Women in Policing Essay Example

Women in Policing Essay Example Women in Policing Essay Women in Policing Essay This research originates with a question or problem: Women police officers experience disparate treatment. The research will address and identify the social causes and effects of how the occurrence of disparate treatment of women officers correlates with discrimination, sexual harassment, advancement limits and retention problems. The goal of this research Is articulated as: It Is a goal of society for law enforcement agencies to represent the communities they serve. In order to achieve this goal, it is important for law enforcement agencies to identify and address the adverse affects of disparate treatment of women in law enforcement. Research on the problem of aspirate treatment of women officers in law enforcement follows a specific plan. The research begins with problem formation and a topic outline. The research design is explained in the introduction thesis and the outline defines the research question. The research divides the problem into sub-problems. A cause and effect analysis was chosen to Identify the social causes and effects of how the occurrence of disparate treatment of women officers correlates with the subtopics of discrimination, sexual harassment, advancement limits and retention problems. Research objectives were guided by the cause and effect analysis of the problem by utilizing the analysis to formulate research question and hypothesis. The research objectives were guided by a literature review. A hypothesis is advanced about what is expected to happen in the research. The research is designed to look at the relationship between disparate treatment of women police officers and discrimination, sexual harassment, advancement limits and retention problems. This research Is designed to assess the hypothesis, Women police officers experience disparate treatment. This research accepts certain critical assumptions. The 1 org research Is millennial Decease AT ten vitality AT ten assumptions. I en statement AT assumptions as the foundation of the research is as follows, This research is designed to assess the hypothesis that women police officers experience disparate treatment. To understand the implications of these critical assumptions for theory and research, experiences and attitudes of sample groups of male and women officers were explored. A method and content analysis of survey data revealed conclusions which supported the hypothesis. Implications of the research of disparate treatment of women police officers will be discussed in the report findings and discussion. This discussion incorporates other researchers views with a dialogue of how the literature review relates to the research being conducted. The research methodology will conceptualize the disparate treatment of women officers in law enforcement. Specific research procedures, such as survey questions, were developed which resulted in empirical observations representing those concepts in the real world. The literature review provides a detailed identification of the overall relevance to existing research as it relates to empirical research of the adverse affects associated tit disparate treatment of women officers in law enforcement. The harms of under representation of women in policing include discrimination, sexual harassment, advancement limits, retention problems, damaged community relations, ineffective response to violence against women, and the excessive force complaints that accompany a void of women in policing. In order to discuss the current status of women in law enforcement, it is important to review the history of women in the profession. Law enforcement has traditionally been a male dominated field ever since the mid-19th century and has been slow to accept women into its ranks. Women in policing make up less than 15 percent of all police officers in the United States (Harrington 2001). Women face many obstacles, and yet have brought about changes in policing. The Jobs available to policewomen were limited until the Civil Rights Act of 1964, (Essen 1999). In the early sasss, law enforcement agencies only hired men as police officers. This was a result of societys view that women were not fit to be police officers (Harrington and Lindsay 2006). In 1971 women accounted for only 1. 4 percent of all police officers. Today women in policing make up more than 13 recent of police officers. Women have made progress in their numbers in recent years but women are still underrepresented in all ranks in policing and women face many obstacles. The Supreme Court applied Title VII of the Civil Rights Act to law enforcement in 1972. Agencies could be sued for discriminating against qualified women. In some cases, the courts issued consent decrees which forced agencies to hire qualified women. Many law enforcement agencies used height and weight limits to prevent women from meeting the qualifications until the courts struck down this practice in 1977 in Dotard vs.. Rawlins. The International Association of Chiefs of Police (CAP) conducted a survey and found that women in policing are both underused and undervalued in law enforcement. While they said that the number of women in policing is growing and progressing through the ranks, it also revealed that there are too few women in law enforcement, woman police officers still face Elocutionary tattletales Trot male emcees, police agencies lack strategies Tort recruiting women, woman police officers face advancement limits, sexual harassment still occurs in many departments, there are few mentoring programs for female officers and women make valuable contributions to community policing.

Protagonist How to Write a Kickass Main Character Readers Will LOVE

Protagonist How to Write a Kickass Main Character Readers Will LOVE Main Character: How to Write a Kickass Main Character Your Readers Will Love Readers will show up to your metaphorical yard for a good storybut they will come back for a good protagonistAnd well teach you how to write a main character your readers will love, root for, and even cry for.You have the story you want to tell. You know exactly how to write the novelhowever, youre not sure how to make your protagonist stand outsThe reason why so many popular books are a series of books (other than the author wanting to make a living writing several books). We all want to see the next adventure of a character we love.At some point, if you like the character enough, you stop caring what they are even getting up to (almost) and you just want to know more about them and their life.Think of any engaging character you’ve encountered in the past decade. These characters could have stopped after one go, but they keep coming back with new and interesting things to do. Sometimes they engage in stand-alone stories, other times their continuing adventures are part of the overall story structure that shows off their growth over a series.Here are some examples of great protagonists:Harry PotterSpidermanJack ReacherTony StarkThorKatniss Everdeen from Hunger GamesTobias Kaya of The Saviors ChampionAnybody that survives an episode of Game of Thrones†¦How to Write a Good Protagonist Your Readers Will RememberNot every character is worth coming back for. The staying power of a character comes from more than simply surviving the plot (though that usually helps).You need to do intense character development and give them some special quality and/or make them likable. In other words, make them kickass.While that is easier said than done, it isn’t too hard to do. Here are six ways to put some kick in your character.#1 Make Your Protagonist LikablePeople like to spend time with likable characters. Much like in real life, the off-putting people tend to get skipped over and left to the side.Think of any Tom Hanks character in any of his romantic comedies. He always plays a likeable guy, a guy you’d happily have over for dinner, spend the day with, hang with.His charisma and charm extend from there, making his characters in dramas more approachable.In the same way, if your make a character likable and personable, the reader will stick by them in the tough spots. They will care about the events that happen because they like the character. Consider the way a slasher flick sets up the characters. You know from the introduction who is going to survive the night and who isn’t. The heroes (usually a couple) stand for the same values as the audience. They are kind, good, and moral. They look out for their fellow characters in times of danger.A likable character sticks up for the little guy and adds a human quality to their supporting cast, even when that cast isn’t remotely human.When a character feels like a guide, it makes the reader feel safe. Especially in horror or thriller stories, you want the reader to be more excited to turn the page and see the next scene than they are hesitant.Examples of these likable main characters include: Harry PotterLeonard in the Big Bang TheoryJon Snow in Game of ThronesCaptain KirkTobias Kaya in The Saviors Champion#2 Make Them FunnyNot quite the same as likable and not quite the opposite either. Funny characters can get away with more than unfunny ones, but they can get annoying if pushed.Like any good joke, timing and delivery matter.Biting wit and a jocular look at the dangers all around make for some memorable character moments. Make writing dialogue for this type of character worth some outbursts of laughter and you’ll have your reader turning the pages with gleeful delight.Funny isn’t just jokes consisting of set up and punchline. You definitely don’t want to rely on a string of catchphrase utterance, no matter how much a Groot might work on occasion.The essence of wit is brevity. Quips work when they are insightful but also come from a real place. Be extra careful in establishing the backg round of a metacharacter. Deadpool’s humor doesn’t fly in all stories at all times.Funny can also mean awkward or accidentally funny.Think Ron in Harry Potter. He doesn’t mean to be funny†¦ he’s awkward, but in a lovable, hilarious way and we love him for it. The falls into trouble and falls back out of it style of character goes way back to Greek comedies. The setup for a comedy of errors relies on a likable fellow getting in over their heads and trying not to make a mess as they work it out.Examples of funny characters: Starlord and Rocket Raccoon in Guardians of the GalaxySherlock Holmes in the latest rebootsTyrian Lannister in Game of ThronesSimon Pegg’s Scotty#3 Make Your Protagonist PowerfulA character that lacks the ability to affect the world around them becomes tiresome. We want heroes challenged, sure, but we also want to know they can succeed. That when faced with the dangers of the plot and the villains they have a shot that, when it comes down to it, they can kick some ass.Tony Stark isn’t just a billionaire. He’s a billionaire genius. Take away his armor and he’s still a beloved figure with money, brains, fame and the awareness to point it all that out, if pressed on the subject.The reason we love underdog characters is because they are secretly the most powerful. They have the power to rise up and supersede the challenges, they just aren’t there yet. The likable, funny exterior makes you root for a character, but you want them to win in the end because they are better than the competition.If your character is a lawyer, they’re the best lawyer in town. If they are entering an academy to become a pilot, they are on the path to be the best pilot.A powerful character (ie- the best at something) garners respect from the reader. Remember to keep the character likable, a powerful character that uses their power to do harm becomes a villain. Redemption arcs aside, you want to avoid both a snotty character and a character that can’t be challenged.Powerful doesn’t mean perfect. One of the bonuses of being great at something is that people are quick to forgive them some of flaws. Tony Stark is arrogant. We forgive him that because there is a good reason why he’s arrogant.Genius characters can get away with being antisocial, wholesome characters can be naà ¯ve, and effective characters can be forgiven some moral grey areas.Unless you are writing noir, you want to keep the positives outshining the negatives. That balance can flip a bit for antiheroes (ie Deadpool, John Wick) but often takes a darker world to be effective.#4 Give Your Protagonist Trouble and ConflictConflict makes character. Conflict that stems from the characters internal conflicts leads to a different emotional response than conflict that stems from inevitable outside forces.Case in point, we immediately feel sorry for Jack and Rose because we know the Titanic is going down and there isn’t anything that either character could do to avoid that fate. We feel a lot less for Superman and Batman in their Doomsday fight when they need a device they casually tossed aside an hour ago.The more a conflict resonates with the reader, the more they can identify with the character. While saving the world from the terrible forces of an overwhelming alien order is fun, it isn’t relatable. It isn’t the kind of thing you are likely to face in a day.You personalize it by bringing it down to the granular. You make it about a particular personal loss, not all the losses.Examples of great conflict with protagonists:We empathize with Harry Potter because he’s an orphan, not because he’s a wizard in the wrong world.We understand what it’s like not to be believed, not so mu ch dying and being resurrected by magic like Jon Snow.We want to make a difference like Hawkeye, knowing that what we do matters even if we aren’t Thor level powerful.Be warned: there is a difference between the reader empathizing with a character and pitying them.Jack and Rose are good people enjoying life. They make the most of their last days.Harry Potter is a school kid trying his best. He (almost) never wallows in self-pity over his trials and problems.Thor loses his hammer and his eye. He makes jokes about his problems while trying to solve them instead of giving up.#5 Give Them Diverse CharacteristicsCharacter’s shouldn’t be one dimensional cardboard cut-outs. You want to make them rich and full.To this end, you don’t need to stick to one technique.As the preceding examples overlapped quite a bit, you see that mixing and matching works better than solo applications.Mix and match your protagonists characteristics like these examples: Tony Stark is powerful, likable, and funnyHarry Potter is likable, in a situation that’s relatable but outside his controlKirk is likable, often in danger outside himself, and has the skill to outpace his faultsYou don’t want to overdo it. A character that is trying to be too many things can become cluttered and confusing. Sometimes this is a result of the Superman problem, you can’t directly challenge a character designed to be too good.Flaws make for an anchor for a reader to project themselves into a character. Also, nobody likes a story where the plot dictates the effectiveness of the character from page to page.You also don’t want to alienate an audience by creating a dreaded Mary Sue (which is a perfect character who can never do wrong)†¦Leave room for flaws in your protagonist like these examples:Tony Stark is arrogant and a drunkHarry Potter lacks self-confidence and doesn’t get the girlDeadpool has cancer, is a jerk, and can’t seem to dieThe Cast of Game of Thrones is all too mortal, and largely unprotected by plot armor#6 Avoid Making a Passive CharacterA common mistake of first-time writers is to make characters reactive, otherwise known as passive.And you know just how much passive voice is a no-no in writing, passive characters are also frowned upon.While they might need to roll with the punches when they first splash into the deep end, you want them to drive the action soon after.A great character is proactive. They take charge, make a plan, and attack a problem with their skills and supporting cast.O ften, you can use the above techniques to define their approach to proactivity.Here are some questions to ask in order to learn how to avoid a passive character:Do they face their problems with a joke?Do they enlist the help of their cast of friends?Do they solve it with their power?Do they solve the problem by acknowledging that any effort matters because where they find themselves is not their fault?Keep in mind what fuels your character and they will always have a way to move forward. Not only that, the reader will be rooting for your charter as well.Great characters come from relatability and impact a reader by appealing to what we like to think about ourselves. A likable character engages a reader and can be a vector into a strange world.Likable characters humanize conflict and give readers a reason to care.Funny characters use their quips and whit to attack problems and keep the darkness at bay. We like to leave our fiction with a good feeling and jokes are how we cope with the worst of our issues.Powerful characters embody proactive approaches. A reader likes to see a character succeed and likes to know what a character is capable of so they can be in on the action, not blindsided by troubles and des ex machina.A reader likes to see real conflict. That is conflict that matters to a character and challenges the character. They don’t like to see pity and interpersonal wallowing.Think of your character like a friend. Do your best to advocate for them but remember that they aren’t you. Keep writing and let your characters speak for themselves.Start Writing a Bestseller Today (FREE class for you)This training isnt for everyone.If youre serious about writing a great fiction book that sells well (and consistently), then we have something for youIts your free training to take you from blank paged to published author!