How to Get Paid What You’re Worth


Bethenny Frankel at the Virgin America OC Launch.

 

How to Get Paid What You’re Worth

 

1. Negotiate your salary upfront
According to Facebook COO Sheryl Sandberg, 57 percent of men entering the workforce negotiate their salaries, while only 7 percent of women do. That’s a shocking disparity. And before anyone starts to think that one’s very first job isn’t the right time to negotiate, let’s look at the implications.

 

According to the authors of Women Don’t Ask, Linda Babcock and Sara Laschever, by not negotiating her first job offer, a woman sacrifices more than half a million dollars over the course of her career. They write: “This is a massive loss for a one-time negotiation-for avoiding what is usually no more than five minutes of discomfort-and it’s an unnecessary loss, because most employers expect people to negotiate and therefore offer less than they’re prepared to pay.”

 

Before entering a negotiation, get a sense of salaries for someone in your position and geographical area. Search online to find average salaries. Don’t be afraid to ask for more than you think you can get. This is the time to be your own advocate. Chances are even if your requested amount is flat-out denied, the initial offer will still be there. And it’s better to ask and not receive, than just settle for less than you deserve by never asking in the first place.

 

Related: What We Can Learn from Bethenny Frankel

 

2. Don’t undervalue yourself: the entitlement effect
A Harvard Business School article discussed some of the reasons why women walk into negotiations with lower expectations than men. Hannah Riley Bowles, an Associate Professor of Public Policy at the Harvard Kennedy School, discussed the entitlement effect, where men have been conditioned to believe they are entitled and consequently negotiate better conditions for themselves.

 

According to Bowles, “… if you bring men and women into the lab and you say either one of two things: ‘Work until you think you’ve earned the $10 we just gave you,’ or ‘Work and then tell us how much you think you deserve,’ the women work longer hours with fewer errors for comparable pay, and pay themselves less for comparable work. But if there’s a standard [that men and women know], then this result goes away.”

 

DAVOS/SWITZERLAND, 28JAN11 - Sheryl Sandberg, ...

DAVOS/SWITZERLAND, 28JAN11 – Sheryl Sandberg, Chief Operating Officer, Facebook, USA; Young Global Leader are captured during the session ‘Handling Hyper-connectivity’ at the Annual Meeting 2011 of the World Economic Forum in Davos, Switzerland, January 28, 2011. Copyright by World Economic Forum swiss-image.ch/Photo by Jolanda Flubacher (Photo credit: Wikipedia)

 

3. Be your own advocate throughout your career
Outside of the negotiating room, women need to stay visible, pursuing raises, opportunities, and assignments that they think they deserve. Nurtured to be modest and humble, women often downplay their accomplishments, while men can be more comfortable highlighting their achievements in order to advance.

 

Related: How Women Compete with Men in the Workplace

 

With humility, you can keep your accomplishments and skills front and center. If there’s an opportunity that sounds perfect for you, don’t wait to be recognized, ask for that prestigious assignment.

 

 

 

Lessons for the entrepreneur


Entrepreneurs

Entrepreneurs (Photo credit: Madison Guy)

English: Cover for the Sustainable Business Bo...

Lessons for the entrepreneur

These same messages apply to the entrepreneur and business owner just as much as the full-time employee. Many entrepreneurs charge the least amount possible out of fear that clients won’t pay more. Then they worry what will happen if they ask to raise their prices.

Remember that at its most basic level, a business is all about earning the money that’s deserved for whatever value you bring to customers. By undercharging clients, you send the message that your services and talents are worth less. You undermine the unique value you bring to the table and open the door to resentment down the road. And you end up attracting clients who are pure bargain shoppers, the ones who are looking to get a lot for a little. If you run your own business, don’t be afraid to ask for more upfront. And don’t be afraid to raise your prices. It will make for a more successful, more sustainable business in the long run.

At the end of the day, whether you’re an employee or entrepreneur, you need to be your own advocate throughout your entire career. If you don’t promote your own achievements or ask for what you deserve, you can be sure that no one else will do it for you either.

Creative Writing Tip: Going Deeper in Your Fiction


Creative Writing with the Crimson League

1341529_shoreline_rocks_2We authors–at least, authors who are like me–are always aware of a need to take a first draft deeper. To connect with the characters more, make them more alive.

This is particularly true in my case, as I have a simple, precise style and my first drafts are rather minimalist. (Are you that way, a fellow Hemingway? Or are you a Faulkner?)

But what does “going deeper” mean? What’s the difference between going deeper and adding fluff?

Writing is never easy, and it’s not something you can do alone: you will always need beta readers and editors to help you fill in holes and iron out the excess.

Still, there are general ways I find myself taking a draft “deeper” before I ever send it off to beta readers.

  • I CUT DOWN ON WHAT FEELS SUPERFLUOUS. A book can only have so many words, after all, and you…

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Love Is A Choice!


The Whole Armour Of God

Quote 4 2day title logo Blog

Always, love is a choice. You come up against scores of opportunities every day to love or not to love. You encounter hundreds of small chances to please your friends, delight your Lord, and encourage your family. That’s why love and obedience are intimately linked- you can’t have one without the other. ~ Joni Eareckson Tada

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Playing with identity and authenticity: Hetain Patel at TEDGlobal 2013


TED Blog

“I don’t know how to introduce this, so I’ll just say, ‘Hetain Patel,'” says TED curator Chris Anderson. So no one knows what to expect, and that’s as may be, because this is some crazy right here.

Patel walks onstage and crouches in a chair next to the dancer Yuyu Rau. He speaks a few sentences in Mandarin, and Rau proceeds to translate. “If I may, I would like to tell you a little bit about myself and my artwork. I was born and raised near Manchester in England, but I’m not going to say it in English to you. I’m trying to avoid any assumptions that might be made from my northern accent.”

It’s at this point that the audience begins to get the sense that something is up. Patel continues: “The only problem with my Chinese Mandarin is I can only speak this one paragraph, which I…

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Linda Evangelista by Karl Lagerfeld for Vogue Germany July 2013


the CITIZENS of FASHION

Linda Evangelista by Karl Lagerfeld for Vogue Germany July 2013 -4Linda Evangelista by Karl Lagerfeld for Vogue Germany July 2013 -5Linda Evangelista by Karl Lagerfeld for Vogue Germany July 2013 -6Linda Evangelista by Karl Lagerfeld for Vogue Germany July 2013 -7

Vogue Germany July 2013 issue :
Editorial: Bella Di Giorno
Model: Linda Evangelista
Photographer: Karl Lagerfeld
Styling: Christiane Arpt

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masterpieces of thirteenth-century Persian miniaturists


 

One Thousand and One Nights

One Thousand and One Nights (Photo credit: Wikipedia)

 

The decoration of this fine Saljuk

pottery consists mostly of figure subjects, such as horsemen, seated and

standing figures of courtiers and princes, hunting scenes, and sphinxes. Three

of the outstanding bowls in the Schiff collection are decorated with the story

of BahramGur and his lute-player Azadah.

 

This popular theme

of Persian art is narrated in the epic poem the Shahnamab y

Firdausi. In two of our bowls two consecutive episodes of the story are repre-sented

simultaneously. BahramGur is shown transfixing with a single arrow the hind hoof and

ear of a deer, and the same scene includes the death of Azadah,

who, after making a mockery of BahramGur’s

skill, was thrown from the saddle and trampled to death.

 

These three bowls in

the Schiff collection are masterpieces of thirteenth-century Persian

miniaturists and are related to contemporary paintings in manu-scripts

of the Baghdad school. Through the generosity of Mr. and Mrs. A. Wallace

Chauncey the Museum received as a gift fifteen Persian and Mesopotamian

ceramics and two Syrian enameled glass beakers, from the Henry G. Leberthon

collection.

 

There are three outstanding examples of twelfth-century lusterware

from Rakka with elaborate arabesque designs and decorative writing.

Another im-portant piece is a thirteenth-century albarello

with painted decoration in white and gold on a cobalt blue background.

 

The albarello

shape, which originated in the East, was adopted later by Italian potters.

Several examples of later Persian ware of the sixteenth and seventeenth

centuries belong to the so-called Kubatcha group, with

decoration consisting of plants and figures in monochrome or polychrome. This

ware, although found in Kubatcha in the Cau-casus,

should be regarded as Persian and was probably made in the region of Tabriz.

 

 

 

 

 

the miniature repre-senting the pilgrimage of Adam


The artists working for the Timurids were responsible for the development of a true national style of Persian painting. Shah Rukh (1404-1447) and his son Baisunkur Mirza were great patrons of the arts of the book. One of the earliest Timurid paintings in the Burnett collection represents a pair of lovers in a garden, probably Humay and Humayun. It is unusually large, measuring I9 Y by 12 9/6 inches, and comes from the same manuscript of Rashid ad-Din’s Jami at-Tawarikh, or “Universal History,” as the Jonah and the Whale in the Metropolitan Mu-seum. This work of the famous Mongol historian and vizier of emperors Ghazan and Uljaitu re-mained popular under the Timurids. Several Timurid miniatures in the Burnett Be-quest came from another copy of the Jami at- Tawarikh which can also be dated in the period of Shah Rukh. Here, as in the miniature repre-senting the pilgrimage of Adam, the Timurid style is fully developed. Of particular interest is the treatment of the landscape with spongy mountains that appears in so many Timurid paintings of the fifteenth century. Another Timurid miniature in this collection is a rare painting on silk. Only very few Persian silk paintings are in existence. One is in the Boston Museum and another one was formerly in the collection of Countess de Behague in Paris. The Burnett painting represents a garden scene with two lovers.

ARCHITEMENT E-NEWSLETTER


· Art Vs Architecture /Arts are having two modes of representation: Visual Arts & Performing Arts
· Communication is an important aspect of arts than ARCHITECTURE and architectural theory has often borrowed imagery or made analogy (similarity in some way) to these arts. We can discuss theses in particular:
Drawing NATURE LITERATURE Dance Music

All these arts may be seen in terms of a language used for communication.

Photographic memories


Raindrops and Lollipops

old photo

Anyone with clinical depression who has been told to ‘think positive’ and ‘remember the good times’ will know the creepy, forced smile you offer the purveyor of said well meaning sentiments. Because trying to explain to anyone that actually has access to the happy part of their brain that you don’t really want to be miserable, you’ve just lost the ability to feel good, is like being repeatedly slapped in the face with a trout.

Depression is a negativity dump truck, unloading its toxic cargo of sad thoughts, self doubt and unpleasant memories into your cranium every hour of the day. The reason sufferers can’t just focus on happy thoughts is that, temporarily, they don’t exist. All that was once joyful and light has been squirrelled away deep in the annals of your consciousness, to be uncovered once depression’s done playing it’s sick and twisted game. Sometimes it’s impossible to…

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Instagram Problems


Whenever you read an article about Instagram you encounter the same set of clichés. I think they are propagated by people who don’t use Instagram, or barely use it—people who don’t really like or understand social media in general.

I’ll list the clichés. You’ll recognize them:

Instagram is nostalgic. Instagram is a wistful and futile resuscitation of photographic tools from the past. It’s retro. Instagram is banal—it’s just people taking pictures of the same things again and again: food, pets, vacation spots, etc. Instagram is fake.

These clichés are fully displayed in a couple of articles that the New Inquiry has published over the last year: Teju Cole’s “Dappled Things” and Matt Pearce’s “Shoot Hip or Die.”

Let’s start with Cole. He’s writing about Gueorgui Pinkhassov, a Russian photographer who lives in France and has an Instagram account. Cole likes Pinkhassov’s Instagram because it’s a rare account that meets his…

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GROUP EXPECTANCY AND ROLE –PLAYING


English: President Barack Obama jokes with Phi...

English: President Barack Obama jokes with Philippine President Gloria Macapagal-Arroyo before a news conference in the Oval Office on July 30, 2009. (Photo credit: Wikipedia)

so many social
reactions over a period of time, the relations between groups and individuals
become stable

        Closely related to personality in terms
of external relations is what is known as the role the person play. Associates
come to expect or depend upon certain personality manifest stations in the
individual. Thus, a boy who jokes and jollies his friends soon finds that his
companions expect jokes from him. If he tries to meet their expectancy, in time
he will become the funny man of the group. Another boy who gets things done
because he is more persistent may find him self thrust into leadership. As the
group discovers his accomplishment, it turns to him for responsibility and guidance. In a study of the relation of personality traits to group expectancies, it was found that the group by and large rejects the
inconsistent, erratic, and undependable individuals, and looks toward the
consistent, dependable, and conscientious individuals. At any particular time,
almost any person can bear almost any relationship to the group, but over a
long time more permanent and fixed relations appear. Basically, selection and
assignment of particular functions and responsibilities is made in terms of
group needs. In Cabot’s investigation it was found that the adolescent boy with
the normal physique tended to wear his physique much as one wears a modest suit
of clothes and to have normal and natural social relations within the group,
whereas the boys with unusual physique-the boys who were very tall, short, fat
thin, or who had unusual physical features-tended to be more poorly adapted
socially and to be given roles in conformity with their particular physical
make-up.

      Because there are so many social reactions over a period of time, the relations between groups and individuals become stable. The individual comes to have a definite role. With the specialization of interests and activities, the roles become formalized into vocations and jobs. Thus the” funny” boy may become a comedian to whom people listen on the radio because they have come to expect

That he will entertain them with jokes. Similarly, group expectancies operate for the
banker, the baker, and the shoemaker.