text:
River Fishing/Predators/Pickerel

Pickerel have certain haunts, and though they usually move independent of each other, but to catch "a string of pickerel" is a good day's work. Pickerel are fond of shady places, and in summer they frequent the parts of the stream nearly where the pickerel weed grows. They generally spawn in March or April, and earlier in some southern streams. In winter they get under rocks, or stumps, or into convenient deep holes, and they can be taken then with small live fish for bait.

In rivers you can generally catch pickerel near the mouth of some small stream emptying into the river; the fall of the year is the best time for catching them. In the hot summer months they will seldom bite at all, except perhaps in a very windy day. In the fall, too, they are in better condition. Pickerel fishing in the spring is sometimes very successful, however, though the fish are not as good when breeding.

At this period their usual beautiful green color and bright yellow spots are dull and leaden. In the more northern waters they are sometimes taken as early as August in good condition.

The tackle used for pickerel is a pretty stiff 10 foot fishing rod, with a fishing reel, and some 50 or 60 yards of flax line, which should be protected by the hook with gimp or wire. The Limerick or Kirby salmon hook is used. The size is 0 to 5, according to the size of the fish.

In a running stream, the sinker and float will also be found necessary. The bait should be a small live fish, or frog, or the hind leg of a frog skinned. Worms are sometimes used in small streams, where the water is clear and the game small. In using live bait, when the pickerel takes it, do not draw your line too quick.

The bait itself, if properly impaled, will be very lively and will be apt to make a violent effort to escape its enemy. Inexperienced anglers may take this movement for a veritable bite; but when the bite comes, there is no mistaking it. In impaling a small fish for bait, pass the hook under the back fin, just under the roots of its rays.

This will not disable the fish, and it will appear lively in the water. When using live frog bait, you pass the hook through the skin of the back or belly, or the back muscle of the hind legs. The live frog is generally used on the top of the water - if not, you should let him rise occasionally to take the air.

When the pickerel has seized your bait, give him plenty of time to swallow it, and also plenty of line. Sometimes he will hold it in his mouth and play with it before gorging. On bringing him to land, be careful of his jaws, for he has a set of teeth, sharp as needles.

Trolling for pickerel is decidedly an exciting and interesting sport if you have good and large game. A small sail boat, or skiff is used, with an attendant to manage the boat as you direct. You can use the live bait, or an artificial bait, as is most convenient. Some sportsmen are very fortunate with the artificial bait. A stiff rod and reel, with the same tackle as before described, and no sinker — is all that is required. The boat should move gently, and let your line drag far in the rear. With artificial bait the fish is hooked almost instantly. If you use live bait, be exceedingly careful in determining when the fish has gorged it. You should give him several minutes after he has seized it, for this purpose. On seeing the bait, a pickerel will generally run off with it, and will then stop to gorge it, but does not always do so. The sign that he has swallowed it is a peculiar slackening of the line, which experienced anglers can easily understand. But if he has gorged the bait, he will soon start off a second time, and sometimes will stop and start off the third time. In these cases you should never be in a hurry. When you are convinced that he has taken down the bait, draw a tight line, and strike for your fish. If he is large you should play with him until he is quite exhausted, or you may lose him in the attempt to land.

The difficulty of taking a pickerel from the hook may be obviated in a measure by gagging. For this purpose some anglers provide themselves with prepared sticks of various lengths. If the hook is completely swallowed, as is frequently the case, open the stomach in the middle, cut away the hook, and unslipping the knot that holds the gimp, draw it out that way rather than through the mouth. In the Mississippi River and Ohio river there are several species of this fish, but they all resemble the pickerel of other waters in a greater or less degree. They are of all sizes from half a pound to 20 pounds (0.5 to 9 kg) weight.

title: River Fishing/Predators/Pickerel


text:
Talk:River Fishing/Predators/Pickerel

How to catch a pickerel authors and history
= From Wikipedia:Talk:How to catch a pickerel =
 * 2005-08-06 12:37:23 User:Bobblewik (units, possibly using Google converter)
 * 2005-05-25 22:18:29 User:Anilocra (Category:Recreational fishing)
 * 2005-05-08 15:36:16 User:Fawcett5 (How tos belong on Wikibooks)
 * 2004-09-16 04:19:46 User:Stan Shebs (Category:Fishing)
 * 2004-01-02 04:40:35 User:Paul A (disambiguate hook)
 * 2003-12-04 05:29:02 User:Kingturtle (taken from Pickerel article)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:River Fishing/Predators/Pickerel


text:
Guide to Electrical Equipment for Travelers

For information on individual plug types please refer to Domestic AC power plugs and sockets. For information on exactly where plug types are used, please refer to the List of countries with mains power plugs, voltages and frequencies.

Table of Contents

 * /Plug adapters/
 * /Adapter leads/
 * /Transformers/
 * /Earthing & Grounding/
 * /Other considerations/


text:
Neapolitan/501 Neapolitan verbs/avé

avé

 * English: to have
 * Italian: avere

To form the compound tenses add the auxiliary verb (avé) + past participle (avuto).

1. Indicativo
 * a. presente
 * {| class="wikitable"

 * align="left"|io
 * align="left"|aggio
 * align="left"|tu
 * align="left"|(h)aje, hê
 * align="left"|isso/essa
 * align="left"|ha, ave
 * align="left"|isso/essa
 * align="left"|ha, ave

 * align="left"|nuje
 * align="left"|avímmo
 * align="left"|vuje
 * align="left"|avíte
 * align="left"|isse/lloro
 * align="left"|hanno, àveno
 * }
 * align="left"|isse/lloro
 * align="left"|hanno, àveno
 * }

 * b. mperfetto
 * {| class="wikitable"

 * align="left"|io
 * align="left"|avévo
 * align="left"|tu
 * align="left"|avive
 * align="left"|isso/essa
 * align="left"|avéva
 * align="left"|nuje
 * align="left"|avévamo
 * align="left"|vuje
 * align="left"|aviveve
 * align="left"|isse/lloro
 * align="left"|avévano
 * }
 * align="left"|aviveve
 * align="left"|isse/lloro
 * align="left"|avévano
 * }
 * }

 * c. passato remoto
 * {| class="wikitable"

 * align="left"|io
 * align="left"|avétte
 * align="left"|tu
 * align="left"|aviste
 * align="left"|isso/essa
 * align="left"|avétte
 * align="left"|nuje
 * align="left"|avéttemo
 * align="left"|vuje
 * align="left"|avisteve
 * align="left"|isse/lloro
 * align="left"|avéttero, avétteno
 * }
 * align="left"|avisteve
 * align="left"|isse/lloro
 * align="left"|avéttero, avétteno
 * }
 * }

 * d. futuro sémprece
 * {| class="wikitable"

 * align="left"|io
 * align="left"|avarràggio
 * align="left"|tu
 * align="left"|avarràje
 * align="left"|isso/essa
 * align="left"|avarrà
 * align="left"|nuje
 * align="left"|avarràmmo
 * align="left"|vuje
 * align="left"|avarràte
 * align="left"|isse/lloro
 * align="left"|avarrànno
 * }
 * align="left"|avarràte
 * align="left"|isse/lloro
 * align="left"|avarrànno
 * }
 * }

2. Cungentivo
 * a. mperfetto
 * {| class="wikitable"

 * align="left"|io
 * align="left"|avésse
 * align="left"|tu
 * align="left"|avisse
 * align="left"|isso/essa
 * align="left"|avésse
 * align="left"|nuje
 * align="left"|avéssemo
 * align="left"|vuje
 * align="left"|avìsseve
 * align="left"|isse/lloro
 * align="left"|avésseno, avéssero
 * }
 * align="left"|avìsseve
 * align="left"|isse/lloro
 * align="left"|avésseno, avéssero
 * }
 * }

3. Cundiziónale
 * a. presente
 * {| class="wikitable"

 * align="left"|io
 * align="left"|avarrìa
 * align="left"|tu
 * align="left"|avarrìsse
 * align="left"|isso/essa
 * align="left"|avarrìa
 * align="left"|nuje
 * align="left"|avarrìamo
 * align="left"|vuje
 * align="left"|avarrìsseve
 * align="left"|isse/lloro
 * align="left"|avarrìano
 * }
 * align="left"|avarrìsseve
 * align="left"|isse/lloro
 * align="left"|avarrìano
 * }
 * }

4. 'Mperativo
 * a. presente
 * {| class="wikitable"

 * align="left"|tu
 * align="left"|agge
 * align="left"|vuje
 * align="left"|avite, aggiate
 * }
 * }

5. Participio passato
 * avuto

6. Gerunnio
 * avénno

Usage
Avé is not completely interchangeable with the Italian verb avere, for most uses (though not auxiliary ones), tené is used.

Corso di napoletano/Verbi napoletani/avé

title: Neapolitan/501 Neapolitan verbs/avé


text:
Talk:Guide to Electrical Equipment for Travelers

Thought it seems it was not marked when it should have been -- Herby talk thyme 13:57, 21 November 2006 (UTC)

Electrical travellers' guide authors and history
= From Wikipedia:Talk:Electrical travellers' guide = Strictly speaking, titled like this, this article should be about what Electrical traveller's guides are, instead of being one (plus there's a typo in the title). Furthermore, it is not exactly a ensyclopedia article, but more like a HOWTO-manual. Maybe it would be better placed in [Wikibooks]? Timo Honkasalo 18:59, 25 Sep 2004 (UTC)
 * 2005-07-28 00:01:01 User:Cmdrjameson (spelling)
 * 2005-06-26 11:42:31 User:219.79.87.1 (→Plug adaptors)
 * 2005-06-26 11:41:41 User:219.79.87.1 (→Plug adaptors)
 * 2005-06-21 22:20:11 User:Plugwash (revert edits by 143.89.188.7 his edits try and scaremonger people off taking electrical equiment with them and mention a british standard that i can't find on the bsi site!)
 * 2005-06-20 07:52:21 User:143.89.188.7 (→Earthing)
 * 2005-06-20 07:51:45 User:143.89.188.7 (→Earthing)
 * 2005-06-20 07:50:28 User:143.89.188.7 (→Earthing)
 * 2005-06-20 07:31:11 User:143.89.188.7 (→Plug adaptors)
 * 2005-06-20 07:30:09 User:143.89.188.7 (→Plug adaptors)
 * 2005-06-20 07:28:51 User:143.89.188.7 (→Plug adaptors)
 * 2005-06-20 07:26:48 User:143.89.188.7
 * 2005-05-24 10:56:54 User:Timwi
 * 2005-05-24 10:55:33 User:Timwi
 * 2005-05-17 16:24:50 User:Atlant (→Other considerations - Add WIki-standard final comma)
 * 2005-05-17 16:16:12 User:Wtshymanski (More cautions for the traveller)
 * 2005-05-17 15:13:58 User:Sietse Snel (→Transformers - fix link)
 * 2005-04-23 02:31:08 User:Plugwash
 * 2005-04-20 10:32:39 User:Bucephalus (spelling)
 * 2005-04-11 21:51:48 User:Dcabrilo
 * 2005-03-30 19:07:07 User:Atlant (→Earthing - Fixup RCCB -> RCD)
 * 2005-03-09 18:47:40 User:Plugwash (!!!!i agree it needed to be changed not to directly address the reader but replacing you with one is NOT the way to do that!!!)
 * 2005-03-07 16:54:53 User:Evice
 * 2005-01-16 00:43:00 User:Plugwash (→Adaptor leads)
 * 2005-01-16 00:11:31 User:Rick Sidwell (→Earthing - dab)
 * 2005-01-07 23:37:11 User:Drichards2 (sp)
 * 2004-12-21 15:40:38 User:Plugwash
 * 2004-10-13 21:30:25 User:Heron (made less slangy)
 * 2004-09-25 18:22:34 User:Plugwash (put correct heading on commented converters section and added note on why it is commented)
 * 2004-09-25 18:20:20 User:Plugwash (section moved into new article)
 * "Domestic AC power plugs & sockets" used to have this content in its travellers guide section (which made sense there imo) unfortuntely that page hit over 32K (again) and i thought this section was the one which could be most logically seperated out.
 * i agree that this taken in isolation isn't very ensyclopedic but i also feel it is an iportant part of our info on "Domestic AC power plugs & sockets" and unfortunately keeping it in that article was probablamatic because of size issues
 * BTW how did you come accross this article? Plugwash 01:41, 28 Sep 2004 (UTC)

I suggest this page be moved to wikitravel, where it seems more appropriate than here. This article is a traveller's guide, rather than being about an Electrical traveller's guide. -- Joolz 17:54, 13 Mar 2005 (UTC)
 * yeah but to do that you would have to get agreement to relicense from all contributers. (wikitravel is CC-BY-SA not GFDL) Plugwash 19:12, 13 Mar 2005 (UTC)

Move to Wikibooks
I suggest moving it to Howtos on wikibooks. I would do it already, but I don't have admin privileges and have no idea how to move it to another wiki. --Dejan Cabrilo 20:13, 23 Apr 2005 (UTC)


text:
User:Taxman

Hi, if you want a faster response, it might be best to leave a message at my main user talk page on the English Wikipedia. Otherwise, feel free to leave one here. Thanks and happy wikiing. - Taxman

title: User:Taxman


text:
Cookbook:Potsticker

Potstickers (锅贴 鍋貼 guōtiē; literally "pot stick") are a Northern Chinese-style dumpling popular as a street food, appetizer, or side order in Japanese and Chinese cuisine. This dish is often served on a dim sum menu, but may be offered independently. The filling for this dish usually contains pork (or chicken), cabbage, scallions, ginger, and sesame seed oil. The mixed filling is sealed into a dumpling wrapper, steamed in a wok, and then fried to crispness on one side in a shallow frying pan. The effect of the one crisp side of the dumpling is where it gets its English name of potsticker as it appears to have been stuck to the pot in which it was cooked. The potsticker is similar to the Japanese gyoza dumpling.

Also see recipes for Cookbook:Gyoza and Cookbook:Pot Stickers (which has a nice pictorial).

Filling

 * ½ pound (about 250 g) ground chicken or pork
 * ½ pound ground raw prawn or shrimp
 * 12 raw prawns/shrimp, chopped
 * ½ cup water chestnuts (fresh if possible) peeled and sliced
 * 1 tablespoon light soy sauce
 * 1 tablespoon sesame oil
 * 1 tablespoon salt
 * 1 pinch white pepper (optional)
 * 3 tablespoons green/spring onion, minced
 * 3 tablespoons fresh ginger, minced
 * 3 tablespoons cilantro, chopped

Assembly

 * 1 package store-bought gyoza/wonton wrappers
 * Cornstarch
 * Vegetable oil

Procedure

 * 1) Mix together the filling ingredients.
 * 2) Place a small bowl of water on the work area. If desired, mix in a little cornstarch to make a glue.
 * 3) Lay out one of the gyoza wrappers in front of you.
 * 4) Dip your finger in the water and moisten the edges of the wrapper.
 * 5) Place a heaped teaspoon of filling in the middle of the wrapper.
 * 6) Fold the gyoza wrapper over the filling and pinch the edges to seal it shut.
 * 7) Heat 2 tablespoons oil in a large skillet or wok.
 * 8) When oil is ready, carefully add the dumplings and cook on high heat until golden brown (about 1 minute).
 * 9) Without turning the dumplings over, add 1 cup of water and cover.
 * 10) Steam for about 1 minute to cook the raw filling and then turn off the heat (this is to keep the bottom from burning).
 * 11) Let the dumplings cook for a few more minutes with the heat turned off.
 * 12) Serve the potstickers with dipping sauce or soy sauce.

title: Cookbook:Potsticker


text:
Cookbook talk:Potsticker

Potsticker authors and history
= From Wikipedia:Talk:Potsticker = Somebody might consider merging this article with Jiaozi. Dyl 05:30, Oct 29, 2004 (UTC)
 * 2005-08-01 10:48:56 User:72.25.76.17 (→External Links - that link is not about potstickers)
 * 2005-06-17 20:29:33 User:Bornyesterday (the recipe part ought to go to cookbook)
 * 2005-05-28 09:53:57 User:203.73.247.158
 * 2005-05-05 19:30:08 User:Pekinensis (fix links)
 * 2005-05-05 19:25:46 User:Pekinensis (Chinese template; primarily a street food)
 * 2005-03-12 23:20:14 User:Mababa
 * 2005-03-12 23:18:23 User:Mababa (→External Links)
 * 2005-03-11 10:35:05 User:Allentchang
 * 2005-02-08 23:25:38 User:218.68.248.217
 * 2004-12-27 22:33:03 User:Allentchang
 * 2004-12-27 22:13:14 User:Allentchang
 * 2004-12-25 20:01:24 User:T0m (added links)
 * 2004-12-13 02:33:46 User:MementoVivere
 * 2004-10-29 05:29:11 User:Dyl (Category:Dumplings | Chinese cuisine)
 * 2004-08-26 03:45:56 User:Greenbyl
 * 2004-08-26 03:42:42 User:Greenbyl
 * 2004-08-26 03:29:35 User:Greenbyl
 * 2004-08-26 03:24:45 User:Greenbyl
 * 2004-08-26 03:20:54 User:Greenbyl

title: Cookbook talk:Potsticker


text:
Talk:How to Frame a Picture

Picture framing authors and history

 * A practical guide to picture framing was formerly a Wikipedia article:

 * 2005-07-24 13:55:02 User:Ojw (+Image)
 * 2005-07-24 12:50:55 User:Ojw
 * 2005-07-24 12:05:03 User:Ojw
 * 2005-07-24 11:46:03 User:Ojw (Starting a tutorial)

title: Talk:How to Frame a Picture


text:
Creative Writing/Fiction technique

Writers usually want quality fiction for novels, novellas, and/or short stories. This is achieved using technique, and in order to help this technique, this page outlines rules that... aren't required, (much like grammatical rules) but are generally recommended. Many of these were developed through trial and error by published authors, screenwriters, et cetera throughout history, including authors from ancient Greece for example. Some rules are rigid, and others are flexible. The astute writer who wishes to master fiction will know which rules to adhere to, and which rules to break.

Note that fiction technique does not cover getting an agent, submitting a manuscript, getting out of the slushpile, negotiating contracts, dealing with rejection, and/or grammar advice. It is primarily for developing good writing skills for fiction. All of those steps don't even describe how to write good fiction, and it'll all be covered on the next page.

''The following is a suggested outline of the planned article structure. This comment should be removed once the sections are fleshed out.''

We Begin With Plot
Plot can be described as a series of events that make a story a story. With good phrasing and use of words, you can convince your reader that the events in the story happened. This is the "suspension of disbelief".

If I told you that the sentence above was written in less than ten minutes, you could believe it. If I also told you that the sentence above needed no research to write and was based on previous teachings from other authors, you could also believe that.

Sometimes the reader consist of people who aren't you. While it's fine to like a work, even one that you've written yourself, sometimes you have to get out of your comfort zone in order to tell it effectively.

A book having any number of chapters means nothing in terms of basic plot structure. It just means all the author needed was that many chapters and pages to tell the story.

A story can be simple...

 * There are two characters. A and B. Having met B a long time ago, A is ready to confess their love to B. Will A do it?

...it can also be complex...

 * But B meets C. And C has the potential to stop A from loving B. Will C stop A?

...and/or epic.

 * But D kills C, inciting B to vow revenge. A is related to D, and doesn't want either of them dead.

Plots don't have to be violent though. Consider killing as a metaphor.

 * D actually sends C to a distant land ("killing"), maybe a boarding school, as a punishment, but B still has contempt in their heart for D, even though A is still related to D. How will A settle this?

The writer's job to choose whether they want to answer the questions. That is storytelling. Some don't have ends. Some do.

 * B confesses to A. The simple story has a happy ending. The rest are uncertain.

This may seem like a plot hole, but it isn't. While it's never actually revealed at what point B loves A, it happens anyways. Because before the confession, the whole premise is that A loves B, not the other way around. This is a surprise.

Most of the time, readers don't like it when you don't answer questions the plot asks for. Some stories are just so tragic it feels more painful for them to even find out the answer, and at the lowest points it almost feels as if it's not worth getting to the end. Some others go off to a bad start, but get better over time.

When it comes to answering questions from your reader that you don't explain in the story, maybe you can clarify what happens in the next iteration (the sequel, etc.). Maybe you don't want to. How you tell the plot is up to you. The best way to do it is to figure out characters.

Before moving on, also note that jokes can also use plot to sell a punchline. Some jokes are rants, or rants with a twist, but some are stories. Usually they use the plot to build up to the punchline. Otherwise, it'd be one bad punchline.

Characters and Character Development
A character moves the plot. Otherwise, there would be no plot. That means a character can be anything. Notice stories about a tree that blossomed talking to its apples, or a house that sat talking to its furniture. The character doesn't have to be human! The character can be anything! What sets it apart from an object, or a "plot device", is human behavior. A character can be inanimate. And no, human behavior doesn't always mean emotion. Lack of emotion is also human behavior.

A character doesn't have to be fleshed out either. As an adult, it becomes easier not to align with characters in a story that's told to children. Children aren't as complex when it comes to human behaviors, which means writers can only do so much for children to understand the character. Sometimes adults can think the way children do, which allows them to tell great stories to kids.

In the context of a story, characters are what they do on the page. Not only does the author have to explain their personality and desire, but they also have to show this personality and desire.

 * The lazy dog happily ran in the field on a normal summer day.

Is the dog really lazy?

Not only should a writer know a character's fears, hopes/wishes, and motivations, but they must also show them. These don't have to be explicit either, they can be implied. What matters is how it drives the character, because you don't want a lazy dog doing energetic things; that's entirely out of character. Characters could say something based on their own knowledge and experience. The writer doesn't need experience, only empathy and a good perspective. When doing research on fighting with specific weapons for example, their wielders can tell of their own experience using the weapon(s) and if it causes pain, is difficult to work with, and so on. If you don't have good (or any) experience, research helps a lot! Good research helps a lot.

Naming a Character
At some point, you will have to name a character. If you get stuck here, one way to get out of it is to use a website dedicated to generating names, such as Name Generator Pro. It might seem cheap in practice to use one, but it puts less pressure on you for coming up with names yourself. And you can usually get good names by handpicking first and last names instead of using the given combinations; the key is to pick ones that seem good enough for your story rather than just using totally random ones. This is optional of course; if you feel confident enough to come up with your own names, then go for it.

The Plot Thickens - Plot Development & Dynamics
So now we know that plot is a sequence of events driven by characters. What drives these characters? A lot of things.

Narrative conflict is common. Here's the gist.

 * Man vs. Man:Two characters against each other. Disagreements are a trait of humans. No two minds are alike, and they will clash.
 * Man vs. Nature:A character against a world and/or its elements. A species may not be built to deal with an environment, or at least not alone.
 * Man vs. Self:A character against choices they can make. Moral and ethical dilemmas, and other problem solving applies here.
 * Man vs. Society:A character against a lot of characters. Sometimes, the group can be organized.

And no, it obviously doesn't have to be a man.

Earlier, I explained that if you describe a character who does the opposite of his description, that's bad. While you can legitimately do that in the form of unreliable narration, (and that will be covered) there's also a principle of "showing versus telling", where you can't emphasize straight up description as a way to get around the "database" of your characters. If your character is meant to be awesome, you should show them being awesome. It's very difficult to convince readers a character has a certain trait if you just tell them "(character) has (trait)" or if other characters say they have the trait. There are examples, but they're still described by their actions indirectly. You can say a political leader is corrupt and show it just by describing the dystopian society they've created from the perspective of a citizen, and you don't have to mention the leader. Of course, obviously you don't have to do this, but it gets across to the reader that the character has a certain trait. It's just good form.

Point of View
Pronouns in brackets refer to the protagonist or narrator.

 * First person:(I, Me, My) The story is told as if it's personally between you and the narrator. It might not actually be, but that's the feeling.
 * Second person:(You, Your) The story is told as if you are put in the story. Word of advice; don't do this with a linear story . The reader can (and most likely will) disconnect from the character's perspective, and will treat this as just a person (or perhaps the author) going through the story as a character.
 * Third Person Omniscient:(Their/They, His/He, Her/She) The story is told as if the reader played god watching the action unfold. They are told how the characters feel even though the other characters don't know. They may not know all of the feelings each character has.
 * Third Person Observant :(Their/They, His/He, Her/She) The story is told as if the reader had front row seats and that was it. They are never told how characters think.

Writer's Block
Everyone struggles with writer's block at some point. Overcoming it depends on the methods you use to write. If you just tell the story as you write on paper, knowing how to continue the plot when you get stuck is really difficult to get out of. R.L. Stine's method of writing is to get the scenes down for each chapter, so that any problems figuring out where to go for the next is way easier to deal with. It might "spoil" the story, but again, you're not always the audience.

If that doesn't sound convincing though, here are some other methods.

 * 1) Write down anything that comes to mind. Try to draw ideas from what has been written.
 * 2) Take a break.
 * 3) Read other peoples' writing to get ideas.
 * 4) Ask others if they have any ideas.
 * 5) Write with the screen off, it limits your inclination to edit as you write.
 * 6) Don't be afraid of writing awkwardly. Write it down, and edit it later.
 * 7) Set deadlines and keep them.
 * 8) Work on multiple projects at a time
 * 9) Avoid sitting for hours on end staring at a blank page. Go out and do something different, then come back when you have more ideas.
 * 10) If you are jammed where you are, stop and write somewhere else, where it is comfortable.

Resources for Fiction Writers

 * Web
 * Books on writing

 * Self-Editing for Fiction Writers, by Renni Brown and Dave King, technique
 * Writing Fiction: A Guide to Narrative Craft, by Janet Burroway, technique
 * The Art of Fiction: Notes on Craft for Young Writers, by John Gardner, technique
 * Writing Down the Bones, by Natalie Goldberg, inspirational
 * On Writing, by Stephen King, inspirational
 * Bird by Bird, by Anne Lamott, inspirational
 * Writing to Sell, by Scott Meredith, technique
 * The Elements of Style, by William Strunk Jr., technique
 * Guide to Ficting Writing, by Phyllis A. Whitney, technique with some inspiraton
 * Novel Metamorphosis:Uncommon Ways to Revise by Darcy Pattison, techniques for editing and revising
 * Magazines

 * The Writer Magazine
 * Writer's Digest Magazine
 * Newsletters

 * The Novel News
 * The public library
 * Software
 * Word processers
 * Story generators
 * Writing classes
 * Groups

 * The Novel Workshop
 * Paying for professional advice

Recommended Reading List

 * A list of masterful works you should strive to learn from.

 * Novels:
 * The Red Badge of Courage, by Stephen Crane
 * The Old Man and the Sea, by Ernest Hemingway
 * Catcher In The Rye, by J.D. Salinger
 * Their Eyes Were Watching God, by Zora Neale Hurston
 * Devil in a Blue Dress, by Walter Mosley
 * Slaughterhouse-Five, by Kurt Vonnegut
 * Things Fall Apart, by Chinua Achebe
 * The Heart is a Lonely Hunter, by Carson McCullers
 * Short stories
 * The Raven, by Edgar Allan Poe
 * Cathedral, by Raymond Carver
 * Famous Authors
 * Edgar Allan Poe

title: Creative Writing/Fiction technique


text:
Talk:Creative Writing/Fiction technique

Fiction technique authors and history
= From Wikipedia:Talk:Fiction technique =
 * 2005-08-05 17:26:00 User:68.222.29.130 (→Setting and Scene)
 * 2005-05-25 13:35:39 User:146.203.19.89 (→Writer's Block)
 * 2005-05-25 13:17:37 User:82.172.23.66 (move to wikibooks (How-tos don't belong on Wikipedia))
 * 2005-05-25 13:08:56 User:146.203.19.89 (→Writer's Block)
 * 2005-05-25 13:03:46 User:146.203.19.89 (→Writer's Block)
 * 2005-04-22 03:10:07 User:24.61.28.4 (→Resources for Fiction Writers)
 * 2005-04-22 03:09:50 User:24.61.28.4 (→Resources for Fiction Writers)
 * 2005-04-22 03:09:35 User:24.61.28.4 (→Resources for Fiction Writers)
 * 2005-04-22 03:09:08 User:24.61.28.4 (→Resources for Fiction Writers)
 * 2005-04-22 03:08:55 User:24.61.28.4 (→Resources for Fiction Writers)
 * 2005-04-22 03:07:50 User:24.61.28.4 (→Resources for Fiction Writers)
 * 2005-04-22 03:05:32 User:24.61.28.4 (→Writer's Block)
 * 2005-03-14 19:37:39 User:82.214.1.166
 * 2005-03-03 05:13:56 User:68.163.154.132 (→Resources for Fiction Writers)
 * 2005-02-21 00:34:38 User:66.41.63.128
 * 2005-02-15 15:47:12 User:Jag123 (rm stub)
 * 2004-12-30 01:11:37 User:Anon E Mouse (→Resources for Fiction Writers - +books and mags)
 * 2004-12-30 00:34:49 User:Anon E Mouse (Added to the reading list)
 * 2004-12-30 00:14:24 User:Anon E Mouse (Slight re-organization)
 * 2004-12-29 23:57:53 User:Anon E Mouse

Don't merge this article
It stands on its own, and applies to other lengths of writing.

Josh English

I agree - they are independent of each other in thought and content, and should remain separate.

Aggi

Definitely keep it separate. As others have said, it does not only apply to novels.

Mike

Don't merge. These techniques could apply to any genre, not just novels. Anything from screenplays to short stories to novellas. OTOH, it does need editing. While three acts is one way to approach fiction, it's certainly NOT the only way.Ddpattison (talk) 02:11, 30 March 2009 (UTC)

I added Vonnegut to the list. I feel that he's significant enough to mention, admirably. Chaseeversole

title: Talk:Creative Writing/Fiction technique


text:
User talk:209.150.198.196

 * Please also check out the Cookbook policy page and the Cookbook talk pages.

Kellen T 18:55, 18 August 2005 (UTC)
 * I noticed you put Cookbook:Salad_Recipes/mung_sprouts_salad as a subpages of Cookbook:Salad_Recipes. This is not the normal form here. We would instead put it at Cookbook:Mung Sprouts Salad and link to it from the Cookbook:Salad_Recipes module.
 * Furthermore, I believe that without explicit permission, Cookbook:Salad_Recipes/mung_sprouts_salad is a copyright violation and not allowed on wikibooks. I have posted it as a copyvio and as a Category:Candidate for speedy deletion. Please be careful about adding copyrighted recipes to our cookbook.
 * If you are the copyright owner, you can create a page here (usually a log of an email from a user to the site admin) verifying that it is ok to reproduce the recipes and that it is okay that they will fall under the GFDL.

 * Sorry I didn't fully check that site. I see that the recipe is not listed there, but that was my initial impression. Kellen T 20:08, 18 August 2005 (UTC)

title: User talk:209.150.198.196


text:
Hungarian/Lesson 1

Welcome
Welcome to your first Hungarian lesson! Please post any questions on the discussion page. First we're going to learn how to read Hungarian (and all of its funny characters!) and then we're going to practice reading words. Finally, we will introduce a very important concept in the Hungarian language: vowel harmony.

By the end of this lesson you will learn that Budapest is really pronounced as "Budhaphesht" (rough approximation).

Intro
The following letters and combinations of letters are considered to be a single sound each by the speakers of the Hungarian language. Compound letters aren't hard to pronounce after you have learnt the pronunciation of single letters, since most of them (with the exception of "ly") sound like the two (or three) sounds pronounced quickly after each other.

Vowels with the acute accent are "long", and are generally held 1.5 to 2 times as long as their unaccented counterparts.

Consonants can be made long by doubling them: étterem (restaurant), szálloda (hotel). Consonants that consist of multiple letters ("gy", "ly", etc.) double their first letter ("ggy", "lly", etc.). Don't exaggerate the long sounds. As a reference think of English phrases like "long gun" or "clown nose" where the common letter simulates a long consonant.

The letters and sounds of Hungarian
You may want a printed copy of this chart. Always be mindful of the difference between sz and s. It is very easy to accidentally revert to English and learn words with the wrong pronunciation.

The letter y is called ipszilon. The letter ly is called elipszilon. The letter w is called duplavé or vevé. All the other letters are called as they are pronounced.

Note the differences: só  = salt but szó   = word fogas = rack but fogás  = course, dish That is why it is so important not to confuse letters with English counterparts, or with other letters.

Alphabetical order
For alphabetic ordering, the consonant digraphs (2-letter consonants) and the vowels with umlauts are considered to be separate letters:
 * cukor before csak
 * ott before öccse
 * utca before üdítő

However, the long and short vowels are treated together:
 * új before ujj
 * éhes before ehhez
 * ebéd before édes

If nothing else differs between the words, the short vowel is before the long vowel:
 * öt before őt

Addressing someone
Before you begin learning some words, it is good to know that Hungarian—unlike English, but like German or Spanish—tends to have two different forms of address, which basically means that they can use two words for the same person, i.e. you can say "te" but you can also say "ön" or "maga," the latter two being more polite. Most of the time children address adults with the latter form (they used to do it with their parents too, but not anymore), and also two adults address each other with that form, if they don't know each other. So the other form ("te") is used when talking to people you know well, and usually siblings too, etc. It's called "tegezés," and the other form "magázás." "Magázás" can also express honour and adoration to someone. (There are other forms of polite address as well such as "ön" and "kend," the latter used mostly by country folk and rapidly becoming obsolete.)

Also, if you get to know somebody, whoever is older can offer to use "tegeződés," and instead of addressing each other with "ön" or "maga." you can use "te." But make sure that it is acceptable to the other party before this happens as "letegezés" (addressing him with "te") could be taken as offensive.

Polite forms are very important in Hungarian and addressing someone with the inappropriate level of politeness can cause complications. This includes addressing someone who is a close friend with a polite form such as "maga" instead of the familiar form. Doing this usually signifies displeasure.

Greeting and saying goodbye
Now that we have some idea how to read Hungarian, let's practice by learning basic words!

Good morning - Jó reggelt (kívánok) (until 8-9AM)

The entire phrase literally means "I wish you a good morning," and it is more polite to say "kívánok" than leave it out, which is akin to slang. For example, one would not leave out "kívánok" when addressing an old lady. This applies to all other greetings using "kívánok."

Good day - Jó napot (kívánok) (from 8-9 AM to 5-6 PM) (until it gets dark)

Good evening - Jó estét (kívánok) (after 6 PM)

Good night - Jó éjszakát (kívánok) (if you go to bed)

Note that Hungarians do not say "Good afternoon," but simply Good day, as above: Jó napot (kívánok)

In addition, there are separate greetings depending on the person.

Csókolom, which literally means "I kiss (it)" (Hungarians used to kiss ladies' hands when they met, and this "Csókolom" is a shorter form of "Kezét/kezit csókolom" = "I kiss your hand"), is used by children to adults (traditionally to their parents, but nowadays most parents do not mind if their children use "te" for them), and by men to women. This is the greeting to use when speaking to a 80-year-old grandmother. Sometimes it is unclear whether or not to use this greeting, or awkward, and so "Jó napot kívánok" can be used instead. Csókolom, like most Hungarian greetings, means both "hello" and "goodbye."

Viszontlátásra is used as a formal farewell, and literally means "for seeing again," the same as the German "Auf Wiedersehen." This is the only word that exclusively means "goodbye." Say this when leaving a shop, airplane, etc. It can be shortened to viszlát or viszlátásra, but these are considered slang, more informal, and should not be used with older people, though they may be used with younger people. (Though for some people viszlát is too formal. )

Szia is a frequently used greeting that means both "hi" and "bye," depending on the context. It is informal, so do not use it when speaking to an elderly person (unless part of your family) or someone you do not know. Similarly, the word helló is often used by younger people. Though, like "szia," it is sometimes used to mean both "hello" and "goodbye," the most common use of the two words are (confusingly) szia for hello, and helló for goodbye.

Szervusz and Szevasz are other informal, slightly old-fashioned greetings to express "hello" and "goodbye."

Sziasztok, Szervusztok and Szevasztok are the plural forms of these greetings, which can be used, if we meet two or more people.

Cultural note:

Hungarian close friends and relatives greet each other by kiss on each cheek provided that at least one of them is a woman. Hungarian males greet each other with a handshake, which should be done like this: you stay one step distant from each other, elbows slightly bent and you give a firm, but not too strong handgrab. You do not actually shake it, just grab. The grab does not take longer the one or two seconds.

Tip: It is very impolite not to accept one's hand, but there is a way to avoid it, if you do not feel like shaking hands (e.g. it is a hot summer day and one's palm may be sweaty): You keep two or more meters distance. If the partner still wants to shake hands you can say sentences like: Elnézést, most mostam kezet! (I am sorry, I have just washed my hands - meaning that they are probably wet.), or Elnézést, kicsit piszkos a kezem, épp autót szereltem. (I am sorry, my hands are dirty for I have just repaired my car.) Be prepared, that the answer still sounds: Nem baj. (Never mind that.) And soon you find yourself shaking hands.

Just a remark in connection with this is that Hungarians shake hands more often than people from northern Europe, especially Englishmen. You shake hands with a Hungarian friend, partner or relative when you meet, when you depart and when you meet again, on the same day.

The distance during an interaction is also a bit closer than is normal in north Europe. Communication distance with friends is one and a half or two steps, with business partners a maximum of two meters.

If you come for an informal visit to Hungary, be prepared for backslaps, handshakes, hugs, and other kinds of physical contact from your friends.

Thanking
Köszönöm, which means "thank you", will always come in handy. The equivalent of "thank you very much" is köszönöm szépen, which is literally "I thank nicely". This word can be used with any age, but its shortened versions, köszi, and köszi szépen, are informal and should not be used with older people.

The response is szívesen, which literally means "gladly" and is the equivalent of "you're welcome". "You're very welcome" is nagyon szívesen.

Excusing, apologising
Elnézést kérek, Elnézését kérem or simply Elnézést (all of these means "I beg your pardon","Sorry."), Bocsásson meg ("Excuse me!"), Bocsánat ("Pardon" or "Excuse me!") or Ne haragudj! (literally "Don't be cross with me", but used as the equivalent of "Sorry!") are the formal forms of apologising, usually naming the reason of the apology afterwards e.g. "Elnézést kérek, de most el kell mennem." ("I beg your pardon but now I have to leave."). The informal form of apologising is bocs, bocsi or bocsesz, apparently derived from "bocsánat".

The response is Semmi gond/probléma, Nem gond/probléma (both "No problem"), Nem számít ("Doesn't matter) or Nyugodtan ("As you please").

Tessék - a multi-purpose word
The word Tessék is frequently used. Depending on the context, it can take different meanings. It is often used when handing something to someone else, offering a seat, or placing food on another's plate, for example. In this usage, it translates as "Here you go." It can also mean "For you," and also "Go ahead," and when answering the phone, it means "Yes?" or "Pardon?" (asking back). It is also used informally as "excuse me, can you repeat that" if formed as a question.

Vowel harmony
Vowel harmony is a critical concept in Hungarian. Words are sorted into two categories: back vowel and front vowel, corresponding to the area of the mouth responsible for creating each sound. Front vowels are further subdivided to rounded and unrounded categories, based on mouth shape.

A helpful tip for memorizing vowel harmony is that all the back vowels are used in the word "auto" (minus the accented long vowels, of course).

Why is it so important to remember this?

It is needed when you attach suffixes to words. Hungarian is an agglutinative language, which means that many things are expressed using suffixes. These suffixes can have one, two or three forms, and you have to choose based on the rule called vowel harmony. One-form suffixes are good things, as they are the same for all words. Unfortunately, they are rare. A more representative example is the pair of suffixes -ban/-ben, corresponding to the English preposition "in". Here, the vowels of a word determine which one of the pair we use: if a word has only front vowels (front word, like kert), the ending will be the one with front vowels (kertben). If the word has only back vowels (back word, like ház), we use the back vowel ending (házban). Quite simple.

But what if there are both kind of vowels in one word (mixed word)? Then the last vowel is examined. If it is a back vowel or a front rounded vowel, then it wins, and the whole word is taken to be like the last vowel. For example parfüm has the front rounded vowel ü as last, so it becomes parfümben, terror has the back vowel o as last, so it becomes terrorban.

If the last is a front unrounded vowel (e, é, i or í), then things become more intricate. In most cases these front unrounded vowels are transparent in mixed words. This makes taxi become taxiban since the i is transparent and a is back. But with martini, both martiniban (based on the a) and martiniben (based on the i) are correct, since the two i's together are not so transparent anymore so they may or may not win.

As said before, some suffixes have three forms like -hoz/-hez/-höz (meaning the English preposition "to"). Here, we have separate endings for back (-hoz), front unrounded (-hez), and front rounded vowels (-höz).

Stress: Unlike in English, in Hungarian the stress is always on the first syllable of a word. Syllables: Vowels are syllable makers even if they stand alone, and they are pronounced separately, not as a diphthong: ká-vé, te-a, fi-ú-nak.

Subject pronouns
Unlike English, Hungarian has a formal "you" and informal "you". The informal you (te) is used for friends, people your age or younger, and children. The formal you (ön, maga) is used for people older than you and people you do not know.

The subject personal pronouns in Hungarian are:

Cultural note:

The two formal forms, ön and maga, originate from the custom that was in practice until around 1945, namely that family members called each other maga (even wife and husband or children, except these latter were little children) and strangers should have been addressed with ön. Only close friends of the same sex and social class, lovers and children between themselves addressed each other with te. Nowadays this custom is not in practice anymore, and it is quite a general phenomenon to address even strangers with te form, except you want to show respect (e.g. with older people). In this case ön is preferred, for some people consider maga as impolite, which it is not, but until you get to know the Hungarian culture a bit closer, it is "safer" to use ön.

Names
Names are written (and said) in the reverse order as in English. The surname (vezetéknév) comes first and then the givenname (keresztnév). Hungarian names are reversed when used in an English context. English names aren't reversed when used in Hungarian context. A lot of Hungarian names have English equivalent. (These names came mostly from western influence in the middle ages.)

Widespread Hungarian surnames: Kovács (Smith), Szabó,  Szűcs,  Varga,  Takács. Names that don't have English equivalents: Levente, Piroska.

Few examples: Kovács László, Szabó István, Takács Anna

Word order
In Hungarian there's no fixed word order like in English or German. Words can be arranged in almost every possible order, but the emphasis (so the intention of the sentence) will differ. (The emphasis is usually at the beginning of a sentence, but it's not always trivial for non-native speakers to decide where the emphasis is. For native speakers, different word orders have different meanings.) Adjectives and nouns, and other compound expressions, of course, cannot be separated.

Felálltam a székre. = I stood up on the chair. A székre én álltam fel. - ( There's strong emphasis on "én" and there's a weak one on "A székre". Usually "én" and other personal pronouns are omitted. We only put it, if it's important to emphasize. ) A székre álltam fel. = I stood up on the chair (and not on something else, like the table). Felálltam én a székre.

As a rule of thumb, we can say that usually the emphasis is on the beginning of the sentence.

In a long sentence the verb or the subject almost never occurs at the end of the sentence. It's therefore hard to translate synchronously from a language such as German to Hungarian, because in German the verb follows the subordinate clauses.

title: Hungarian/Lesson 1


text:
Talk:Ada Programming/Delimiters/dot

There is no way to reach this page except with a redirection. The url is resolved by the browser (at least by Mozilla) to http://en.wikibooks.org/wiki/Ada_Programming/Delimiters/ and this is an unexistent page. Proposed solutions: -- ManuelGR 19:07, 18 August 2005 (UTC)
 * Move this page to Ada Programming/Delimiters/dot
 * Redirect to this page from Ada Programming/Delimiters/

 * When I noticed this problem I first make a redirection from Ada Programming/Delimiters/, and later filled a bug report. It seems that in the future MediaWiki will forbid these page names, so I've just moved the page to Ada Programming/Delimiters/dot.

PS: We have to announce this discussions in a central place, I didn't noticed this one until now. --surueña 09:34, August 27, 2005 (UTC)

title: Talk:Ada Programming/Delimiters/dot


text:
School Science/Atmospheric pressure demonstration

Safety
For the 1st demonstration, safety goggles and/or screen(s) are appropriate to protect against aluminum shrapnel or other risks. For the 2nd, be careful that the setup is not near any strong heat sources or objects that could be easily upset as the paper could go flying.

Nature abhors a vacuum

Briskly boil a small amount of water for a short time in a soft drink can (until it is full of steam) Then, using a pair of tongs (or clamp if your tongs are too small), swiftly invert the can and plunge it into a large beaker (bowl or bucket) of cold water. The steam condenses, the pressure inside the can falls, and the can collapses (is crushed by the higher atmospheric pressure weighing on the outside of the can). The can must seal on the bottom of the dish with the water, otherwise the vacuum created in the can will only draw water up into the can, and the can will not collapse.

Force divided by area

Place a full double page sheet (preferably from a broadsheet newspaper) over a ruler or long stick placed on the edge of a desk. The ruler should be protruding out over the edge. Get predictions from the class on the outcome, and then hit the end of the ruler sharply. If done well the page will stay put, or rip. The air pressure pressing down on the newspaper holds the newspaper down despite the force of the ruler trying to push it up.Really you do not need air pressure to explain it, the air pressure can be the same above and below the paper. To show that is not the air pressure you can use two more rulers at both sides of the protruding ruler. Now the air pressure is the same above and below the paper, and the ruler broke again. It is the mass of the paper that broke the ruler. Using a small piece of plasticine on the ruler with the same mass as the paper, you may use the ruler again.


text:
Talk:School Science/Atmospheric pressure demonstration

Atmospheric pressure demonstration authors and history
= From Wikipedia:Talk:Atmospheric pressure demonstration =
 * 2005-07-01 12:50:59 User:Bobblewik (units, possibly using Google converter)
 * 2005-05-09 22:50:34 User:Egil (ref to wikibooks also)
 * 2005-05-01 08:38:52 User:Linas (remove excesively general Category:Physics)
 * 2005-04-21 08:28:11 User:Egil
 * 2005-04-17 22:04:47 User:Sam Hocevar (→Nature abhors a vacuum - it's -> it is)
 * 2005-03-25 17:01:47 User:213.140.17.105
 * 2005-02-19 13:13:26 User:68.162.179.84 (→Nature abhors a vacuum - Crushed can.)
 * 2005-02-19 13:08:26 User:68.162.179.84 (→Safety - Correct some mispelled words.)
 * 2005-02-15 22:36:08 User:Tabletop (Category:Physics)
 * 2004-12-25 21:00:39 User:Sam Hocevar (spelling)
 * 2004-12-06 22:31:12 User:68.39.60.179 (Cleaned up)
 * 2003-11-11 17:02:56 User:Reddi (frmt)
 * 2003-02-13 11:40:13 User:Theresa knott


text:
School Science/Demonstrating the properties of waves on an Oscilloscope

This is a School Science Experiment for demonstrating the properties of waves on an Oscilloscope. The following standard demonstration is used in many schools and colleges to show the basic principles of waves.

Setting Up
A signal generator is connected to an oscilloscope and a loudspeaker. Some signal generators have two outputs: In this case the high impedance output goes to the oscilloscope, the low to the speaker. If there is only one output connection, stackable 4mm plugs are used to connect both devices to the signal generator.
 * one marked with a low value impedance e.g. 8 Ω
 * the other marked with a high value e.g 600 Ω.

The oscilloscope is adjusted so that there is a clear sine wave trace that occupies about half the screen height and has two or three clear waves visible when the signal generator is set at a medium frequency and mid volume.

Demonstrating the Amplitude and Frequency

The advantage of setting the demonstration up in this manner, over the more traditional method of plugging a microphone into the input of the scope, is that the signal generator produces perfect sine waves, which keeps everything nice and straightforward.

 * By changing the frequency of the signal generator, the effect can be seen as more complete waves on the screen correspond to a higher pitch of the sound.
 * By changing the amplitude (volume) of the signal generator, the amplitude of the waveform on the scope can be seen to change and the loudness of the speaker sound changes.


text:
Talk:School Science/Demonstrating the properties of waves on an Oscilloscope

School Science Experiment - Demonstrating the properties of waves on an Oscilloscope authors and history
= From Wikipedia:Talk:School Science Experiment - Demonstrating the properties of waves on an Oscilloscope =
 * 2005-05-09 22:51:07 User:Egil
 * 2005-04-21 08:33:28 User:Egil
 * 2004-10-15 02:31:39 User:Menchi (this one seems to be having too many equal signs)
 * 2004-07-12 11:06:24 User:Heron (fixed typos and grammos; reformatted images)
 * 2004-04-21 20:37:03 User:CatherineMunro (disamb pitch)
 * 2004-02-20 11:10:07 User:Cutler (fixed link)
 * 2003-12-16 13:43:18 User:Wik
 * 2003-11-11 16:24:09 User:Reddi (img frmts)
 * 2003-11-11 16:08:33 User:Theresa knott (tweaking the wording)
 * 2003-11-11 16:06:12 User:Theresa knott (spelling)
 * 2003-11-11 04:33:12 User:Evil saltine
 * 2003-08-22 17:58:45 User:Guaka (elaborated purpose of free audio software link)
 * 2003-08-21 23:49:50 User:Waveguy (guess at the purpose of this link)
 * 2003-08-21 00:04:24 User:Guaka (see also free audio software)
 * 2003-06-21 02:47:36 User:Iain (loud speaker -> loudspeaker)
 * 2003-06-19 12:53:43 User:Theresa knott
 * 2003-04-22 00:55:58 User:Tim Starling (tyop)
 * 2003-04-03 10:38:49 User:Theresa knott (Aligning the second diagram)
 * 2003-04-03 10:32:36 User:Theresa knott (Adding link to ripple tank)
 * 2003-04-03 09:39:29 User:Theresa knott (Does the diagram look too dark? The computer I used to draw the scope had a different brightness/contrast that theone i'm using now.)


text:
Talk:Hungarian

Audio
Can anyone add audio to lesson one? It would be awesome to download pronunciations so new students could study them. It just takes a second and a cheap microphone that you probably have lying around =). I'd do it, but my Hungarian isn't good enough for an ideal pronunciation. ErikG 19:26, 18 August 2005 (UTC)

I can and have made audio files, but apparently .wav is not an acceptable file format. They're at hpmaniacs.com/Other/audio, in case you're interested. Emiellaiendiay 05:44, 15 October 2005 (UTC)

Exercise
We should create exercises for Lesson 1

Present tense
Duh! This is needed, and we could roll that into basic endings like the accusative ErikG 19:26, 18 August 2005 (UTC)

Join forces
I (FerKo) am trying to help, first attempt to add on audio of Hungarian sounds, others may follow. I am more inclined to follow a differnt path in the arrangement of the curriculum. We could discuss it when I am not at work. Cheers 155.192.0.234 10:05, 8 September 2005 (UTC) see http://en.wikibooks.org/wiki/Hungarian:Lesson_1

Overall plan
Hi, I'm interested in this project. I'm not a native speaker, but I am a language teacher and learner. I started thinking about the order in which I think Hungarian should be taught. I'm writing that into an overall plan, including the things I wish someone had told me early on! It'll probably take me another 2 or 3 weeks - I'll publish it here on the talk page for comment when I've finished. Gailtb 22:18, 4 October 2005 (UTC)

Rationale
Don't be daunted by the size of this! I don't have any expectation that more than the first few lessons will ever be written, but I wanted to make sure that things were in a logical order. It also ended up as a personal revision session - I had no idea I knew so much!

The following principles were important in the planning:
 * 1) Grammar is ordered using the criteria of simplicity and usefulness. Of course these sometimes conflict, so this is just what I think will work.
 * 2) Thorough practice is needed in the sound system. (Note, there is often no direct link between the grammar and the sounds in any lesson.)
 * 3) Suffixes are introduced slowly to give a chance for them to be practised and start to become automatic

Suggested lesson structure
I've taken ideas from other language books such as Chinese (Mandarin) to give the following:
 * 1) Dialogue /text - shows the language in context
 * 2) Grammar /functions
 * 3) Vocabulary
 * 4) Sounds
 * 5) Exercises

Although I mostly haven't filled in the columns for vocab and exercises, these are essential. Vocab without grammar can make for successful communication. Grammar without vocab cannot.

In order to be a textbook rather than just information in an encyclopedia entry, it's important to include examples and practice in each lesson. For example, lesson one could have example 2-line dialogues of exchanging greetings, etc.

Reorganisation
There was lots of stuff on the welcome page which was or should have been in lesson one, so I've moved /removed it.

I've also changed lesson one to fit my suggested structure, and made some changes for linguistic accuracy (eg vowel harmony is most definitely not grammar, nor is it unique to Hungarian).

My grammar questions - can anyone help?
1) I know the following suffixes use the oblique stem:
 * accusative, eg levelet, falvat, tavat
 * plural, eg levelek, falvak, tavak
 * 1st sing possessive, eg levelem, falvam, tavam
 * 2nd sing possessive, eg leveled, falvad, tavad
 * 3rd singular possessive, eg levele, falva, tava

Is it used for any other suffixes, eg -n for 'on'?

== It depends on the noun type. You can use the same oblique, as you put it, stem to produce plural (levelek, kezek).

2) Does the object have to be singular for -lak/-lek or can it be plural? == No, you can say 'ismerlek titeket'.

3) I think there's a difference between English and Hungarian something like a singular noun is used when plural possessors each have one of something (eg 'a féjünk' = 'our heads'). Is this correct? Does it only apply to parts of the body or does it apply to anything, eg 'a tollunk' = 'our pens'? Or does it only apply in certain grammatical contexts, eg 'We all shook our heads.' == Plurality of the possessed object is marked on the object itself. Cf. Elvesztettük férjünket vs. Elvesztettük férjeinket.

4) When -ott/-ett/-ött are used for position at a place, what are used for movement to and from? (eg Is it Győrre and Győrről?) == Depends on the composition of the proper noun. E.g., if it contains 'vár' (castle), you may have to use -ra and -ról, but with Győr, you only use -be/-ből, unless you convey a different meaning (beszélgettünk Győrről).

5) Is -vá/-vé also sometimes used on adjectives to make adverbs as well as being used on nouns? == Yes. (Hasonlóvá, igazzá, naggyá).

6) What does -stul/-stül mean? == The 'associative' suffix, meaning 'along with', 'complete with'. Make sure to add the possessive mark in between. Cf. ház - a - stul (together with the house), férj-e-stül (together with the husband). [kfabricz@vnet.hu]

Detailed plan
Gailtb 00:39, 23 October 2005 (UTC)

Re: Grammar questions
Hi! Short answers for the questions in the 'Grammar questions' section: 1.) The nouns with -n:
 * Usually, they use the "normal" stem…, eg levélen, falun;
 * but there are some exceptions: eg tavon (not *tón)

Some other suffixes (cases) (like the sociative case, distributive case, etc.) also use the oblique stem.

2.) I'm not really sure I understand this. If -lek/lak is used to form the "Subject:1th sing; Object:2nd sing/plur" case^1 of a verb, the object can be plural (eg nagyon szeretlek téged = I love you /sing/ very much; nagyon szeretlek titeket = I love you /plur/ very much)

3.) You're right, it's 'a fejünk', not a *fejeink. It may also apply to other things (like tollunk, kárunk, eszünk). There may be some exceptions though, but now I couldn't mention any. :-)

4.) Yes, it's Győrre and Győrről, Pécsre and Pécsről, etc. (''Sorry, I didn't notice that you were talking about "movement". The correct answer is in the section. --194.152.154.2 00:58, 4 June 2006 (UTC)'')

5.) -vá/vé is used on adjectives (as well as on nouns), but I don't think that it's used to make adverbs.^2 Stupid examples:
 * "A Head&Shoulders /sampon/ széppé varázsolta a királynő haját" [széppé = szép (adj.) + vé] → "Head&Shoulders /shampoo/ made the Queen's hair /look/ beautiful";
 * "A boszorkány békává változtatta a királynőt" [békává = béka (noun) + vá] → The witch turned the Queen into a frog.

6.) -stul/stül: It is used to form the Sociative case, and as you can read in the enWP article it's now considered obsolete. An example: "Tartsa meg a házát, udvarostul, az ezer aranyat meg ráadásnak." → "Keep your house, together with the yard, plus the thousand red golds /money/."

^1,2: I'm not an expert in grammar, so I don't know the correct terms for these (not even in Hungarian). :-)

--194.152.154.1 00:30, 2 November 2005 (UTC)

Re: Győrre/Győrről
In response to question 4.) above: both "Győrre" and "Győrről" sound rather strange to me (in this sense), though I wouldn't call them wrong. "Győrbe megyek" or Győrbe költözöm" sounds a lot more natural to me. Similarly, "Győrből jövök" or "Győrből származom" is the form in my idiolect. "Győrre" is of course the correct form when saying for example "Győrre gondolok". Let me add that I'm a native speaker living in Hungary.

Elekmathe 14:52, 24 April 2006 (UTC)

Good insight is not enough :(
The plan seems alright (though I don't speak Hungarian and I merely know a little). Now, the problem is it looks like nobody cares. Something has to be wrong with Hungarians and I've no idea what that might be. It's amazing for how long they haven't put the slightest effort to EXPAND this Wikibook. Maybe they just don't want foreigners to learn their native language? Isn't it great when your mother tongue is spoken by ten million people in your country and understood by approximately a thousand or so peasants in the remotest parts of Northern Russia? Oh, yeah, DEFINITELY!! As a Bulgarian, who encounters no difficulties when communicating in countries such as Serbia, Macedonia, Croatia, Bosna and Herzegovina, Montenegro, and Russia, I'm really amazed at how this people appear to treat the topic. Albeit not the best example, the Bulgarian Language Wikibook could give you an idea at how you should appreciate your language. I realise you probably hold Hungarian in high esteem yet I can't tell that from your Hungarian Language Wikibook. In this regard I beg you to endeavour to improve it! MarkovV09 12:18, 10 April 2006 (UTC)

Re: Győr
Hungarian place names ending in -m, -n, -ny, -j, -r, -ly, take the -ban, -ben, -ba, -be, -ból, -ből suffixes.

Re: Good insight is not enough :( ... but polemics are even worse
Ah, please, refrain from the polemics. This wikibook is not excellent, so that must mean that Hungarians (every single one!) do not care about their language! Ridiculous. Maybe people who care about the survival of Hungarian are working to establish and maintain Hungarian language schools for children where the language is under threat of extinction or in decline - Romania (Transylvania, Moldova), Serbia, Ukraine, etc.

But they do not do these things. So there is some problem with the Hungarians indeed (just look at the stance of the Hungarian Wikipedia sites.) I try to help you (I am native) but maybe there are three or four people here who are Hungarians. So far I was doing the Swedish wikipedia, because I thought that there are a lot of Hungarians here - so proud as they are of their knowledge and so few they share. That is what's ridiculous... Svenskafan 21:06, 16 May 2006 (UTC)

 * Not many Hungarians know that the Wikibook project even exists. And even if they know, few are trained to "teach" Hungarian as a foreign language. --194.152.154.2 00:58, 4 June 2006 (UTC)

Someone adept in grammar??
hi,

I started expanding Hungarian Wikipédia and Hungarian-related articles in foreign Wikipedias a month ago but nowhere experienced such negligence. It's outrageous that such a great and widely appreciated language doesnt have a proper wiki language book... really. Anyone - be native or not - who is adept in grammar to join me in expanding this stub? - Tylop 15 July 2006

Well I started to revamp this book if someone who considers himself/herself a linguist decides to check its correctness, I'd be very glad - Tylop

Omitting "van"
Hungarian/Lesson_3 I'm not a linguist just a Hungarian, but are you dead sure, that we use the substantive verb (van) in 1st person. I don't say Én éhes vagyok, but simply Éhes vagyok.. And the same applies to 2nd person, too: Éhes vagy. (or Éhes vagy? or Éhes vagy! :-) ). I just ask before correcting, because it is so well described there, that maybe there is a similar rule but the example is wrong and I misunderstood. Do you guys agree that we (nearly) always omit "van"? - User:Totya 2006. Oct. 4 16:47 UTC

"Éhes vagyok." - It's not (the 1st person of) "van" that is omitted, it's the word "én" (I) that is missing in that sentence...

 * When the "be" verb functions as the |copula in the third person (otherwise van, vannak), it takes a zero form; that is, it does not appear, e.g., Géza katona (Géza is a soldier), ő éhes (s/he is hungry), etc. More on this in the zero copula article on Wikipedia. 78.92.27.196 (talk) 13:37, 11 June 2010 (UTC)

 * In your examples you didn't omit the verb 'van' but the personal pronoun. Personal pronouns are omitted unless the emphasis is on them e.g.:
 * {| class="wikitable"

 * -Ki éhes? || -Who's hungry?
 * -Én éhes vagyok. || -I'm hungry.
 * } --Zslevi (talk) 14:29, 3 September 2010 (UTC)
 * -Én éhes vagyok. || -I'm hungry.
 * } --Zslevi (talk) 14:29, 3 September 2010 (UTC)

Pronunciation
Please upload pronunciation of single words to Commons. They will be used in Wiktionary. But please do it right: examples in and. --Derbeth talk 09:43, 8 May 2007 (UTC)

title: Talk:Hungarian


text:
Developing A Universal Religion/Making Decisions/Practical Decisions

Almost every problem can be solved in more ways than one. A simple example, that of going to work, for instance, illustrates this, and also the fact that we choose a solution to achieve a valued purpose. Thus, there may be several ways to travel from home to work: by bus, bike, car or by walking perhaps, and there may be a choice of several routes. The decision made is a successful one if we arrive at work, on time, and have also met any other valued purposes (such as obtaining some exercise, or buying a newspaper on the way).

Or, consider our previous dressing-for-work example. Our work environment may dictate that we dress somewhat formally, but we may be able to do so in a number of ways. Consequently, we might decide based upon what was worn yesterday, or we may let our feelings decide, simply satisfying our mood of the moment. We discussed these kinds of choices earlier, and we noted that the criteria we use to make our decision is found in an environment that is external to the mind itself.

However, situations are never as simple as those portrayed in the examples mentioned. Probing more deeply will show that every decision we make is affected by attempts to meet one or more psychological needs that exist entirely within the mind. For example, what we finally choose to wear may have been decided in an attempt to impress the boss, or to win our friends’ admiration, or to heighten our self-concept. These goals or purposes are seldom known to others, and may be only partly known to ourselves.

We may think that some decisions can only be made objectively, and that private, subjective, or personal goals may play no part in them, but this is incorrect. As an example, imagine that we have to choose a bolt to anchor a structure we are building. We decide what size to use based upon what we know about the structure’s mass and orientation, the strength of materials, type of foundation and so on. We are using our knowledge of the external physical environment, of course. But we also make this choice based on our personal desire for the structure to endure. Quite a different choice could be made if our private purpose was to sabotage the result. Whether or not our private purposes override the public purposes depends upon our psychological state of mind.

Thus, every time we make practical decisions we consult two environments. One is external to our mind and public; it contains all the facts and criteria required to select solutions that will satisfy its needs, and any suitably knowledgeable person could make an identical decision. The other environment is internal to the mind and private; it contains all the personal goals, self-chosen purposes, and maybe several (probably unrecognized) psychological needs that also influence each final decision.

However, only one environment is involved when making moral decisions—our own internal mental mind-set. It has to provide the environment, the criteria to be met, and the goals to value and seek. Thus, there may be no constraints upon what people may decide is moral or what are moral actions. Of course, religions provide environments and guidelines (i.e., criteria), but those without a religion, or who reject their society’s norms, have nothing other than their own personal mental constructs to consult when deciding how to act. Having only one’s own mental environment to guide one’s actions can have significant and terrible consequences (as the activities of numerous psychopaths throughout history have demonstrated).

 * Return to. Making Decisions, Introduction
 * ../Moral Decisions/


text:
Developing A Universal Religion/Making Decisions/Moral Decisions

Now we are ready to return to the situation introduced in section four of the last chapter. We were imagining a person who has no religion, yet who wants to live a moral life. Consider what such a person faces—where might he or she find the valued purpose needed to guide moral decision making? The physical environment holds no purpose in the moral arena. The transitory social environment is nugatory. Religious sources are considered unreliable or even false. No external environment holds a purpose worthy of being used to make a moral decision, and the mind, when lacking any belief system, holds none.

Search as they may, individuals in this position cannot solve moral problems, for there is nowhere else to look.

Since the mind has to know and value the attainment of some purpose before it can make any decision rationally, minds lacking relevant purposes cannot make moral decisions rationally. For some, this mental state of affairs may churn for years. Such individuals may eventually give up the search, and simply choose to abide by social customs. Others in this condition may look at various religions and find a way out by adopting one, or bits and pieces of several. For a few, neither choice is feasible, and the dilemma escalates. Every decision to be made appears to be causally related to this missing purpose. The mind’s primary function of directing the body’s behaviour becomes incapacitated, and its owner may sink into depression, claiming, quite correctly, that they see no purpose to life, and that without purpose life has no meaning and they have no reason to live. A mental breakdown can easily result.

In all of this behaviour, we must remember, the mind is being entirely rational. If a moral environment of some kind is not available, then, although everyday language allows moral problems to be posed, no satisfactory solutions can be found, because without a desired purpose decisions can’t be made rationally.

Apart from insanity or death, there is only one way through this impasse. The mind has to accept a solution that it has been considering, possibly consciously, certainly subconsciously, but which has hitherto been rejected for one reason or another. Some formerly unacceptable metaphysical purpose must be reclassified as desirable. For this to happen such a purpose has to be accepted as representing the truth—it must be sanctioned by the mind itself. The mind’s decision-making expertise will then be freed from its confining tangle of unacceptable choices, its state of constant stress will vanish, and it will at last find peace. This acceptance of a purpose almost always happens in a split second, occurring unexpectedly (and often appearing fully formed) to the affected individuals. They experience it as a "revelation" and may undergo a "conversion". (../../Revelations And Conversions/ further discusses these phenomena.)

It does not matter what this purpose is. Absolutely any criteria can be used to judge behaviour as “good” or “bad.” (A “moral” person could even be considered an “evil monster” by another's standards.) What matters is that the mind’s previous quandary has vanished, and it can once again resume its function of thinking rationally as it directs the body’s functions.

But let us return, for a moment, to the instant of reclassification—the mind’s conversion from an absence, to an acceptance, of some mental environment containing both criteria and purpose. For the mind to take advantage of such a contrivance it must have already been stored in memory. Most of us have religious memories provided to us by our parents or teachers, and we all have some understanding of the beliefs in vogue in our society. This formerly discounted knowledge is often the environment grasped when the mind is under the kind of stress earlier discussed.

The newly converted typically accept unconditionally all that is contained within the religion (whether spiritual or secular) whose purpose they have suddenly adopted. Not infrequently, the intensity of emotion associated with this metamorphosis moves the converted to tell others what they have come to believe. That which, when they were non-believers, was simply “good” or “bad” behaviour, has suddenly become “right” or “wrong” behaviour to the new believer. This kind of distinction marks the transition—moral judgements have replaced value judgements for them.

Very occasionally, the straw grasped during conversion is not an existing religion but some abstraction, probably imaginatively pieced together by the mind’s owner in earlier, restless, years. A new metaphysical purpose may be recognized to be valid, important and desirable. This new purpose may or may not centre around a belief in a god—but there are not many choices when it comes to inventing a purpose deemed important enough to guide moral decision making. (This is why people normally convert to existing religions; they have no alternative in mind. This book will be suggesting one later.)

A few, undergoing such a transformative mental revision, become convinced that they are another messiah: they become a prophet, one who has “seen the light.” The conversion they experience is so real to them, so significant—the vision and clarity of the new truth so bright—that they cannot contain their emotions nor refrain from trying to convince others that they have found the most important manifestation in life (for, to them, it is the most important). They proselytize. And the vivacity and clarity of the words they speak attract the undecided. Cults and sects form, and eventually, if the number of followers continues to grow, additional leaders develop, (see Leaders). Eventually the originator may be revered and loved as the founder of a great religion. We will be exploring this phenomenon in Part Two.

 * Return to Making Decisions, Introduction
 * ../Summary/


text:
Talk:Neapolitan/501 Neapolitan verbs

Untitled
Should the irregular verb conjugations that I've begun at Neapolitan verbs be moved here or should we have them in both places? Not all irregular verbs will, ultimately, belong here, so...?E. abu Filumena 20:06, 18 August 2005 (UTC)

Why would each verb get it's own page? It would take forever to read. —Snargle 19:19, 21 August 2005 (UTC)
 * I guess it's sort of in the vein of the "501 French Verbs" etc. books that have complete conjugations for, well, the 501 most commonly used French verbs. Admittedly it can be repetetive, but there are a load of irregular verbs to be described. It also serves as a fair introduction to the language. As far as how long it takes to read, it's sort of a need to know reference source, you might just need to know the past anterior of caré some day....E. abu Filumena 04:56, 23 August 2005 (UTC)

title: Talk:Neapolitan/501 Neapolitan verbs


text:
Developing A Universal Religion/Making Decisions/Summary

Before moving to Part Two, it may be helpful to summarize a few of the points that have been made in the past three chapters. The following are important.

The universe’s causal construction dictates that inhabitants who think and act rationally have a greater chance of surviving, procreating and succeeding, than those who do not. This, in turn, has favoured the genetic continuation of mutations which help minds to work in this manner.

Practical problem solving and decision making entails consulting external environments to find the criteria that acceptable solutions must meet, then consulting the mind’s internal environment to find what personal purpose is sought.

Moral problem solving and decision making entails consulting the mind’s own environment to find both the criteria for acceptable solutions, and the purpose being sought. Mental environments are always invented ones (composed, as we saw in ../../Thinking/, from linked memories of perceived events, experiences and learnings, all tinged by the choice of words used when envisioning them consciously), and have no reality outside the minds of those who subscribe to them.

Religious environments are made real to individuals through faith or belief. Belief provides a feeling of certainty; however this exacts a price. Belief can cause us to ignore, override, or transcend some of the more substantive reality that constitutes the rational universe we inhabit. In time, this may lead us into grey pastures.

 * Return to Chapter Three. Making Decisions. Introduction
 * Conclusion

(A postscript to this chapter, ../../Purpose And Meaning/, is to be found at the end of this part.)


text:
Developing A Universal Religion/Conclusion to Part One

What a wonderful manifestation is the mind. From its elemental beginnings when it simply helped the body to survive, the mind has become an instrument exquisite. It creates individuals of us all, and provides flights of fancy any time we care to climb aboard. Is there anything it might not do in the future?

But, does the mind do all this on its own, or does some Guiding Hand help it on its way? These flights and fancies; these revelations and beliefs—from whence have they come? Are they solely the product of a rational mind working in a rational universe, or might some of such thoughts have come from a god?

It is important to the theme of this book to determine how beliefs, in particular, come to mind, for they have greatly affected our past, are certainly affecting our present, and may well dictate our future. If we contend that certain beliefs are god-given, we might act in one manner; if we discover that all beliefs may have a more mundane origin, then we might be persuaded to think and act more circumspectly, for we would expect no saviour’s help should anything go wrong. Thus, Part Two explores the origins of beliefs.

 * Postscript: Consciousness And Conscience
 * Postscript: Purpose And Meaning