[Rough Book Part 2 Movie Download Hd
Julieann Rohde
There are several things to note from the close up image. In this image the bottom of the part (which lies on the printing surface) is on the right, the open part of the box (the top) is on the left. The roughness starts before the nub in the center but goes away in the layers that contain the nub. As the print proceeds towards the top the roughness gets worse with the exception of a small section that lines up exactly with layers where a countersink hole on the surface adjacent to the rough surface is located. And the roughness does not go all the way across the surface, but does continue to span more of the surface as it gets nearer to the top of the print. The roughness also shows up on the inside of the wall as well.
I have printed a couple of these parts and all of them show this problem on the surface that faces the rear of the printer. I was thinking of rotating the part and printing another one just to see if it again occurs on the rear facing surface, but was hoping that someone might be able to give me a hint about what might be going on here thus saving me time and material.
Is the roughness from over extruding (bumps extending outside the wall) or under extruding (pits in the wall)? I had problems with my filament binding as the print got tall causing under extruding. It only happened on one wall because of the direction of travel of the print head. I finally figured it out when I heard the filament clicking during print, and started watching it.
Overextruding seems implausible imo. I think its most likely some other problem. The number 1 suspect would be that the nozzle is closer to the part than it should be, creating the appearance of over extrusion. Perhaps something with the z kinematics of the printer then? Or a wobbling bed?
Hard to tell with this pictures.
The rough surface is visible at a lower z height as well (tiny bit), maybe your filament is partially hard to pull, causing under extrusion?
How is your extruder fed?
The extruder itself is the 0.4mm extruder that came with the dual extruder head. I did not calibrate the extruder at this point. I briefly looked at a couple of the postings in the forum and will look at them more in depth in a bit.
I created a new box scaled down in two dimensions - 40mm in both X & Y dimensions, but 120mm high like the last box. I also made the bottom of the box just a rectangular ring. These changes were primarily to reduce the print time. I included nubs and holes like the original box (but not exactly the same size or placement).
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To me, the rough draft is the most difficult part of the writing process. Revising and publishing are the fun and easy parts. I know many other writers also struggle with their rough drafts. The idea for the story is exciting, and the first chapter leaps right from the fingertips, but things quickly bog down. Excitement wanes. Doubts creep in. The inner critic takes over.
There are two elements to writing that are often in conflict with one another. The first of these elements is plot, or the dry facts of what happens in a story, where it happens, whom it happens to. The other element is prose, or the words chosen to describe these events. Finding the perfect balance between the two is the key to writing your best novel.
When writing a rough draft, the truth of this is critical. Rough drafts are often like detailed outlines, so that the author can see the entirety of their novel. The prose is punched up in the revising. And over time, the writer will get stronger both in plot and prose, so that the rough draft needs less work in the revision process.
The best way to kill your chances as a writer is to attempt to write like one. We all fall into this trap. When pounding out a Facebook post, or a comment on a forum, or an email to a friend, we write like the wind. The words tumble right out, and the meaning we hope to convey is succinct and clear.
If you remember back to the last part of this series, insight #3 was that a career in writing is a marathon, not a sprint. As a hopeful author, you need to take the long view of your career and trust in the process. There are no shortcuts. You might have to write a dozen novels before you break through. This same bit of patience will get you through your individual rough drafts as well.
I want to tell you about making it through my first rough draft, the thing that changed to allow twenty years of frustration to suddenly morph into success after success. Those twenty years, you see, were spent wishing I was a writer, rather than spending my time writing. The same might be true for you. We spend hours and days and years wishing we were getting writing done, while not writing.
We all have that time. For me, I gave up the hours I spent playing videogames and watching TV. I kept the time spent with my family, the time I spent hiking, and going to work, and cooking, and household chores. I just gave up some passive entertainment and replaced it with writing-as-a-professional entertainment. I soon found myself going to sleep earlier and waking up when the house was nice and quiet to write before the sun came up. Perhaps you find your writing hour after everyone has gone to bed. Or during your lunch break. Make it consistent; make it daily; make it happen.
What used to kill my writing process were the hours spent staring at an open document not knowing what to write next. Writing should not take place behind a keyboard. Your computer has too many ways of distracting you, and nothing puts on the pressure like a blank page and a blinking cursor. The time to write is all the quiet hours spent away from the computer. This is a challenge, because we have become allergic to quiet time. The aspiring writer needs to fix this immediately and with absolute stringency.
For instance, instead of going over conversations I wanted to have with my boss, beyond the usefulness of such thoughts, I started listening to conversations between my characters. While doing rote tasks at work and home (cooking, dusting, shelving books, mowing the lawn), I thought about the next scene in my novel, or fleshed out the world a bit more, or thought about what my characters are really like. The goal was to know my next scene before I got back to the computer. I especially found that the time I spent in bed, waiting to fall asleep, was very useful for thinking about my story.
You have the first act, where the world and characters are introduced and the stakes are set. Here, the reader gets to know what the main characters are aspiring to accomplish or overcome.
In the third act, by some change they undergo or some personal growth they achieve, our protagonists overcome their obstacles and reach their goals. They solve the case, get the boy, or slay the dragon.
Whatever the root cause, it seems that the crux we discussed most often occurs during the transition from the second act to the third. Here we are writing about the odds our characters overcome and how they manage to pull this off. What clues does the detective unravel? What does the farm girl discover about herself? How does the boy nearly lose the girl but resolve that conflict in the end?
Knowing how to tackle the crux ahead of time is the best option. But if you do get stuck, walk away from the novel and spend hour after hour daydreaming of as many solutions and paths as possible. Seize upon the one that gives you a Eureka! moment.
Once you see the potential in skipping scenes, the demarcation between pantsing and plotting truly disappears. Someone who writes an outline is simply creating a rough draft where every scene is skipped. You make dozens or even hundreds of little notes as you jot your way to the end of the story. And then you begin the revision process by turning those notes into bridges, linking each one up to the next. Pantsing, then, becomes nothing more than very detailed outlining. Just as outlining is little more than bare-bones pantsing.
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