By: Lizzie Furey,
on 7/29/2016
As students in Columbia University’s OHMA program we are often urged to consider Oral History projects that not only serve to archive interviews for future use, but that “do something.”
The post Oral history for youth in the age of #BlackLivesMatter appeared first on OUPblog.
By: KatherineS,
on 11/18/2015
Martial adores sexy boys. He craves their kisses, all the more so if they play hard to get, "� buffed amber, a fire yellow-green with Eastern incense… That, Diadumenus, is how your kisses smell, you cruel boy. What if you gave me all of them, without holding back?" (3.65) and "I only want struggling kisses – kisses I’ve seized; I get more of a kick out of your bad temper than your good looks…" (5.46).
The post ‘I get more of a kick out of your bad temper than your good looks': Martial’s guide to getting boys appeared first on OUPblog.
By: Sophie Butchers,
on 11/6/2015
The following extract is excerpted from Urban Legends: Gang Identity in the Post-Industrial City. The chapter, titled ‘Learning to Leisure’ traces the leisure lives of a group of young men from Langview, a deindustrialised working-class community in Glasgow.
The post (Getting a) Malling: Youth, consumption and leisure in the ‘new Glasgow’ appeared first on OUPblog.
By: Joe Hitchcock,
on 10/1/2015
Perhaps one of the most politically unpopular truths about violence is that it is young people who are most vulnerable to it, not the elderly or children, but youth. Global estimates from the World Health Organization are that, each year, 200,000 young people are murdered.
The post Youth violence appeared first on OUPblog.
By: JOANNA MARPLE,
on 9/9/2015
I suspect that even if you have only been writing for children for a short while, if you live in the US (and maybe elsewhere) you will know the name Betsy Bird, who was the Youth Materials Selections Specialist of New … Continue reading
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By: Daniella Frangione,
on 9/24/2014
Why are people afraid to get old? Research shows that having a bad attitude toward aging at a young age is only detrimental to the young person’s health and well-being in the long-run. Contrary to common wisdom, our sense of well-being actually increases with our age–often even in the presence of illness or disability. Mindy Greenstein, PhD, and Jimmie Holland, MD, debunk the myth that growing older is something to fear in their new book Lighter as We Go: Virtues, Character Strengths, and Aging. In the following videos, Dr. Greenstein and Dr. Holland are joined by Holland’s granddaughter Madeline in a thought-provoking discussion about their different perspectives on aging in correlation to well-being.
The Relationship between Wisdom and Age
The Bridge between Older People and Younger Generations
On Fluctuations in Well-Being throughout Life
The Vintage Readers Book Club
Headline image credit: Cloud Sky over Brest. Photo by Luca Lorenzi. CC BY-SA 3.0 via Wikimedia Commons
The post Intergenerational perspectives on psychology, aging, and well-being appeared first on OUPblog.
I read a great article today about youth pastors and how important it is for congregations to support them and their efforts to bless and teach our children. As the parent of a teen and two preteens – I am in 100% agreement! I’ve added a few things below from my own perspective. 1. You…
By: Elizabeth Gorney,
on 8/8/2014
Now that the Internet has been with us for over 25 years, what are we to make of all the concerns about how this new medium is affecting us, especially the young digital natives who know more about how to maneuver in this space than most adults?
Although it is true that various novel media platforms have invaded households in the United States, many researchers still focus on the harms that the “old” media of television and movies still have on youth. The effects of advertising on promoting the obesity epidemic highlight how so much of those messages are directed to children and adolescents. Jennifer Harris noted that children ages 2 to 11 get nearly 13 food and beverage ads every day while watching TV, and adolescents get even more. Needless to say, many of these ads promote high-calorie, low-nutrition foods. Beer is still heavily promoted on TV with little concern about who is watching, and sexual messages are rampant across both TV and movie screens. None of this is new, but the fact that these influences remain so dominant today despite the powerful presence of new media is testament enough that “the more things change, the more they stay the same.”
When it comes to the new media, researchers are more balanced. Sonia Livingston from the UK reported on a massive study done in Europe that found a lot of variation in how countries are dealing with the potential harms on children. But when all was said and done, she concluded that the risks there were no more prevalent than those that kids have confronted in their daily lives offline. What has changed there is the talk about the “risks,” without much delving into whether those risks actually materialize into harms. Many kids are exposed to hurtful content in this new digital space, but many also learned how to cope with them.
2013 E3 – XBOX ONE Killer Instinct B. Uploaded by – EMR -. CC-BY-2.0 via Flickr.
The perhaps most contentious of the new media influences is the emergence of video gaming, either via the Internet or on home consoles. The new DSM-5, which identifies mental disorders for psychiatrists, suggests that these gaming activities can become addictive. Research summarized by Sara Prot and colleagues suggests that about 8% of young people exhibit symptoms of this potential disorder. At the same time, we still don’t know whether gaming leads to the symptoms or is just a manifestation of other problems that would emerge anyway.
Aside from the potential addictive properties of video games, there is considerable concern about games that invite players to shoot and destroy imaginary attackers. Many young men play these violent video games and some of them are actually used by the military to prepare soldiers for battle. One could imagine that a young man with intense resentment toward others could see these games as a release or even worse as practice for potential harmdoing. The rise in school shootings in recent years only adds to the concern. The research reviewed by Prot is quite clear that playing the games can increase aggressive thoughts and behavior in laboratory settings. What remains contentious is how much influence this has on actual violence outside the lab.
On the positive side, other researchers have noted how much good both the old and new media can provide to educators and to health promoters. It is helpful to keep in mind that many of the concerns about the new media may merely reflect the age old wariness that adults have displayed regarding the role of media in their children’s behavior. In a recent review of the effects of Internet use on the brain, Kathryn Mills of University College London pointed out that even Socrates was skeptical of children learning to write because it would reduce their need to develop memory skills. Here again, the more things change, the more they remain the same.
Daniel Romer is the Director of the Adolescent Communication and Health Institutes of the Annenberg Public Policy Center. He directs research on the social and cognitive development of adolescents with particular focus on the promotion of mental and behavioral health. His research is currently funded by the National Cancer Institute and the National Institute on Drug Abuse. He regularly serves on review panels for NIH and NSF and consults on federal panels regarding media guidelines for coverage of adolescent mental health problems, such as suicide and bullying. He is the author of Media and the Well-Being of Children and Adolescents.
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By: Rae,
on 4/13/2012
By: josh pincus is crying,
on 1/25/2011
By: Lauren,
on 10/25/2010
For most young people, the transition to adulthood is a gradual process. Many continue to receive financial and emotional support from their parents or other family members well past age 18. This is in stark contrast to the situation confronting youth who must navigate the transition to adulthood from the U.S. foster care system. Too old for the child welfare system but often not yet prepared to live as independent young adults, the approximately 29,000 foster youth who “age out” of foster care each year are expected to make it on their own long before the vast majority of their peers.
The federal government has long recognized the challenges facing foster youth, providing states with funds to help prepare them for independence since the late 1980s. Federal support for foster youth making the transition to adulthood was enhanced in 1999 with the creation of the John Chafee Foster Care Independence Program. This legislation doubled available funding to $140 million per year, expanded the age range deemed eligible for services, allowed states to use funds for a broader range of purposes (e.g., room and board), and granted states the option of extending Medicaid coverage for youth who age out of foster care until age 21. Vouchers for post-secondary education and training were also added to the range of federally-funded services and supports potentially available to current and former foster youth making the transition to adulthood. While the services provided through the Chafee Program were a step in the right direction, the fact remains that in all but a few states youth are still summarily discharged from foster care on or around their 18th birthday, rendering them “independent” of foster care, but seldom self sufficient.
That may finally be changing for the better. Recently, there was a fundamental shift toward greater federal responsibility for supporting foster youth during the transition to adulthood. The Fostering Connections to Success and Increasing Adoptions Act of 2008 extended the age of eligibility for federal reimbursement of foster care from 18 to 21. Beginning this year, states will be able to claim federal reimbursement for the costs of providing foster care until foster youth are 21 years old. To qualify for reimbursement, foster youth age 18 and older must be either completing high school or an equivalent program; enrolled in postsecondary or vocational school; participating in a program or activity designed to promote or remove barriers to employment; employed for at least 80 hours per month; or incapable of doing any of these activities due to a medical condition. They can be living independently in a supervised setting as well as placed in a foster home or group care setting.
This change in federal policy was informed by findings from the Midwest Evaluation of the Adult Functioning of Former Foster Youth (“Midwest Study”), the largest longitudinal study of young people aging out of foster care in the U.S. The Midwest Study paints a sobering picture of the outcomes experienced by foster youth making the transition to adulthood; foster youth fare much worse than their peers
By: Lauren,
on 10/15/2010
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Yesterday, Cathy Cohen published an article with the Washington Post titled, Another Tea Party, led by black youth?” In it, she shares,
In my own representative national survey, I found that only 42 percent of black youth 18-25 felt like “a full and equal citizen in this country with all the rights and protections that other people have,” compared to a majority (66%) of young whites. Sadly, young Latinos felt similarly disconnected with only 43 percent believing themselves to be full and equal citizens.
In the video below, Cohen further discusses the involvement of black youth in American politics.
Click here to view the embedded video.
Posted with permission. (c) 2010 University of Chicago
Cathy J. Cohen is the David and Mary Winton Green Professor of Political Science and the College at the University of Chicago. She is the author of The Boundaries of Blackness: AIDS and the Breakdown of Black Politics and co-editor of Women Transforming Politics: An Alternative Reader. Her most recent book is Democracy Remixed: Black Youth and the Future of American Politics.
By: Tasha Saecker,
on 2/1/2010
Cosmic by Frank Cottrell Boyce
Liam is a twelve-year-old who looks like a he’s thirty. He’s the tallest in his class and even has a wispy beard growing in. So Liam is able to do things that other kids his age can’t. He rides carnival rides that they are all too short for. He is mistaken for a teacher on his first day of school. He pretends that a girl in his class, Florida, is his daughter. And he almost test drives a Porsche before his father stops him. Thanks to these mistakes, Liam lives in a place between childhood and adulthood. So when Liam is asked to bring his daughter on the trip of a lifetime to the best theme park in the world, Liam easily decides to do it. He needs to pose as one of the world’s best dads to get on the spaceship, and it just may take a child to be the best father in the bunch.
I love Boyce’s books because you never know what journey you are about to start out on. The book will seem to be one thing and delightfully morph into something else along the way. Readers will start out thinking this is a book about space travel, but it is so much more. It is an exploration of what age means, a novel about what it takes to be a parent and what it takes to be a kid. It is a deep book that never loses its light heart and sense of fun.
Liam is a great character who even when he is acting like a great father never could be confused with an adult. Boyce has written a wonderful hero here who is smart, intuitive and thoroughly juvenile in a great way.
I only have one teeny quibble with the novel. Boyce uses World of Warcraft as one of Liam’s main interests. I play WOW and so will many of the kids who read this novel. The problem is that Boyce gets a lots of the details of the game wrong. Some he has right, but others are really jarringly off. This doesn’t detract from the book’s quality, but it may really bother some young readers. I know that whenever he got a detail wrong it pulled me right out of the story, which is unfortunate.
Highly recommended, even for WOW junkies, this book is a beauty of a novel filled with humor, grace and a hero for our times. Appropriate for ages 10-14.
Reviewed from library copy.
Also reviewed by Nayu’s Reading Corner and Fuse #8.
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By: josh pincus is crying,
on 12/1/2009
A horror story from 1965.
Read it HERE on the josh pincus is crying blog.
By: Erica Olsen,
on 8/4/2008
I want to talk about YA books for girls in the 1980s. Books like Anastasia Ask Your Analyst
Besides PBS and the Thundercats, these books were pretty much the only media I had available during my nerdy nerdy youth. And since I hadn’t been sentient for too long, so they had a disproportionate impact on my social development.
I wasn’t alone. The fine ladies at Jezebel (One of those Gawker media blogs. I’m usually against ‘em. This one, however doesn’t suck.) do a recurring feature called Fine Lines, which is UNCANNY in its ability to suss out YA books from my misspent youth.
I checked out an average of 14 books a week from two different local libraries, thanks to my geek parents. Most of the books I read were comic anthologies like Peanuts, Bloom County, Garfield and (odd for a 12 year old) Doonesbury. However, the books that really got through were the ones like Island of the Blue Dolphins
Fine Lines has them all, lovingly glossed and tinted with a healthy dose of grown-up lady perspective. Go. Go now. Read and remember. You were not alone.
By: Phenomenon Books,
on 2/27/2008
Tomorrow I will be neither here nor there, but somewhere inbetween. The office is running out of boxes today and I find I'm constantly unpacking a box to get at something I was so sure I wouldn't need until next week lol.
Allows pays to follow up. Huge example is our newest client. I was under the impression he was awaiting word from another agent before deciding, he was under the impression that we hadn't decided yet. One follow up and the entire thing is clear and now we have an excellent thriller to add to the family.
So, how long does it take to go from being signed to getting your full out there? Depends on the editing most of the time. This one, for example, only requires a quick run through to check for typos and that will be done over the next few days. I generally write the pitch as I'm reading the second time through, changing it and molding it as a progress further into the story. Most times, the pitch focuses on the first 50 pages of work (the main storyline).
Then comes the market research. Easy peasy, lemon squeezy, in this case because I already have editors in mind. All told, this project will be e-mailed out on Monday, so 5 days from start to that wonderful, nail-biting, waiting.
Other projects take longer due to editing, while some are as quick as a few days.
Just a note. If anyone has an interesting political or historical (adult) non-fiction proposal that sparkles and shines, feel free to sub it our way. And for those little beasties that are waiting to sub, be patient, March 1st is just around the corner.
stay literate;)
Is your inbox tired and lifeless? Has it lost its bounce and lustre? If you've been distracted with work and some high-conversation posts, your inbox may have developed a dulling build-up of miscellaneous questions. Do editors ever put non-agented (but contracted) authors on the back burner for agented ones?Not unless the agent is doing a better job of prodding the editor than the unagented
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By: BookEnds, LLC,
on 1/16/2008
I'm new to your blog and hope this is not an inappropriate question. At a small conference I met with an editor and pitched my psychological thriller. She spent extra time with me and said if I could do what I was attempting, I was a ‘friggin’ genius’—her words, not mine. She requested a full as soon as it was polished. Several pubbed authors have critiqued it and also have given it high praise. I sent it off on July 5, 2007. Haven’t heard a thing. I’m hoping that means that she’s considering publishing it. Does it usually take this long? Should I make contact? Am I just being too anxious? I'd like to start querying agents but I don't know if I should at this point.
First let me welcome you to the blog and thank you for your question. There are no stupid questions and everything is appropriate. Especially since I will always make sure your questions remain anonymous.
I’m going to say it fairly simply: start querying agents now!!! And by now I mean yesterday. If you really do have an editor who is that excited and that interested in your book, then what are you waiting for? Get more people interested and excited. The truth is that July was a long time ago and anyone who really was as excited as she seemed be be would have responded within months, weeks, or even days. A lot of time has gone by, and at this point it just doesn’t seem that she’s as excited as she once was. Who knows why that is. Maybe her tastes have changed, maybe the direction of the publishing program at her house has changed, or maybe she is just bogged down and hasn’t gotten to it yet. Whatever it is, you cannot put your career on hold because one person, at one time, expressed enthusiasm. Whenever you get that kind of response from an agent or an editor you should absolutely be excited and get your work out, but you should also be looking for others who might be just as excited, or in this case, more so.
Let me ask you a question . . . are you looking to get published or are you looking to get published in the best possible way? If it’s the latter, then you want an agent on your side. Someone who can not only negotiate an amazing contract when the time comes, but who can also ensure that as many publishers see the book as possible and that you get sold to the one who can best move your career forward. Whether it’s this editor or not is yet to be determined, but even if she calls with an offer tomorrow, it serves you best to have an agent there to help you manage the terrain.
And last, I would definitely make contact with the editor. Let her know that you’re still alive and anxious to hear what she thinks. And then get querying.
Congratulations on having an idea that clearly has someone’s attention, but there’s no reason to pin everything on one editor or one agent. Life is too short and she’s already taken too long for someone who is supposedly so enthusiastic. Find an agent now who is excited enough to want to take your book to as many editors as possible and negotiate you the best deal.
Jessica
By: Phenomenon Books,
on 1/14/2008
It's been a busy day as usual, and still plenty to do, so I'm going to briefly cover stuff. Actually turned down an offer this last week. Just wasn't right for the client (this was a mutual decision on both mine and his part) and we feel perfectly fine about it. The work is still out there, and I'm sure something better is going to come along.
On to the promised Going it Alone stuff--
Okay, let's say you're going the publishing route without an agent. Before you even get to this point, I'd strongly urge anyone to read up on publishing contracts, do their homework on who likes what, how to write an effective pitch, etc. There are plenty of great books out there to help you along these lines. The Marshall Plan is informative, Richard Curtis' How to Be Your Own Literary Agent goes into the contract and the process he uses when looking for writers.
Now let's say you're already at the point where an editor is interested in your work (you submitted already, you met an editor at a conference). The phone has rung, or e-mail has been sent, and they want to sign you. Yay you!
Now, take a deep breath, then make sure you have 2 important batches of info-- the deal points and format, price point, and estimated initial print run for your work.
Will be back tomorrow to run down what deal points are and why it's important to know price point, format, and initial print run.
Stay literate;)
By: Eric Orchard,
on 1/8/2008
By: Eric Orchard,
on 12/6/2007
By: BookEnds, LLC,
on 11/26/2007
I have an agent who I've been with for about 2 years. I am considering leaving this agency. I read the contract (and your posts on this subject) and noticed that she retains the right to receive her cut of any manuscripts I might sell that are still in "negotiation," even if we have parted ways. "In negotiation" in the contract is defined as "on submission."
There is one house which expressed strong interest in my work. Ultimately, the editor wasn't able to get the support of other editors—she's still somewhat junior—and the manuscript was rejected. However, the door was left open for me to revise and submit again.
The editor and I have plans to talk and discuss ways to revise the work.
Now for the question: in the event that I do revise and resubmit, is this still part of the original "negotiation" or is it a new submission? If I have a new agent, can the new agent handle this "negotiation," or will it legally be in the hands of the old agent?
The author goes on to explain her reasoning for leaving her agent, which was nice, but she didn’t need to do it. When making the decision to leave an agent you shouldn’t ever feel the need to justify your actions. If you no longer feel the agent you’re with is doing the job you need her to do, that’s enough reason to leave. Be that as it may, I don’t think she’s trying to pull something over on her agent. She doesn’t feel she’s the right person for the job anymore and wants to seek other representation.
This is a tricky question, since I assume there’s no end date to the amount of time the agent has to finalize any deals. For example, the BookEnds contract gives us four months to finalize any outstanding submissions, at which time everything reverts back to the author and we no longer have a right to those sales. I think it’s fair to both us and the author and gives a final end date at which we can all move on. It also gives us sufficient time to wrap anything up, without limiting the author.
My belief is if you don’t have anything physically sitting on an editor’s desk you don’t have anything under submission. When ending your relationship you should say as much in a letter. In other words, send that certified letter saying that you are ending the relationship and since you have no outstanding submissions together you will be moving forward effective immediately, etc., etc. Make sure you are very clear that the old agent has no more rights to your work.
Another thing to consider. Presumably when you resubmit this work, if the editor still wants to see it, it will be an entirely new work and not the same book your agent submitted.
I’m sure advice would be welcome from anyone else who has ever found him/herself in this situation.
Jessica
By: BookEnds, LLC,
on 11/5/2007
As anyone involved in romance writing knows, there have been a number of small publishers, epublishers and otherwise, who have closed their doors lately. This has caused panic, upset, and general insanity of course. Not that I’m blaming anyone but the publishers. It’s upsetting when you spend months and years looking for a publisher and finally find one you think is reputable, because you have done your research, only to learn that they are completely irresponsible. It’s even more upsetting when you discover that your book might very well be held up in their bankruptcy hearings for quite some time.
Since I’m not part of authors' loops or groups I don’t often hear the scuttlebutt that goes on behind closed doors, but one kind reader alerted me to some of the panic and asked that I make some attempt to try to calm people and quell their nerves. This silly reader thinks people actually listen to me. While I’m flattered, I’m not sure I can do any good.
What I have been told is that some writers are urging those who have books or proposals with these houses to rush out and register a poor man’s copyright (by the way, there’s no need to do this in any instance ever, but I suppose it can’t hurt); they are being told to retitle the book or change the characters so they can sell it elsewhere. Folks. None of this is going to work. The first thing you need to do is, if you are under contract, officially terminate the agreement. Demand that rights be reverted in a letter sent by you, your lawyer, or your agent via certified mail. Then you need to wait. Yes, I’m afraid you’ll need to wait and see how things play out a little. No publisher is going to want to touch a book that might get them into legal entanglements, so changing a title or a few character names is risky business for you, for the publisher, and for your career. Do you really want to go down that road?
My best suggestion is to place your focus, at least for the moment, on your next book. Make that something that another publisher would really want and, in the meantime, work at getting those rights legally back from the defunct publisher.
As for whether or not you are owed money by these publishers, you need to talk to a lawyer about that. You need to follow your contract’s accounting clause and demand an accounting of the books. And you need to decide if the cost of said lawyer or CPA is going to be worth what you really might be owed for those books. In any bankruptcy situation people lose. Those that are likely to see some money are those that are owed the most. My guess is authors are not on the top of this list.
I wish I had better news for you. I truly feel horrible for all the authors caught up in this mess and wish all of them well. For now, though, keep looking forward.
Jessica
By: BookEnds, LLC,
on 10/18/2007
I received this question recently, and coincidentally I had a phone call not too long ago with someone in this very predicament. Not a bad position to be in. . . .
I am in the middle of writing a YA science fantasy, but have also been approached by a gentleman with platform to ghostwrite his nonfiction project. I see the nonfiction as bringing in the daily bread, and I know I will enjoy the process, but my passion is firmly in the fiction field. How should I go about my agent search? I’d prefer to have one agent if at all possible, but the pool of agents who handle nonfiction plus science fiction and fantasy plus YA is a short one. Should I let the "name" on the nonfiction project pursue an agent on his own, and sign agreements that way, or should I be the one on the hunt? If the latter, do I just concentrate on the nonfiction proposal, or is it okay to mention my diversity in the query letter? Note: I already know not to actually pitch multiple projects in one query; I’m thinking just a brief mention of my fiction interests.
There is a lot of advice I could give here and all of it depends on where things stand. I think you are a little ahead of yourself on all fronts here, so let’s approach things one at a time.
YA project first . . . since you are only in the middle of the project you’re not ready to query on this yet. Therefore it’s a moot point (or as Joey from Friends would say, “a moo point.”) You can only plan for your future so much, and planning for something that may or may not happen months down the road can stifle someone and eventually hurt her career. For example, who knows what decisions I would have made ten years ago had I known I was going to start BookEnds. No, sometimes the best laid plans are those that are unexpected.
I guess what I’m saying is that you need to look at the most pressing possibility first, and since you have nothing yet to submit on the YA I would simply hold off on worrying about that or even including it in your equation. In an ideal world you would find one agent to handle everything, but we all know that publishing is far from an ideal world.
As for the nonfiction project, I’m assuming you have worked with this expert and have some sort of proposal to send around. You will need to have something, even something short, to send to agents before someone is going to represent you. Before working on anything, though, I would also suggest that you put an agreement in writing. This should stipulate, among other things, how much you each expect to get paid (you could always say that this will be determined at the time of the offer), whether or not you are getting author credit or simply ghostwriting, and what happens if things don’t work out and/or the platformed author decides to find a new ghostwriter. You should of course be compensated for your time. Any time you are coauthoring or ghostwriting with or for someone, you need an agreement. I have one I use for my authors and would suggest you check out freelance Web sites (maybe someone can suggest some) for guidance on writing up your own.
Since you are the ghostwriter on this project and have no real credentials yourself it’s going to be tough to get an agent to represent you separately. I would suggest you work as a team to find an agent that can suit both of your needs as nonfiction authors. Primarily, though, you want an agent with expertise in the subject you’re selling, not someone who necessarily has expertise in YA Fantasy. Remember, your goal is to sell the book. If you need to find a second agent to sell your YA Fantasy, that’s certainly better than having one agent who can really sell neither. The smart author finds the very best agent for each individual project, especially since the nonfiction agent is really representing the book (and platformed author), you’re just a bonus in the package.
Presumably the nonfiction agent will represent both of your interests fairly and honestly. However, if you find that she expresses favoritism to the platformed author and doesn’t seem to be representing your interests at that point, when you have a deal in hand, you could always ask that someone else be brought in to represent your side fairly. In most cases, though (when I’ve done similar projects), it’s worked out pretty well.
To sum up, focus on one project at a time.
Jessica
Donna,
Youth ministry is vital to a church’s mission and to the children of the church. What a great idea to post ways to retain youth ministers in their positions. So many leave after a short stay and kids are heart-broken. Thanks for passing this along and for adding your ideas.