Horiba jobin yvon inc. The LabSpec6 spectral software suite used on all the HORIBA Jobin Yvon analytical and research Raman spectrometer systems is now also available for modular Raman systems. It has been designed and written as a dedicated Raman spectroscopy package and offers many powerful capabilities not found in a basic spectroscopy software. Utilities (Unsupported programs written by HORIBA Jobin Yvon and/or customers) Spectrometer Control Program; DataScan Support Disk; Hardware Configuration Program; USB Spectrometer Control (MicroHR & iHR Series) Please contact technical support for updates. Download spex232488, a LabVIEW IEEE 488.2 (GPIB) Plug and Play (project-style) instrument driver for a Intelligent Stepper Motor Controller from horiba, model(s): 232488. Find instrument drivers that are available for this instrument for use in LabVIEW, LabWindows/CVI, or Measurement Studio. Example programs are included with most instrument driver downloads.
by Gail Z. Martin
Olivia Isabel Rodrigo (born February 20, 2003) is an American actress and singer. She is known for her roles as Paige Olvera on the Disney Channel series Bizaardvark and Nini Salazar-Roberts on the Disney+ series High School Musical: The Musical: The Series.She released her debut single, 'Drivers License', in. Gilligan first began considering the story of El Camino during the filming of the final season of Breaking Bad.Gilligan approached Paul with the idea in 2017, near the tenth anniversary of Breaking Bad, and filming began in secret in New Mexico in November 2018, lasting nearly 50 days.
- Seated next to the driver, who was spared. Seated in the backseat, my granddaughter was seriously injured and will suffer from those injuries, mental and physical, for the rest of her life. The young man who pur-portedly was driving reckless-ly has been charged with manslaughter and vehicular homicide. He didn't leave the scene of the accident.
- Download the latest drivers, software, firmware, and diagnostics for your HP products from the official HP Support website.
World building is arguably the most fun—and most difficult—part of writing. Get it right, and your world becomes as memorable as your stories and characters, a place that lives on in the imagination of your readers, as tangible as somewhere they grew up or went on vacation. Get it wrong, and you’re no more memorable than a truck stop on the highway—or worse, you’re memorable for all the wrong reasons.
I’m guessing there are as many ways to world-build as there are authors, and no single right way as long as readers like the outcome. So I’ll just share how I do it, and let you take it from there.
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For me, world building, plot and character are all inextricably linked. I may begin with an idea about a plotline, or have a clear “vision” for a character whose story I’d like to tell, or a place that would be a great setting for an adventure. Whichever one I start with, I need to find the right two components to go with it so that it all goes together seamlessly.
If I start with a character, then I have to ask myself, “What society and landscape shaped this character?” We’re all influenced by the place in which we grow up, or make our home. What influences would have produced a person with my character’s values, interests, world view, prejudices, belief systems, abilities, fears, likes and dislikes? That’s going to go a long way toward helping me create the right kind of environment for the story, and it’s going to shape the story itself, because certain types of stories are more plausible in some situations than in others.
If the original inspiration comes from the plot, then I have to figure out what type of setting/environment will make the plot situation likely—even possible. I have to think about how my choices of setting could enhance—or dampen—the plot and whether I can envision those settings in a way that make them different from places that readers have been before. (The truck stop analogy again—we’ve all been to at least one, and they all look alike. Nice if you want consistently clean restrooms, but zilch for ambiance.)
And if the setting is what I begin with, then it’s going to be unusual, and there’s something about it that draws me. Certain types of stories are more likely in specific types of places—crowded cities full of transients and intrigue, for example, versus a rural setting where no one leaves home and strangers are automatically suspicious. In this case, there’s something about the setting that will inevitably suggest the plot and sketch out the characters.
The fourth component is time/technology. London in 2150 is very different from London in 1250. This will determine everything from types of communication, speed of travel, methods of warfare, and other crucial details. Will your characters be spending gold coins or swiping a debit card? Is information known instantaneously around the world, or at the speed of sailing vessel (or horse)?
For me, the best kind of research mixes both books and experience. I’m a museum junkie, and I have been going to living history sites since I was a kid, so I’ve grown up with the sound and smell of a blacksmith’s shop, rudimentary knowledge of cooking on an open hearth, horse-drawn conveyances, and everything from period clothing to old-fashioned medicines, entertainment and art. If I can’t go a museum, there’s always the History Channel, or the Travel Channel, web sites, travel guide books, and even old-fashioned travelogues given at your local AAA, library or community center. It’s amazing how the smallest details that seem insignificant can end up adding to the texture of your next book.
It also helps to be a “critical” consumer. When you watch a movie or TV show/series or read a book, pull back enough to think about whether or not the world building is working for you. Does it immerse you in the story, or jar you out of it? Is it a distraction, or so integral the story wouldn’t be the same without it. What is memorable? What is clichéd? Could the characters be anywhere, or are they so much a product of time and place that they could be nowhere (and no-when) else? Plots can be recycled (think about Hamlet done in Shakespeare’s time and re-done into modern adaptations), but each time, the time/place alters the story—if it doesn’t, something’s missing.
Most importantly, have fun with it! If you’re not fascinated by your world, your readers won’t be, either. Enjoy!
Please enjoy this excerpt from my short story, “Among the Shoals Forever”, excerpted from The Mammoth Book of Women’s Ghost Stores: https://www.4shared.com/office/e5deWqV_/An_Excerpt_from_Among_the_Shoa.html
And this scene from “Buttons”, excerpted from Magic: https://www.4shared.com/office/20nwnf1S/Buttons_excerpt_1.html
by Gail Z. Martin
World building is arguably the most fun—and most difficult—part of writing. Get it right, and your world becomes as memorable as your stories and characters, a place that lives on in the imagination of your readers, as tangible as somewhere they grew up or went on vacation. Get it wrong, and you’re no more memorable than a truck stop on the highway—or worse, you’re memorable for all the wrong reasons.
I’m guessing there are as many ways to world-build as there are authors, and no single right way as long as readers like the outcome. So I’ll just share how I do it, and let you take it from there.
For me, world building, plot and character are all inextricably linked. I may begin with an idea about a plotline, or have a clear “vision” for a character whose story I’d like to tell, or a place that would be a great setting for an adventure. Whichever one I start with, I need to find the right two components to go with it so that it all goes together seamlessly.
If I start with a character, then I have to ask myself, “What society and landscape shaped this character?” We’re all influenced by the place in which we grow up, or make our home. What influences would have produced a person with my character’s values, interests, world view, prejudices, belief systems, abilities, fears, likes and dislikes? That’s going to go a long way toward helping me create the right kind of environment for the story, and it’s going to shape the story itself, because certain types of stories are more plausible in some situations than in others.
If the original inspiration comes from the plot, then I have to figure out what type of setting/environment will make the plot situation likely—even possible. I have to think about how my choices of setting could enhance—or dampen—the plot and whether I can envision those settings in a way that make them different from places that readers have been before. (The truck stop analogy again—we’ve all been to at least one, and they all look alike. Nice if you want consistently clean restrooms, but zilch for ambiance.)
And if the setting is what I begin with, then it’s going to be unusual, and there’s something about it that draws me. Certain types of stories are more likely in specific types of places—crowded cities full of transients and intrigue, for example, versus a rural setting where no one leaves home and strangers are automatically suspicious. In this case, there’s something about the setting that will inevitably suggest the plot and sketch out the characters.
The fourth component is time/technology. London in 2150 is very different from London in 1250. This will determine everything from types of communication, speed of travel, methods of warfare, and other crucial details. Will your characters be spending gold coins or swiping a debit card? Is information known instantaneously around the world, or at the speed of sailing vessel (or horse)?
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For me, the best kind of research mixes both books and experience. I’m a museum junkie, and I have been going to living history sites since I was a kid, so I’ve grown up with the sound and smell of a blacksmith’s shop, rudimentary knowledge of cooking on an open hearth, horse-drawn conveyances, and everything from period clothing to old-fashioned medicines, entertainment and art. If I can’t go a museum, there’s always the History Channel, or the Travel Channel, web sites, travel guide books, and even old-fashioned travelogues given at your local AAA, library or community center. It’s amazing how the smallest details that seem insignificant can end up adding to the texture of your next book.
It also helps to be a “critical” consumer. When you watch a movie or TV show/series or read a book, pull back enough to think about whether or not the world building is working for you. Does it immerse you in the story, or jar you out of it? Is it a distraction, or so integral the story wouldn’t be the same without it. What is memorable? What is clichéd? Could the characters be anywhere, or are they so much a product of time and place that they could be nowhere (and no-when) else? Plots can be recycled (think about Hamlet done in Shakespeare’s time and re-done into modern adaptations), but each time, the time/place alters the story—if it doesn’t, something’s missing.
Most importantly, have fun with it! If you’re not fascinated by your world, your readers won’t be, either. Enjoy!
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Please enjoy this excerpt from my short story, “Among the Shoals Forever”, excerpted from The Mammoth Book of Women’s Ghost Stores: https://www.4shared.com/office/e5deWqV_/An_Excerpt_from_Among_the_Shoa.html
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And this scene from “Buttons”, excerpted from Magic: https://www.4shared.com/office/20nwnf1S/Buttons_excerpt_1.html