Які нові мікропозики ви знаєте в Україні? Це в першу чергу ті, що видають кредити під нуль відсотків.
Коли справа стосується грошей до зарплати, використовувати позику по телефону дуже вигідно. Дзвониш і отримуєш гроші.
У будь-який час доби отримати дистанційну позику без відмови може людина навіть без офіційного працевлаштування.
Получить за 5 минут простой кредит на карту в Украине без звонков на работу и родственникам. Залог так же не нужен.
Частные кредиторы не всегда готовы переводить онлайн займ на карту Приватбанка, если у заемщика нет дохода.
Сьогодні вирішення фінансових проблем стало дуже простим. Просто потрібно зайти на сайт МФО і отримати позику на картку в Україні без відмови. Без відмов, дзвінків і поручителів кредит без працевлаштування на картку в Україні. Кращі рішення при складних фінансових справах. Новые МФО для привлечения клиентов предлагают кредит онлайн под 0 процентов. Нужен только паспорт и ИНН для получения.It seems redundant to list the applicable criteria for these cases here as every other immigration law website offers them as original content, often not bothering to provide much in the form of a meaningful commentary. That’s understandable, partly because these cases are hard to do and not easy to talk about. And they are even harder to win. This is one area of immigration law where templates are useless because each case presents a unique set of facts which never quite fit into them. These are cases where interpretation rules and adjudication guidelines permit and encourage a free reign of imagination and logical fallacies. These are also cases where simply possessing good evidence and average creative writing skills are not good enough because even good evidence can be obscured or, worse, discredited, by sloppy presentation or a half-baked argument.
The key to a successful filing in any of these immigrant visa categories is good composition. In my opinion, there exists no better treatise so directly applicable to the subject than “The Philosophy of Composition” (1846) by Edgar Allan Poe, a great American poet, writer, editor, and literary critic. We will never know whether Poe was joking or not when he discussed his methodology for writing “The Raven,” arguably, one of the greatest poems in the English language, but we do know that with some adaptation and commentary Poe’s treatise proves indispensable in describing the process of preparing extraordinary ability, outstanding researchers, and exceptional ability filings. For those who haven’t read the poem, here’s the plot. The narrator of the poem pines for his deceased love as he is visited by a talking bird, the raven. The raven knows only one word, “Nevermore.” In the narrator’s mind, which has a tendency for self-torture, the raven transforms into a prophet bringing news that the lovers will never be reunited.
Now on to Poe’s views on the poem’s composition and how they can be applied to the composition of these immigrant visa petition filings.
It is my design to render it manifest that no one point in its composition is referable either to accident or intuition — that the work proceeded step by step, to its completion, with the precision and rigid consequence of a mathematical problem.
So there is really no mystery involved. The first step is always the evaluation of a client’s resume with an eye toward meeting the regulatory criteria and asking questions in an attempt to understand the facts behind selected resume items. Unfortunately, many lawyers evaluate client’s resume as if it were a definitive document containing or not containing the necessary evidence to satisfy the applicable criteria. I view it more as a depository of loosely connected facts and events from where good information can be extracted for further discussion, review, and analysis. Very often the resume will not even list or merely hint at a critically important item or a critical item will be obscured by what the client thinks is relevant. After narrowing down what’s relevant to the case and discarding what’s not, I embark on a fact-checking expedition to verify and clarify the substance and context of each selected resume item, at the end of which I have a pretty good idea whether the client’s facts will bear scrutiny and sustain my legal arguments.
The worst approach a lawyer can take is slapping evidence together without any accompanying discussion or outline. Unless it is a letter confirming receipt of the Nobel Prize, evidence almost never speaks for itself. The next worst approach is stringing evidence together by a faint outline, kind of like captions for vacation photos in a family album, mostly noting places, events, and dates. A chronological record of accomplishments is hardly a substitute for a meaningful discussion of the accomplishments themselves. In this regard, Homer’s catalogue of ships from the Iliad is not a good example of a suitable narrative structure because it is un-detachable from the context of the poem and is fully and clearly within the reader’s frame of cultural references. The approach used most often is writing haikus interspersed by lengthy citations of the applicable regulations. It’s great knowing the regulations, but applying them wisely and appropriately is another matter. Nothing is more irritating to the examiner than the narcissistic personality of the lawyer that shines through his filing more than his client’s evidence. And yet so many of these filings seem to be more about the lawyers who prepare them than they are about the clients these lawyers purport to represent.
The difference, as I see it, is in knowing and loving your client’s evidence. The way this would manifest in counsel’s support letter would be a ratio of counsel’s legal arguments and legal citations to the discussion of the evidence itself. So if a quote from a testimonial letter is followed by a page of counsel’s legal argument, we have a situation where form is encroaching on substance, akin to a literary work which ignores slow descriptions of nature and is entirely focused on driving through its plot at high speed. The obvious conclusion is counsel’s support letter should give form to the substance of client’s evidence, and not the other way around.
I prefer commencing with the consideration of an effect.
Many arguments put forth in these cases tend to be half-baked, with too much emphasis on premise and conclusion and not enough attention paid to the analysis. Most lawyers composing their work product in these cases are reluctant to disclose the mechanics of their strategy and the underpinnings of their arguments. So it is only fair that clients demand a thorough explanation as to how their lawyer has reached this or that critical conclusion. Asking these questions should immediately reveal how much time the lawyer has actually spent preparing the case and whether any arguments that the lawyer has advanced for your case have been well thought out or merely recycled from his other cases. It is not enough to say “my client is on the cutting edge of research” or has “pioneered” this or that, but it is rather more fitting to begin describing a small detail which, when rendered fully and clearly, would immediately reveal the client’s towering colossal stature in the field. Thus, one needs only to describe a giant’s shoe laces, which can be like “ropes of a sailing ship,” for example, to suggest his approximate height. What usually happens is lawyers first describe a towering colossus and then describing his shoelaces they forget to scale.
…the extent of a poem may be made to bear mathematical relation to its merit — in other words, to the excitement or elevation — again, in other words, to the degree of the true poetical effect which it is capable of inducing; for it is clear that the brevity must be in direct ratio of the intensity of the intended effect — this, with one proviso — that a certain degree of duration is absolutely requisite for the production of any effect at all. Holding in view these considerations, as well as that degree of excitement which I deemed not above the popular, while not below the critical taste, I reached at once what I conceived the proper length for my intended poem — a length of about one hundred lines. It is, in fact, a hundred and eight.
I have been pondering the proper length of counsel’s support letters ever since I started drafting them. At first, it appeared to me, and I suspect that my mistake was much too common, that the length of a support letter was proportionate to its effectiveness. Indeed, it seems to be an official policy at many law offices to write letters of a certain length for certain types of cases, undoubtedly because of the perceived superiority of length over depth. I tend to disagree with those authors. Although a legal argument certainly needs ample room to run its course, it need not continue once it has reached this or that logical conclusion. And to reach this or that logical conclusion it needs as much or as little room as may be required to exhaust its kinetic energy without encountering any artificial obstacles in its way. It is sad to watch a perfectly good argument being grounded to a halt by artificial obstacles, like a child’s wound-up toy running into a piece of heavy furniture. Likewise, it is sad to watch a perfectly good argument stop short before fully developing into its natural conclusion. Therefore, the length of the most appropriate counsel’s support letter should probably be no more than 20 pages and no less than 10. In my experience, good arguments rarely can be fully developed within 10 pages. Anything longer than 20 pages and the examiner may not be able to read it in one sitting without having to take a break for lunch or, worse yet, go on vacation to give the file to another examiner. Or he may stop reading the letter half way to issue an RFE which could be seeking the information actually contained in the unread pages. Alas, this happens all the time.
My next thought concerned the choice of an impression, or effect, to be conveyed: and here I may as well observe that throughout the construction, I kept steadily in view the design of rendering the work universally appreciable.
A good support letter flatters the available evidence in the same way that a good suit flatters the figure of its owner. This is especially obvious when you read the decisions of the Administrative Appeals Office. Too many lawyers seem to resort to categorical truth-telling pronouncements while neglecting to consider the overall effect that such tactics have upon their client’s case. The impression often conveyed by support letters is the lack of consistency and scale. Imagine Gulliver, a typical client, arriving in the land of the Liliputs and not have to make certain adjustments. Now imagine a lawyer who constructs a support letter for his client in a way that the Brombdingnag have constructed a house for Gulliver. It is cute, of course, but it is hardly persuasive in describing the magnitude of the client’s accomplishments. And yet this is what you get when neglecting to observe consistency and scale throughout the construction of the support letter.
The length, the province, and the tone, being thus determined, I betook myself to ordinary induction, with the view of obtaining some artistic piquancy which might serve me as a key — note in the construction of the poem — some pivot upon which the whole structure might turn.
Whether the pivot is sustained national or international acclaim, the recognition as outstanding, or the exceptional ability, the support letter must be structured in such a way as to gently remind the reader, again and again, without interfering with the flow of one’s argument, the context in which the evidence plays itself out. So each criterion needs to be established not only by itself, but also as a part of the larger narrative structure; not as a haiku about a specific person in a collection of haikus about that specific person, but rather as a plausible plot twist of a short story that is the client’s career.
These points being settled, I next bethought me of the nature of my refrain. Since its application was to be repeatedly varied it was clear that the refrain itself must be brief, for there would have been an insurmountable difficulty in frequent variations of application in any sentence of length. In proportion to the brevity of the sentence would, of course, be the facility of the variation. This led me at once to a single word as the best refrain.
Fortunately, we are not as constrained by the limitations of our medium as Poe was constrained by his. After trying multiple variations, I have decided to settle on something simple: “Evidence to support X’s eligibility under this criterion is enclosed as Exhibit X.” This way the examiner is conditioned to always expect evidence as a back up for even the most fallacious of counsel’s arguments.
That’s it? Yes, that’s it. The rest of Poe’s discussion is hardly relevant to the subject matter at hand here. He talks about how he picked the right word, how he determined the appropriate sound for his refrain, how he brought together the lover and the raven, how he determined a suitable locale, how he picked the weather, how he achieved the desired contrasts — and many other things that make Poe’s poem simply incomparable with a typical support letter for an alien of extraordinary ability, outstanding researcher, or an alien of exceptional ability filing in nature, scope, and purpose. And it would be fitting to say that a similar treatment should be applied to the client’s evidence that clearly doesn’t satisfy any evidentiary criterion, such as a minor academic research grant, a scholastic competition, or a mention in a school’s newspaper. Such evidence need not be discussed. It need not be included.
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