4. Insurance - Life insurance- attractive to people with families. Private health insurance or disability insurance. 5. pension money you reasave regulary, at a point of age you cant work any more 6. workers `compensation offered by company when you have a work realated accident 7. fringe benefits Benefits offered by companis that are from theire own will, these benefits are not aquired by law. 8. Remuneration money erned by a peson, an organization or a country, Payment that you get for your work 9. Weighting - Extra amount of pay given because you work in an area where it is expensive to live. 10. Perk sometihing exstra you get from a job, like fringe benefits, but it can have no monetary value, like a chance to travel. 11. royalty A payment that someone such as a writer or musician gets each time their work is sold or performed. HOW COMPANIES ADVERTISE 1
Time magazine editor, Lance Morrow, described his own reaction similarly: "At first the coup seemed to confirm the norm. The news administered a dark shock, followed immediately by a depressed sense of resignation: of course, of course, the Russians must revert to their essential selves, to their own history. Gorbachev and glasnost were an aberra- tion; now we are back to fatal normality" (1991). But these were not to be normal times. For one thing, Gorbachev had not gov- erned in the tradition of the czars or Stalin or any of the line of oppressive post- War rulers who had not allowed even a breath of freedom to the masses. He had ceded them certain rights and choices. And when these now established freedoms were threatened, the people lashed out the way a dog would if someone tried taking a fresh bone from its mouth. Within hours of the junta's announcement, thousands were in the streets erecting barricades, confronting armed troops, sur-
tend to be polarized like two essential forces o f nature, electricity and m a g n e t i s m . L i k e them, stories create energy or exert force through polarities that organize the elements present into opposing camps w i t h contrasting properties and orientations. Polarity is an essential principle o f storytelling, gov erned by a few simple rules but capable of generating infinite conflict, complexity, and audience involvement. A story needs a sense of oneness — unity — to feel like a satisfying and complete expression. It needs a single theme — a spine — something to unite it into a coherent work. But a story also needs a level of two-ness, a dimension of duality, to create tension and the possibility of movement. As soon as you choose a single
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