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herding of the cats

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work can change and evolve don't be afraid of it

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work can change and evolve don't be afraid of it

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Creative writing is one of those skills you can eternally get better at, but often suck at when you start...

I've been there. I've so been there.

Now, we're not saying your creative writing is bad necessarily, but just that if you want to continue to push yourself in this industry, you'll need some work since literature is more competitive now than it ever has been.

You might not like to face that truth, but it is indeed a truth everyone who wants to write and publish successfully has to face.

I'll go into more detail about that in a little bit but every writer out there needs some writing tips to help them get better.

And one of the best ways to get better at creative writing is to first learn and understand the craft of it, and then challenge yourself by completing writing exercises.

Because when your time comes to publish, you want a high-quality final product in order to actually sell your book and acquire raving fans.
Here's what you'll learn about creative writing:

1. What is creative writing?

2. Creative writing topics

3. Elements of creative writing

4. Examples of creative writing

5. 9 powerful creative writing exercises

What is Creative Writing?

Creative writing is a form of writing where creativity is at the forefront of its purpose through using imagination, creativity, and innovation in order to tell a story through strong written visuals with an emotional impact, like in poetry writing, short story writing, novel writing, and more.

It's often seen as the opposite of journalistic or academic writing.

When it comes to writing, there are many different types. As you already know, all writing does not read in the same way.

Creative writing uses senses and emotions in order to create a strong visual in the reader's mind whereas other forms of writing typically only leave the reader with facts and information instead of emotional intrigue.

It can be a book series or a single installation, the factors that make up creative writing have more to do with how it sits with the reader artistically.

What are the Elements of Creative Writing?

In order to get better at creative writing, you have to understand the elements of what makes writing a book great.

You can't build a car engine without understanding how each part plays a role, right...?

That's the same case with writing.

And just a note, this is all stuff we cover, and you get to talk about 1-on-1 with your coach when you join Self-Publishing School.

Here are the elements that make up creative writing and why each is just as important as the other.

Unique Plot

What differentiates creative writing and other forms of writing the most is the fact that the former always has a plot of some sort - and a unique one.

Yes, remakes are also considered creative writing, however, most creative writers create their own plot formed by their own unique ideas. Without having a plot, there's no story.

And without a story, you're really just writing facts on paper, much like a journalist. Learn how to plot your novel and you'll open up the possibility of writing at a higher level without the need to find your story as much.

Character development

Characters are necessary for creative writing. While you can certainly write a book creatively using the second person point of view (which I'll cover below), you still have to develop the character in order to tell the story.

Character development can be defined as the uncovering of who a character is and how they change throughout the duration of your story. From start to end, readers should be able to understand your main characters deeply.

Underlying Theme

Almost every story out there has an underlying theme or message - even if the author didn't necessarily intend for it to. But creative writing needs that theme or message in order to be complete.

That's part of the beauty of this form of art. By telling a story, you can also teach lessons.

Visual Descriptions

When you're reading a newspaper, you don't often read paragraphs of descriptions depicting the surrounding areas of where the events took place. Visual descriptions are largely saved for creative writing.

You need them in order to help the reader understand what the surroundings of the characters look like.

Show don't tell writing pulls readers in and allows them to imagine themselves in the characters' shoes - which is the reason people read.

Point of View

There are a few points of views you can write in. That being said, the two that are most common in creative writing are first person and third person.

First Person - In this point of view, the narrator is actually the main character. This means that you will read passages including, "I" and understand that it is the main character narrating the story.

Second Person - Most often, this point of view isn't used in creative writing, but rather instructional writing - like this blog post. When you see the word "you" and the narrator is speaking directly to you, it's second person point of view.

Within this point of view are a few different variations. You have third person limited, third person multiple, and third person omniscient. The first is what you typically find. Third Person -

Third person limited's narrator uses "he/she/they" when speaking about the character you're following. They know character's inner thoughts and feelings but nobody else's. It's much like first person, but instead of the character telling the story, a narrator takes their place.

Third person multiple is the same as limited except that the narrator now knows the inner thoughts and feelings of several characters.

The last, third person omniscient, is when the narrator still uses "he/she/they" but has all of the knowledge. They know everything about everyone.

While non-creative writing can have dialogue (like in interviews), that dialogue is not used in the same way as it is in creative writing. Creative writing (aside from silent films) requires dialogue to support the story.

Your characters should interact with one another in order to further the plot and develop each character other more.

Imaginative Language

Part of what makes creative writing creative is the way you choose to craft the vision in your mind.

And that means creative writing uses more anecdotes, metaphors, similes, figures of speech, and other figurative language in order to paint a vivid image in the reader's mind.

Emotional Appeal

All writing can have emotional appeal. However, it's the entire goal of creative writing. Your job as a writer is to make people feel how you want them to by telling them a story.

Creative Writing Examples

Since creative writing covers such a wide variety of writing, we wanted to break down the different types of creative writing out there to help you make sense of it. You may know that novels are considered creative writing, but what about memoirs?

Here are examples of creative writing:

9 Creative Writing Exercises to Improve Your Writing

Writing is just like any other skill. You have to work at it in order to get better.

It's also much like other skills because the more you do it, the stronger you become in it. That's why exercising your creative writing skills is so important.

How do you start creative writing?

The best authors out there, including Stephen King, recommend writing every single day. These writing exercises will help you accomplish that and improve your talent immensely.

#1 - Describe your day with creative writing

This is one of my favorite little exercises to keep my writing sharp and in shape.

Just like with missing gym sessions, the less you write, the more of that skill you lose. Hannah Lee Kidder, a very talented author and Youtuber, gave me this writing exercise and I have used it many times.

Creative Writing Exercise:

All you have to do is sit down and describe your day - starting with waking up - as if you were writing it about another person. Use your creative writing skills to bring life to even the dullest moments, like showering or brushing your teeth.

#2 - Description depiction

If you're someone who struggles with writing descriptions or you just want to get better in general, this exercise will help you do just that - and quickly.

In order to improve your descriptions, you have to write them with a specific intention.

With this exercise, the goal is to write your description with the goal of showing the reader as much as you can about your character without ever mentioning them at all.

#3 - Edit your old writing

Believe it or not, editing does count as writing and can actually sharpen those creative writing skill more than you think.

It can be a little scary to pull up a story you wrote last week or even two years ago and tear it apart. But that's exactly what I want you to do.

Check out this video of me editing my old writing in order to replace weak verbs with stronger, better ones to get a taste of what this can look like and how it can help you get better.

One of my favorite parts of writing is giving unique voices to each character. I believe that's what truly brings them to life.

Their dialogue as the power to pull readers in, or push them out of the book completely.

Obviously, you want the former.

During this creative writing exercise, your focus will be to pick 4 different emotional states and write dialogue and narrative of how your character feels and interprets those feelings.

Creative Writing Exercise:

For this one, craft a character in your mind. It can be one you already created or a completely new one.

Choose your 4 emotional states - and get creative. You can choose sadness, anger, happiness, and excitement BUT you can also go a bit further and choose to use drunk, flirty, terrified, and eager.

After you have 4 emotional states, write one page of each using dialogue and narrative your character would use.

#5 - Single senses

Creating strong visuals is one of the most powerful ways to become a great creative writer. In fact, practicing this will help you craft books that really hook readers.

This exercise's goal is to help you develop writing the senses in ways that not only make sense, but are also imaginative and unique.

#6 - Dialogue destruction

During this exercise, you will learn a lot about how to write a scene using entirely dialogue.

Now, this isn't something you'll always do in your writing, but it's very important to know how to move a scene forward using dialogue if you need to.

This will also help you understand how to show and not tell in creative writing.

Creative Writing Exercise:

To start, choose a scene you wrote previously that has little to no dialogue, but is still very important.

Next, rewrite the entire thing using dialogue (including dialogue tags and body language descriptions). You will quickly become better at using dialogue to show and not tell.

#7 - Tell the origin story of the Tooth Fairy

This writing exercise will really help you think creatively about something a large part of the world knows about.

However, you have to think of a very unique, interesting way of presenting this common idea. The purpose of this is to help you dig deeper within your own story and plot in order to come up with the very best, most unique ideas - because is what will stand out in your book.

Creative Writing Exercise:

Begin this story like you would any other. Develop who the very first Tooth Fairy is and understand their character. Then, start creating a backstory that coincides with how they ended up becoming the tooth fairy.

Write this in full, ending with the Tooth Fairy taking their first tooth.

#8 - Thematic attic

This is a fun one! The idea behind this creative writing exercise is to focus on interpreting themes through story.

Since all creative writing has an underlying theme behind it, it's really important for you to be able to accurately depict that theme throughout the story you're telling.

Otherwise, it can get lost. Not knowing the theme can often leave readers feeling unsatisfied - and rightfully so.

Creative Writing Exercise:

For this exercise, pick an overarching theme you want to focus on. This can be anything from equality to the difference between right and wrong.

Next, craft a short story with the setting being and do your best to make sure that theme shines through

Get creative! Your attic can even contain a portal to another dimension if you really want it to.

#9 - Break language barriers

This isn't what you think it is. So no, we will not be creating new languages with this exercise.

Instead, we'll be working on using unique language to describe very common, everyday occurrences and experiences.

One of the beauties of creative writing is that you have the power to change the way someone sees the world. You can make it more appealing and special to them - if you know how.

This exercise will help you develop the skill of using a unique narrative within your story.

Creative Writing Exercise:

In this creative writing exercise, you'll start by reading. You can read a new book or even some of your old writing.
Here's an example:
Highlight or copy sentences or paragraphs you think are very common experiences that most everyone in the world knows of. For example: the sunset, brushing your teeth, looking up at the sky.

Your job is to rewrite these experiences in the most unique way you can using visuals that you don't normally see in writing.<

BEFORE - The sun set beyond the trees.

AFTER - The trees tucked the sun in for the night.
Disclosure: Some of the links above may contain affiliate partnerships, meaning, at no additional cost to you, Self-Publishing School may earn a commission if you click through to make a purchase.
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Creative Writing: How to Get Started with Creative Writing [+ 9 Exercises]

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Creative writing is one of those skills you can eternally get better at, but often suck at when you start... I've been there. I've so been there. Now, we're not saying your creative writing is bad necessarily, but just that if you want to continue to push yourself in this industry, you'll need some work since literature is more competitive now than it ever has been.

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Collaborative

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financing movies be tough

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Financing Movies for independent filmmakers is one of the most challenging aspects of the movie making process. You can have the greatest screenplay, the most talented cast and stellar movie locations - but without movie money, you are just another would-be filmmaker with a dream and a passion. The film finance articles at Filmmaking Stuff provide tips on how to view independent filmmaking as a business.

Note: Check out our film finance system: www.GetMovieMoney.com

Note: Check out our film finance system: www.GetMovieMoney.com

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Financing Movies | How To Get Movie Money

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Financing Movies for independent filmmakers is one of the most challenging aspects of the movie making process. You can have the greatest screenplay, the most talented cast and stellar movie locations - but without movie money, you are just another would-be filmmaker with a dream and a passion.

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LibGuides: Research Methods: What are research methods?

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A guide to research methods, and search strategies for finding research.

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listening to others and learn

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Symbiosis (from Greek συμβίωσις, symbíōsis, "living together", from σύν, sýn, "together", and βίωσις, bíōsis, "living") is any type of a close and long-term biological interaction between two different biological organisms, be it mutualistic, commensalistic, or parasitic. The organisms, each termed a symbiont, must be of different species. In 1879, Heinrich Anton de Bary defined it as "the living together of unlike organisms". The term was subject to a century-long debate about whether it should specifically denote mutualism, as in lichens. Biologists have now abandoned that restriction.[citation needed ]

Symbiosis can be obligatory, which means that one or more of the symbiosis depend on each other for survival, or facultative (optional), when they can generally live independently.

Symbiosis is also classified by physical attachment. When symbionts form a single body it is called conjunctive symbiosis, while all other arrangements are called disjunctive symbiosis. When one organism lives on the surface of another, such as head lice on humans, it is called ectosymbiosis; when one partner lives inside the tissues of another, such as Symbiodinium within coral, it is termed endosymbiosis.

The definition of symbiosis was a matter of debate for 130 years. In 1877, Albert Bernhard Frank used the term symbiosis to describe the mutualistic relationship in lichens. In 1878, the German mycologist Heinrich Anton de Bary defined it as "the living together of unlike organisms". The definition has varied among scientists, with some advocating that it should only refer to persistent mutualisms, while others thought it should apply to all persistent biological interactions (in other words, to mutualism, commensalism, and parasitism, but excluding brief interactions such as predation). In the 21st century, the latter has become the definition widely accepted by biologists.

In 1949, Edward Haskell proposed an integrative approach with a classification of "co-actions", later adopted by biologists as "interactions".

Relationships can be obligate, meaning that one or both of the symbionts entirely depend on each other for survival. For example, in lichens, which consist of fungal and photosynthetic symbionts, the fungal partners cannot live on their own. The algal or cyanobacterial symbionts in lichens, such as Trentepohlia, can generally live independently, and their part of the relationship is therefore described as facultative (optional).

Endosymbiosis is any symbiotic relationship in which one symbiont lives within the tissues of the other, either within the cells or extracellularly. Examples include diverse microbiomes: rhizobia, nitrogen-fixing bacteria that live in root nodules on legume roots; actinomycetes, nitrogen-fixing bacteria such as , which live in alder root nodules; single-celled algae inside reef-building corals; and bacterial endosymbionts that provide essential nutrients to about 10%-15% of insects.[citation needed ]

Ectosymbiosis is any symbiotic relationship in which the symbiont lives on the body surface of the host, including the inner surface of the digestive tract or the ducts of exocrine glands. Examples of this include ectoparasites such as lice; commensal ectosymbionts such as the barnacles, which attach themselves to the jaw of baleen whales; and mutualist ectosymbionts such as cleaner fish.

Competition can be defined as an interaction between organisms or species, in which the fitness of one is lowered by the presence of another. Limited supply of at least one resource (such as food, water, and territory) used by both usually facilitates this type of interaction, although the competition may also exist over other 'amenities', such as females for reproduction (in the case of male organisms of the same species).

Mutualism or interspecies reciprocal altruism is a long-term relationship between individuals of different species where both individuals benefit. Mutualistic relationships may be either obligate for both species, obligate for one but facultative for the other, or facultative for both.

A large percentage of herbivores have mutualistic gut flora to help them digest plant matter, which is more difficult to digest than animal prey. This gut flora is made up of cellulose-digesting protozoans or bacteria living in the herbivores' intestines. Coral reefs are the result of mutualism between coral organisms and various types of algae which live inside them. Most land plants and land ecosystems rely on mutualism between the plants, which fix carbon from the air, and mycorrhyzal fungi, which help in extracting water and minerals from the ground.

An example of mutualism is the relationship between the ocellaris clownfish that dwell among the tentacles of Ritteri sea anemones. The territorial fish protects the anemone from anemone- eating fish, and in turn the stinging tentacles of the anemone protect the clownfish from its predators. A special mucus on the clownfish protects it from the stinging tentacles.

A further example is the goby, a fish which sometimes lives together with a shrimp. The shrimp digs and cleans up a burrow in the sand in which both the shrimp and the goby fish live. The shrimp is almost blind, leaving it vulnerable to predators when outside its burrow. In case of danger, the goby touches the shrimp with its tail to warn it. When that happens both the shrimp and goby quickly retreat into the burrow. Different species of gobies (Elacatinus spp.) also clean up ectoparasites in other fish, possibly another kind of mutualism.

A non-obligate symbiosis is seen in encrusting bryozoans and hermit crabs. The bryozoan colony ( Acanthodesia commensale) develops a cirumrotatory growth and offers the crab ( Pseudopagurus granulimanus) a helicospiral-tubular extension of its living chamber that initially was situated within a gastropod shell.

Many types of tropical and sub-tropical ants have evolved very complex relationships with certain tree species.

In endosymbiosis, the host cell lacks some of the nutrients which the endosymbiont provides. As a result, the host favors endosymbiont's growth processes within itself by producing some specialized cells. These cells affect the genetic composition of the host in order to regulate the increasing population of the endosymbionts and ensure that these genetic changes are passed onto the offspring via vertical transmission ( heredity).

A spectacular example of obligate mutualism is the relationship between the siboglinid tube worms and symbiotic bacteria that live at hydrothermal vents and cold seeps. The worm has no digestive tract and is wholly reliant on its internal symbionts for nutrition. The bacteria oxidize either hydrogen sulfide or methane, which the host supplies to them. These worms were discovered in the late 1980s at the hydrothermal vents near the Galapagos Islands and have since been found at deep-sea hydrothermal vents and cold seeps in all of the world's oceans.

As the endosymbiont adapts to the host's lifestyle, the endosymbiont changes dramatically. There is a drastic reduction in its genome size, as many genes are lost during the process of metabolism, and DNA repair and recombination, while important genes participating in the DNA-to-RNA transcription, protein translation and DNA/RNA replication are retained. The decrease in genome size is due to loss of protein coding genes and not due to lessening of inter-genic regions or open reading frame (ORF) size. Species that are naturally evolving and contain reduced sizes of genes can be accounted for an increased number of noticeable differences between them, thereby leading to changes in their evolutionary rates. When endosymbiotic bacteria related with insects are passed on to the offspring strictly via vertical genetic transmission, intracellular bacteria go across many hurdles during the process, resulting in the decrease in effective population sizes, as compared to the free-living bacteria. The incapability of the endosymbiotic bacteria to reinstate their wild type phenotype via a recombination process is called Muller's ratchet phenomenon. Muller's ratchet phenomenon, together with less effective population sizes, leads to an accretion of deleterious mutations in the non-essential genes of the intracellular bacteria. This can be due to lack of selection mechanisms prevailing in the relatively "rich" host environment.

Commensalism describes a relationship between two living organisms where one benefits and the other is not significantly harmed or helped. It is derived from the English word commensal, used of human social interaction. It derives from a medieval Latin word meaning sharing food, formed from com- (with) and mensa (table).

Commensal relationships may involve one organism using another for transportation ( phoresy) or for housing ( inquilinism), or it may also involve one organism using something another created, after its death ( metabiosis). Examples of metabiosis are hermit crabs using gastropod shells to protect their bodies, and spiders building their webs on plants.

In a parasitic relationship, the parasite benefits while the host is harmed. Parasitism takes many forms, from endoparasites that live within the host's body to ectoparasites and parasitic castrators that live on its surface and micropredators like mosquitoes that visit intermittently. Parasitism is an extremely successful mode of life; about 40% of all animal species are parasites, and the average mammal species is host to 4 nematodes, 2 cestodes, and 2 trematodes.

Mimicry is a form of symbiosis in which a species adopts distinct characteristics of another species to alter its relationship dynamic with the species being mimicked, to its own advantage. Among the many types of mimicry are Batesian and Müllerian, the first involving one-sided exploitation, the second providing mutual benefit. Batesian mimicry is an exploitative three-party interaction where one species, the mimic, has evolved to mimic another, the model, to deceive a third, the dupe. In terms of signalling theory, the mimic and model have evolved to send a signal; the dupe has evolved to receive it from the model. This is to the advantage of the mimic but to the detriment of both the model, whose protective signals are effectively weakened, and of the dupe, which is deprived of an edible prey. For example, a wasp is a strongly-defended model, which signals with its conspicuous black and yellow coloration that it is an unprofitable prey to predators such as birds which hunt by sight; many hoverflies are Batesian mimics of wasps, and any bird that avoids these hoverflies is a dupe. In contrast, Müllerian mimicry is mutually beneficial as all participants are both models and mimics. For example, different species of bumblebee mimic each other, with similar warning coloration in combinations of black, white, red, and yellow, and all of them benefit from the relationship.

Amensalism is an asymmetric interaction where one species is harmed or killed by the other, and one is unaffected by the other. There are two types of amensalism, competition and antagonism (or antibiosis). Competition is where a larger or stronger organism deprives a smaller or weaker one from a resource. Antagonism occurs when one organism is damaged or killed by another through a chemical secretion. An example of competition is a sapling growing under the shadow of a mature tree. The mature tree can rob the sapling of necessary sunlight and, if the mature tree is very large, it can take up rainwater and deplete soil nutrients. Throughout the process, the mature tree is unaffected by the sapling. Indeed, if the sapling dies, the mature tree gains nutrients from the decaying sapling. An example of antagonism is Juglans nigra (black walnut), secreting juglone, a substance which destroys many herbaceous plants within its root zone.

Amensalism is often used to describe strongly asymmetrical competitive interactions, such as between the Spanish ibex and weevils of the genus which feed upon the same type of shrub. Whilst the presence of the weevil has almost no influence on food availability, the presence of ibex has an enormous detrimental effect on weevil numbers, as they consume significant quantities of plant matter and incidentally ingest the weevils upon it.

Cleaning symbiosis is an association between individuals of two species, where one (the cleaner) removes and eats parasites and other materials from the surface of the other (the client). It is putatively mutually beneficial, but biologists have long debated whether it is mutual selfishness, or simply exploitative. Cleaning symbiosis is well known among marine fish, where some small species of cleaner fish, notably wrasses but also species in other genera, are specialised to feed almost exclusively by cleaning larger fish and other marine animals.

Symbiosis is increasingly recognized as an important selective force behind evolution; many species have a long history of interdependent co-evolution.

One hypothesis for the origin of the nucleus in eukaryotes (plants, animals, fungi, and protists) is that it developed from a symbiogenesis between bacteria and archaea. It is hypothesized that the symbiosis originated when ancient archaea, similar to modern methanogenic archaea, invaded and lived within bacteria similar to modern myxobacteria, eventually forming the early nucleus. This theory is analogous to the accepted theory for the origin of eukaryotic mitochondria and chloroplasts, which are thought to have developed from a similar endosymbiotic relationship between proto-eukaryotes and aerobic bacteria. Evidence for this includes the fact that mitochondria and chloroplasts divide independently of the cell, and that these organelles have their own genome.

The biologist Lynn Margulis, famous for her work on endosymbiosis, contended that symbiosis is a major driving force behind evolution. She considered Darwin's notion of evolution, driven by competition, to be incomplete and claimed that evolution is strongly based on co-operation, interaction, and mutual dependence among organisms. According to Margulis and her son Dorion Sagan, " Life did not take over the globe by combat, but by networking."

Mycorrhizas

About 80% of vascular plants worldwide form symbiotic relationships with fungi, in particular in arbuscular mycorrhizas.

Pollination

Flowering plants and the animals that pollinate them have co-evolved. Many plants that are pollinated by insects (in entomophily), bats, or birds (in ornithophily) have highly specialized flowers modified to promote pollination by a specific pollinator that is correspondingly adapted. The first flowering plants in the fossil record had relatively simple flowers. Adaptive speciation quickly gave rise to many diverse groups of plants, and, at the same time, corresponding speciation occurred in certain insect groups. Some groups of plants developed nectar and large sticky pollen, while insects evolved more specialized morphologies to access and collect these rich food sources. In some taxa of plants and insects, the relationship has become dependent, where the plant species can only be pollinated by one species of insect.

Acacia ants and acacias

The acacia ant ( Pseudomyrmex ferruginea) is an obligate plant ant that protects at least five species of "Acacia" () from preying insects and from other plants competing for sunlight, and the tree provides nourishment and shelter for the ant and its larvae.

1. ^ Miller, Allie. "Intricate Relationship Allows the Other to Flourish: the Sea Anemone and the Clownfish". AskNature. The Biomimicry Institute.

2. ^ "symbiosis." Dorland's Illustrated Medical Dictionary. Philadelphia: Elsevier Health Sciences, 2007. Credo Reference. Web. 17 September 2012

3. ^ Martin, Bradford D.; Schwab, Ernest (2012), "Symbiosis: 'Living together' in chaos", Studies in the History of Biology, 4 (4): 7-25

4. ^ Frank, A.B. (1877). "Über die biologischen Verkältnisse des Thallus einiger Krustflechten" [On the biological relationships of the thallus of some crustose lichens]. Beiträge zur Biologie der Pflanzen (in German). 2: 123-200. From p. 195: "Nach den erweiterten Kenntnissen, die wir in den letzten Jahren über das Zusammenleben zweier verschiedenartiger Wesen gewonnen haben, ist es ein dringendes Bedürfniss, die einzelnen von einander abweichenden Formen dieser Verhältnisse mit besonderen Bezeichnungen to belegen, da man fast für alle bisher den Ausdruck Parasitsmus gebrauchte. Wir müssen sämmtliche Fälle, wo überhaupt ein Auf- oder Ineinanderwohnen zweier verschiedener Species stattfindet, unter einen weitesten Begriff bringen, welcher die Rolle, die beide Wesen dabei spielen, noch nicht berücksichtigt, also auf das blosse Zusammenleben begründet ist, und wofür sich die Bezeichnung Symbiotismus empfehlen dürfte." (In the aftermath of the expanded knowledge that we have acquired in recent years about the coexistence of two distinct living things, there is an urgent need to bestow specific designations on the different individual forms of these relationships, since up till now one has used for almost all [of them] the term "parasitism". We must bring all cases, wherever one of two different species lives on or in the other, under the broadest concept which does not consider the roles that the two living things play thereby ([and] thus is based on mere coexistence) and for which the designation symbiotismus [i.e., symbiosis] might be suggested.)

5. (Subscription or ^ . Oxford English Dictionary (Online ed.). Oxford University Press. participating institution membership required.)

6. ^ de Bary (14 September 1878). "Ueber Symbiose" [On Symbiosis]. Tageblatt für die Versammlung deutscher Naturforscher und Aerzte (in Cassel) [Daily Journal for the Conference of German Scientists and Physicians] (in German). 51: 121-126. From p. 121: " ... des Zusammenlebens ungleichnamiger Organismen, der Symbiose, ... " ( ... of the living together of unlike organisms, symbiosis, ... )

Reprinted in: de Bary (1879). Die Erscheinung der Symbiose [The Phenomenon of Symbiosis] (in German). Strassburg, Germany (now: Strasbourg, France): Karl J. Trübner. p. 5.

French translation: de Bary (1879). "De la symbiose" [On symbiosis]. Revue Internationale des Sciences (in French). 3: 301-309. See p. 301.

See also: Egerton, Frank N. (January 2015). "History of ecological sciences, Part 52: Symbiosis studies". Bulletin of the Ecological Society of America. 96 (1): 80-139. doi:10.1890/0012-9623-96.1.80.

7. Haskell, E. F. (1949). A clarification of social science. ^ Main Currents in Modern Thought 7: 45-51.

8. ^ Burkholder, P. R. (1952). "Cooperation and Conflict among Primitive Organisms". American Scientist. 40 (4): 601-631. JSTOR 27826458.

9. Bronstein, J. L. (2015). The study of mutualism. In: Bronstein, J. L. (ed.). ^ Mutualism. Oxford University Press, Oxford. link.

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# data[].attributes.attachment_link.description
Symbiosis (from Greek συμβίωσις, symbíōsis, "living together", from σύν, sýn, "together", and βίωσις, bíōsis, "living") is any type of a close and long-term biological interaction between two different biological organisms, be it mutualistic, commensalistic, or parasitic. The organisms, each termed a symbiont, must be of different species.

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evolve with technology

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writing be tough

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with locals for their town and message

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local is key

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Messy Process