread, and you will start to build a loyal following that eagerly awaits your next publication.  So let’s get to it! How to identify a target audience: see things from your readers' perspective Step 1 - How to identify a target audienceHow do you go about figuring out who your book is meant for? While you may have a vague idea, it’s best to be as specific as you can.That’s because when you have an exact description of one ideal reader (this includes key demographics like age, sex, hobbies, interests, location, marital status, etc.), it becomes a lot easier to find similar people and expand your target audience.To understand this better, let’s borrow a concept from the business world: the idea of a ‘proto-persona.' This is basically an imaginary person who shares many traits with your most likely customer. How is this useful for authors? Let’s find out.Creating a proto-persona for your book Facebook Advertising for Authors, by Mark Dawson: Part 2 Read post Step 3 - Hone in on your real audienceYou can only go so far with assumptions of who your readers are, what they like, where they hang out and how they behave. Once you have these assumptions, you need to test them. How exactly do you go about doing that?Testing assumptions with Facebook AdvertisingTo be a successful author you have to start thinking like an entrepreneur. How do you find out whether your book will appeal more to fans of Lee Child or James Patterson? Create two Facebook ads with the same image and a similar copy ("fans of X will love this!") and target them at these two respective target audiences. For example, if fans of Lee Child respond better to your ad (higher click-through rate), then you have your answer.You can run a similar test on your image, or on the tone and length of the text you’re using. A/B test your Facebook ads to see which performs better If you have tons of questions swimming in your head at this point, that’s understandable! Check out this insightful interview with author Mark Dawson on the Reedsy blog,  for  a fun and easy introduction to Facebook advertising for authors.What’s your niche?Use forums like Goodreads to reach people who fit the description of your proto-persona, and expand your network to start conversations and get valuable feedback from real readers. Promotional activities are mutually beneficial if you reach the right communities. In exchange for a free copy, you can ask your newly found readers to review your book.The next steps†¦Most authors and book marketers recommend choosing one or two platforms and focusing your marketing efforts on them. This is a very good idea if you’re just starting out and don’t have the bandwidth to execute a massive marketing plan.You have to hold the attention of your fans by consistently provide them with value, whether that's by releasing free short stories, or engaging them on social media.  The importance of thinking from your reader’s perspective cannot be stressed enough, only because most authors ignore it completely.A loyal following will give you real-time feedback and insights into what your fans enjoy. You’ll be surprised at the amount of traction your book gets just through word of mouth.So don’t waste any more time on directionless marketing, find out where your audience is hanging out right now!Do you have any unique methods of how to identify a target audience? How important is it to have a clear strategy for finding your audience? Leave your thoughts, comments and questions below.

International Management Essay Example | Topics and Well Written Essays - 1250 words

International Management - Essay Example With very sophisticated infrastructures, Bahrain is a rapidly developing market in the Middle East. The country has a strong government with futuristic outlooks which has contributed to the shaping of the nation as a highly mature economy (Dew 2002). There are large numbers of development ventures in progress all over the country which renders the opportunity to expand to Bahrain quite pleasing. The country provides various encouragements to the opportunity of expanding to Bahrain (Dew 2002). Because of its strategic position, several multinational companies have expanded to Bahrain like Nomura Investment Banking, American Express, Citicorp, etc (Sohail 2005). The objective of this essay is to analyze the (1) physical and societal factors, (2) competitive factors, (3) objectives, and (4) strategies and means as they relate to the expansion of financial institutions to Bahrain, which in this paper will be the The Hong kong and Shanghai Banking Corporation (HSBC). HSBC has its main off ice in London, and it is one of the major financial institutions in the world. HSBC, just like other global businesses, are gaining from flourishing business in the Middle East ( However, expansion for HSBC has been beset with difficulties. The company has to deal with external factors, such as those mentioned above, in their pursuit for successful expansion. Physical and Societal Factors The coarse periphery of Bahrain is characterized by a dynamic cultural domain and sophisticated infrastructure. Since 1971, the period it gained its independence from the UK, Bahrain has grown into a wealthy, progressive nation that adopts the union of its culture with its quest for prosperity (Gillespie & Gritzner 2002). Nowadays, the country tries to build a more advanced state which values and merges its time-honored cultural practices (Dew 2002). Gaining knowledge and making sense of this exceptional culture and its related business customs is critical to the success of expansion plan of HSBC t o Bahrain. Some of the factors that the management of HSBC should take into account are the business-related social practices of Bahrainis. For instance, the society of Bahrain is deeply rule-inclined with laws, policies, and other control systems established to lessen the insecurity and put in force the authority of leaders (Dew 2002). This quite rigid hierarchical structure is embodied in the prescribed communication method of the general population of Bahrain. The use of prescribed greetings and distinctions or titles is important (Dew 2002). For instance, when a person enters an office for the first time, s/he should shake hands with the highest ranking officer first using their certain distinctions. This information is vital to the human resources management of HSBC. Competitive Factors The banking sector in Bahrain is considered as one of the most competitive in the Middle East. The government vigorously and explicitly seeks for foreign investments and views them as crucial to the country’s economic success (Laulajainen 2003). Banking and financial organizations in Bahrain are involved in a traditional business environment and trade-oriented culture that prospers from the foreign investments (Chiline 2002). The corporate banking culture in Bahrain welcomes foreign companies eagerly and attracts foreign

Holocaust in the Middle East, and Muslim-Jew Relations Essay

Holocaust in the Middle East, and Muslim-Jew Relations - Essay Example It might seem rather surprising but Jews and Muslims were not so hostile to each other in the earlier centuries, rather they lived peacefully and harmoniously with each other but something transpired in between that vitiated their mutual relations and ties to a point of no return. At a first glance it seems Jews and Muslims are poles apart and there is absolutely nothing in common between them, rather they are so disparate that possibly mutual hatred is the only shared thread that binds them. But, a deeper look at these two religions would, quite surprisingly, bring out certain common strains that indicate these two religions have much similarity with each other. Both these religions have a common origin in Abraham. While Jews consider Muslims as true followers of ‘Seven Laws of Noah’, it might be a revelation to many that Quran refers to the inhabitants of Israel at least forty three times with Exodus of Jews led by Moses being given special importance. Judaism and Islam also share several broad common perspectives about religious outlook and practice and this theological proximity has over the last 1400 years, notwithstanding last ninety or so years’ hostility, woven certain bridges that neither Muslims nor Jews can ignore. Thus it seems more perplexing that these two religious groups that share the same geographical origin have become bitter enemies of one another (Prager and Telushkin). The most common similarities in religious practices between these two religions are circumcision, prohibition of homosexuality and consumption of pork. While Islam prescribes five times a day prayer, Judaism also insists on five times a day prayer that might however be reduced to twice daily under certain specific circumstances. Any honest student of history must admit that while there have been aberrations in the course of centuries, Jews have by and large lived peacefully and prospered under

Nazi Labour Camps and Capitalism Essay -- Comparative, Borowski

Throughout the communist era in Central and Eastern Europe, but especially in the first half of that era, capitalism was seen as immoral and inhumane. Capitalism, as discussed by Karl Marx in The Communist Manifesto, was the cause of many social ills in society and needed to be overthrown (Marx 221-222). In â€Å"This Way for the Gas, Ladies and Gentlemen,† Tadeusz Borowski uses imagery and characters to compare and contrast the Nazi labor camp to capitalism. Although the ideology of capitalism is not as cruel as the Nazi labor camps, when put in practice it does have some similarities to these camps. Of course, Borowski wrote this story while he was a member of the communist party, which suggests that his opinion of capitalism may be skewed. Nevertheless, in the discussion that follows, I will argue that Borowski’s use of imagery in â€Å"This Way for the Gas, Ladies and Gentlemen† was intended to portray the structure, motivations, and social interactions within the camp as similar to those of capitalist society. In order to compare the Nazi labor camps to capitalism, Borowski begins to discuss the structure of the camp. Borowski stresses that the Nazi’s have the camp well organized and designed for efficiency. â€Å"The crews are being divided into those who will open and unload†¦and those who will be posted by the wooden steps. They receive instructions on how to proceed most efficiently† (Borowski 15). However, not only are the camp laborers divided into different positions among themselves, but the type of jobs performed by the Schutzstaffel (S.S. officers) and camp laborers are different. This is a portrayal of capitalist society because it was Henry Ford who developed the assembly line in 1913, which began the practice of the ... ...after the war. This is mainly because he was pro-communist when he wrote this story. Due to this fact, it is unlikely that Borowski would compare communism to the labor camp, but highly likely that he would believe that capitalism and the labor camps are similar. However, Borowski portrays the similarities between the labor camps and capitalist society in a negative light, which is most likely done because he may have wanted to promote communist ideas. Borowski compares capitalist society to labor camps through the interactions and imagery presented in the story. Much of the interactions that take place and the imagery described relates to the way society is organized, which is one of the main complaints in The Communist Manifesto. Although there is no proof that Borowski read The Communist Manifesto, much of the story is relatable to what is presented in it. Nazi Labour Camps and Capitalism Essay -- Comparative, Borowski Throughout the communist era in Central and Eastern Europe, but especially in the first half of that era, capitalism was seen as immoral and inhumane. Capitalism, as discussed by Karl Marx in The Communist Manifesto, was the cause of many social ills in society and needed to be overthrown (Marx 221-222). In â€Å"This Way for the Gas, Ladies and Gentlemen,† Tadeusz Borowski uses imagery and characters to compare and contrast the Nazi labor camp to capitalism. Although the ideology of capitalism is not as cruel as the Nazi labor camps, when put in practice it does have some similarities to these camps. Of course, Borowski wrote this story while he was a member of the communist party, which suggests that his opinion of capitalism may be skewed. Nevertheless, in the discussion that follows, I will argue that Borowski’s use of imagery in â€Å"This Way for the Gas, Ladies and Gentlemen† was intended to portray the structure, motivations, and social interactions within the camp as similar to those of capitalist society. In order to compare the Nazi labor camps to capitalism, Borowski begins to discuss the structure of the camp. Borowski stresses that the Nazi’s have the camp well organized and designed for efficiency. â€Å"The crews are being divided into those who will open and unload†¦and those who will be posted by the wooden steps. They receive instructions on how to proceed most efficiently† (Borowski 15). However, not only are the camp laborers divided into different positions among themselves, but the type of jobs performed by the Schutzstaffel (S.S. officers) and camp laborers are different. This is a portrayal of capitalist society because it was Henry Ford who developed the assembly line in 1913, which began the practice of the ... ...after the war. This is mainly because he was pro-communist when he wrote this story. Due to this fact, it is unlikely that Borowski would compare communism to the labor camp, but highly likely that he would believe that capitalism and the labor camps are similar. However, Borowski portrays the similarities between the labor camps and capitalist society in a negative light, which is most likely done because he may have wanted to promote communist ideas. Borowski compares capitalist society to labor camps through the interactions and imagery presented in the story. Much of the interactions that take place and the imagery described relates to the way society is organized, which is one of the main complaints in The Communist Manifesto. Although there is no proof that Borowski read The Communist Manifesto, much of the story is relatable to what is presented in it.

Moving and Handling Essay

Outcome 1 1)When you are required to assist people to move or help to reposition people it is important to understand the related anatomy and physiology, anatomy being the physical structure of the body and physiology the normal functions of the body. When a muscle contracts it pulls the bones at a joint in the direction that it is designed to move, when supporting moving and positioning activities it is important to think about the direction a joint moves in and how far the joint is designed to move in that direction. For example an elbow or knee joint can only extend to a certain point and trying to push these joints past that point would cause painful damage to that joint. 2)When positioning people who are unable to move themselves, it is important to remember to always check their pressure areas, especially the elbows, heels and the bony part of the back at the base of the spine called the sacrum. Poor positioning techniques can cause pressure areas to develop. Care needs to be taken when moving people with certain medical conditions, for example care must be taken when moving or positioning arthritic people in order to reduce the possibility of causing pain and discomfort. You also need to remember that arthritic joints have limited movement so you should not attempt to move these beyond their limits. When assisting people with Parkinson’s disease to find a comfortable position, be careful not to force the rigid limb further than it is able to. Also people with Parkinson’s disease have slower reaction times so it is important to give people suffering from this condition time to move and not to rush them. Always look for non-verbal signs of pain or discomfort. When moving and handling people who have suffered from a stroke, you will need to be aware of the extent of the stroke and what parts of the body have been affected. Outcome 2Â  1)Legislation is in place to protect people and reduce the risk of injury to care workers and the people they support. The Health and Safety at Work Act 1974 makes it a legal requirement for employers to make sure that the health, safety and welfare of their employees is maintained and employees have a duty to take care of the health, safety and welfare of themselves and others. The Manual Handling Operations Regulations 1992 (amended 2002) relate to moving and handling in the workplace. These Regulations were updated in 2002. The Regulations are for employers, self-employed people and employees. They state that employers must avoid all dangerous manual handling activities when it is reasonable and practical to do this. If it is not possible, the risks regarding the task must be assessed including the load, the working environment and the ability of the handler then appropriate action should be taken to reduce the risk to the lowest level. Employees must follow the appropriate procedure outlined by their employer to promote safety during moving and repositioning. If you are responsible for assisting somebody to move, it is both the responsibility of the employer and the employee to ensure your safety and that of the person being moved. 2) There are several health and safety factors that need to be considered before moving or positioning someone. Firstly you should plan the activity by asking questions like, what activity will you be assisting with? Are you helping the person to stand, roll, walk or turn? If you are assisting someone to walk, how far do you need to go? Who else could help you? How long will the activity take? Secondly consider the environment and identify any potential hazards. Are there any obstacles or obstructions, which may increase the risk of you or the person tripping over? Is the floor level, dry and free from obstacles like rugs? Is there enough space for the activity? Thirdly think about the person who is being assisted to move or who is being positioned because they will be at the centre of the activity. What can they do for themselves? How much support will they need? How can you encourage their independence during the activity? Has the person experienced the activity before? Are there any medical devices attached to the person such as catheter bags, intravenous drips or wound drains? What is the person’s weight and height? In addition you should also consider how suitable you and your colleagues are for assisting in the activity. Have you had moving and handling training? What is your state of health and well-being? Is your clothing suitable to perform moving and handling procedures? Does your footwear fit properly and is it supportive? Lastly when planning moving and handling of a person there may be a piece of equipment that is required such as a hoist, walking frame or slide sheet. Before using any equipment, you should check that it is available, clean, in good condition and in good working order. Also find out if the person being assisted has used the equiptment before and if there were any problems. You should only use equipment that you have been trained to use. Outcome 3Â  1) A) It is important before assisting somebody to move, that you access up-to-date information about their moving and handling requirements, their ability to cooperate, their health condition and their moving and handling requirements. This information should be found in the person’s support plan and their moving and handling risk assessment. Both these documents should be read at the same time as each other because the support plan will provide specific information on the individual person like what the person can do for themselves, the amount of support needed by the person from care staff, any limitations of the person e.g. medical conditions that should be taken into account, how the person moves, how often they need to be repositioned and any problems or benefits from moving and handling equipment that the person has used. B) Although there is similar information in the moving and handling risk assessment it will also contain details that focus on reducing the risk of harm to the person and the care worker from moving and handling activities. Risk assessments identify potential hazards that could cause harm and include the moving and positioning activity itself, the environment, the person, any equipment that will be used, yourself and other care workers. 2) It is important that you check the person, equipment and the environment before undertaking any moving and positioning activities You should always consider if the person is still able to cooperate with the activity, also check for catheter bags, intravenous drips or wound drains and that the equipment is clean and safe. It is also good practice to check that the person’s footwear is suitable for the activity and check the floor for any obstacles. It is very important to watch out for floors that have just been washed and wet floor signs. 2) For each identified risk you need to be clear about who might be harmed; it will help you identify the best way of managing the risk. That doesn’t mean listing everyone by name, but rather identifying groups of people, In each case, identify how they might be harmed, i.e. what type of injury or ill health might occur. you then have to decide what to do about them. The law requires you to do everything ‘reasonably practicable’ to protect people from harm. You can work this out for yourself, but the easiest way is to compare what you are doing with good practice. 3) Sometimes workplace polices and procedures in relation to moving and handling may conflict with someones wishes. [ For example, some workplaces have adopted no-lifting policies which mean that hoists are used for all people but what if a person does not want to be hoisted If dealt with incorrectly, this could leave people feeling undervalued, humiliated, distressed and degraded. You could also find yourself in trouble, because the persons basic human rights may have been violated. To prevent conflicts from developing between people and workplace policies relating to moving and positioning, it is best to involve people in their own risk assessments and mobility support plans in the first place, if appropriate. Risk assessments should focus on the needs of the person, not just the needs of the service provider. Where possible, people should be placed at the centre of the planning process and given choice over their moving and positioning requirements, as they will have the best knowledge of their own mobility. The wishes of the person need to be balanced with the need to ensure that care staffs are not put at risk through moving and positioning activities. Balancing the wishes of somebody with the rights of care workers will help promote a person’s independence, autonomy and dignity. However, sometimes, a person’s condition can change and their mobility can improve as well as deteriorate. This may lead to them changing their mind on how they wish to be moved or positioned. If their wishes conflict with their plan of support, it is important that you document this in the persons support plan and inform your manager. If the person wants to do more for themselves, you should encourage this, but be aware of their limitations are they trying to do too much too soon If the person refuses to be moved or turned, you should encourage them to move as much as possible by themselves.

The Boy Who Lived - 1174 Words

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