writing

I Am Biodegradable - My Writing Is Not

2008-06-14T06:29:00.004-07:00

My dad was wrong. I just discovered that I am good for nuthin' after all. In fact I've been good for nuthin' all along. I am 100% biodegradable and that means I can be recycled into nuthin'. It also means that no matter how much I waste, no matter how much I consume, no matter how much I pollute, in the end I am environment-friendly. Best of all, I now have an end use.

Now that's something to put on my resume!

This comes as particularly good news to somebody who is not sure what his purpose is. Sometimes I write these humor columns, pretending to be funny. Sometimes people even laugh, and I worry that it might be the start of an ominous trend.

Sometimes I am selling my happiness book, pretending to be a successful author. With 2,000 copies of my book keeping the floor from floating upwards, perhaps I AM successful. Levitating floors are generally not considered signs of success in this part of the country.

Sometimes I am optimizing websites for search engine rankings. "What exactly does that mean?" I am often asked.

"Well...it means that I get my clients' site high up in the searches." Blank stare.

I try again. "It means that I help Google show you my clients' web sites. Blank stare.

"Well...I'm not sure how to explain it. But I get paid to do it." People understand that.

"I turn on a machine that defluctuates the turbo-rotating modulator down at the spare parts plant," someone adds.

"What exactly does that mean?" I ask.

"Beats me. But I get paid to do it." We are soulmates.

Sometimes I write for pay, because people seem to want something written. They hope that if they can't say it themselves, I might be able to find just the right words.

"C'mon, David. You have lots of words. Why don't you lend me some? Why, just last week you promised to 'defenestrate' me, whatever that means." They want me to put their thoughts into words, and occasionally they want me to create their thoughts. I worked for a politician years ago. I vaguely remember how to write somebody else's thoughts before he knew he had them.

"So what do you write?"

"Web site copy, mostly."

"Really? Not another book?"

"No, I still have 2,000 copies of the last book piled up in my office."

"I'm sure they'll sell quickly, David."

"Really? Want one?"

"Uh...gotta go. It's time for my pet goldfish's nap."

I also write this humor column faithfully every week. But people actually PAY me to write website copy. Now, dear reader, answer me this question. Would you rather be reading this hilarious column, loaded with frosting and topped with chocolate syrup, or would you rather read plain vanilla website copy.

OK, go ahead and read the website copy, then. See if I care.

One thing my website copy and this column have in common is that they are not biodegradable. Remember how computers would save the environment as they replace the three gazillion tones of paper we trash every few hours in offices around the world and elsewhere?

Now we discover that all that paper at least was biodegradable, recyclable, reusable. It wasn't all that bad for the environment, after all. But the monitor you are reading this on will last forever. (SFX: evil laughter) Adventure seekers from the planet Zorgoppppt will land here in the year 2304 and discover all these abandoned monitors scattered around.

One Zorgopppptian will say to the other, "prrg, ddyte h hthp oooo djudu" (Translation: "Groovy paper weights!")

But they won't find me, thanks to my lifetime achievement. I'll be long gone, because I am (chest swells with pride) biodegradable.

Sense of Place

2008-06-14T06:29:00.003-07:00

What is Sense of Place? It's the image of a scene's environment evoked by the writing. The author becomes an artist; the book page is the canvas, sentences and phrasing are the brushes; words give color.

This element of a story is something most readers look for. They want to feel as if they are in the scene. Sense of place is vital to fact and fiction.

Some writers overuse adjectives with the mistaken belief that this will offer sense of place. But saying "the elegant house" isn't enough. That abstraction has little substance. "The well-landscaped house set on a knoll overseeing the valley" might say more.

Another attempt is to list things.

"Brenda looked around. The room had a brass coffee table, and a bright sofa flanked by two Queen Anne chairs. Three prints were on one wall, with the sheer curtains hanging at the wide window. Two ornate candlesticks set on the fireplace mantle."

Brenda has become a camera, with no emotion attached to the description. How about this:

"Brenda thought the bright sofa flanked by two Queen Anne chairs seemed cozy. She admired three prints, and fingered one of the ornate candlesticks on the mantle as a breeze billowed the curtains. Scents of lilac wafted through the wide window. The books on the brass coffee table caught her eye."

This second paragraph only uses eight more words than the first, yet engages the character into the description of the room so that the reader learns about the room and the character.

Sense of place is important in nonfiction, too. A manual might read: "When managing a large office setting, it's important to develop good interaction between employees."

"Large office setting" is rather vague, and so is "good interaction." To give this sentence sense of place, it could be written:

"When faced with multiple workstations, harsh lighting and the continual background noises of telephones and copy machines, it's important to encourage dialogue with all employees."

Sense of place should continue throughout a paragraph or section. Here's a scene of a man stranded on a stretch of Kansas back road. "The hot July sun bore down on him" could give the initial detail. But it must be carried through the scene. Several sentences later a sentence could read, "Robert looked at his useless car." Add sense of place to this: "Robert wiped sweat from his forehead and squinted toward his useless car.

wiped sweat (it's hot) squinted (it's bright)

Later: "He looked around for the closest house."

This would work better as, "The surrounding fields of ripening wheat seemed unending, without a single roofline or driveway in sight."

By adding these touches, the sense of place enhances the story.

A good sense of place also engages most of the five senses. Include colors, smells and textures in descriptions.

"The hot July sun bore down as Robert backed from the vehicle. Why now? he wondered. He wiped sweat from his forehead and squinted at his useless car. He could smell hot metal from the engine. A puddle of radiator fluid stained the gray asphalt a sickly green..."

Robert walks along the road, thinking about what got him here, then

"His sigh was barely audible in the dry wind, and the surrounding fields of ripening wheat seemed unending, without a single roofline or driveway in sight."

Weather and nature can also establish a sense of place. In my historic novel KANSAS DREAMER: Fury in Sumner County, the weather becomes a prominent plot element--almost a character. (That will be the topic of a future newsletter: "Non-Human Characters".) But for sense of place, a story based in the tropics could be rife with descriptions of humidity, vivid sunsets, blown sand, myriad scents and colors from vegetation; on the negative, these areas also have hurricanes, riptides, mosquitoes, sink holes and sharks.

Weather can become a motivating factor for a character; it can parallel a character's emotions or trigger a memory; it can be an antithesis for the actions, too. The bright day did nothing to relieve Arthur's morbid thoughts.

With a few well-placed phrases, a writer can establishing a good sense of place. This will strengthen characterizations and greatly add to a reader's enjoyment of the final product.

How to Multiply Your Freelance Writing Work

2008-06-14T06:29:00.002-07:00

You can turn your $200 fee to write a press release into $2,000 to carry out an entire PR campaign simply by convincing clients to invest in campaigns, instead of individual assignments. Campaigns achieve better results and cost less in the long-term for clients, compared to individual assignments. And, of course, as the freelancer, you get paid much more for turning out a succession of assignments that assimilate a successful campaign.

Here's how to multiply your writing sales by convincing clients to invest in long-term campaigns, instead of short-term individual assignments.

? Know the short-term and long-term results. A client approaches you to write a brochure. He may or may not know that his product can also benefit from other types of promotional pieces, such as ads, direct mail, news releases, websites, and so on, to sell his product or service. Your job is to educate the client. The brochure may be the first promotional piece in a consortium of promotional pieces. Here, you must know the short-term and long-term view results of the brochure.

The short-term results are the results the brochure will achieve for the client; and the long-term results are the results the brochure will achieve/contribute for the entire campaign. It answers the questions, "How do the results of this brochure fit into the entire campaign?" and "How can these results be strengthened with other forms of promotional materials?"

Show the client how a campaign, that's comprised of a succession of assignments, can achieve - and exceed - his expectations and outsell and outdo the performance of a single assignment.

? Use "tie-in" services. Whenever a client approaches you with a single assignment, ask yourself what tie-in services can supplement the single assignment. A news release achieves better results when it's accompanied with a photo. And a press kit - complete with press releases, photos, brochures, and company information - can achieve better results than a single press release. All of these extra tie-in services can turn writing a single press release into multiple writing sales.

? Offer the "concept to completion" benefit. Instead of pitching yourself as a freelancer who can write newsletter copy, pitch yourself as a freelancer who produces newsletters, from copy to completion. You multiply your income by outsourcing parts of the job and delivering a finished product, not a piece of the product. You also can extend your "concept to completion" services by pitching yourself as a marketing consultant, in which you make recommendations to the client as to the best way to market the newsletter.

? Develop strong consultative skills. Besides selling your freelance services, also offer consulting services. Clients pay you to explain ideas, concepts, recommendations and turnkey solutions as to the best way to achieve the results they desire. Consulting with clients can lead to securing freelance work, since clients realize you have the skills and expertise to undertake the task.

? Know the future needs of clients. Clients come with present needs - and future needs. A client may hire you to write a newsletter now, but they'll also consider you for future work if you know what their future needs are and how to fulfill them. The company may be ushering in a new product line, creating a new division within the company, sponsoring a charity event, or creating a website. All of these future events need a freelancer to do promotional writing and freelance work. That's you. Your job is to show clients how you'll address their future needs with solutions that'll increase their profitability and/or productivity. This is usually accomplished with a proposal through which you pitch yourself as the freelancer who has the solutions to undertake the future tasks.

? Use proposals to secure work. Proposals are an inclusive persuasion tool to convince prospects that you can increase their profitability and/or productivity with your freelance services. Proposals specifically show the client how you intend to achieve the desired results, the time and costs involved, and why you and your solutions are the best choices to boost the company's profits.

? Adaptations. Any of your freelance writing services can be adapted for websites, turning a single assignment into two assignments. Get paid to write a press release or brochure, and then get paid again to adapt the copy digitally.

? Add-on services, such as desktop publishing services, marketing consulting, compiling and selling media lists, and project coordinating can help multiply your work and your income. Brian Konradt is a former freelance copywriter and graphic designer, and founder of FreelanceWriting.com (http://www.freelancewriting.com), a free website dedicated to help writers master the business and creative sides of freelance writing.

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This article may be freely reprinted, online and offline, without permission as long as no text is altered.

Write a Letter, Make a Difference

2008-06-14T06:29:00.001-07:00

Today I took the dog for a walk and realized that there is a letter that I must write. Near our house, we walk up a once paved road that is now mostly rock and mud. It runs behind several houses then up a hill and ends at some very high priced home sites that are, as yet, unbuilt. In the winter this is a beautiful trail lined with small waterfalls and lush green trees, in summer it is a trail overrun by wildflowers that the neighborhood children enjoy picking. This trail, used regularly by its neighbors, is in danger of disappearing. The developer of the homesites is petitioning the city to repave the trail and make it once again an automobile thoroughfare. This trail is a vital part of our neighborhood, and losing it to another street (that would benefit only the future homeowners of 5 homesites) would distress those who use it regularly to walk the dog, teach their children about nature, or to escape the concrete jungle for a moment of peace.

Choose Your Topic

But, of course, the city planners won't know this unless we tell them. That is what a letter writing campaign is about?.telling the people in charge what is important to us. And it is up to each of us to determine what is important, and then appropriately express that opinion. Leaders of government as well as corporate leaders value our opinions, because it is our opinions that keep them in power. Their power to do right (or not) is given to them by us! So, use your power to help create the world in which you want to live. And don't limit yourself to local issues. There are global organizations that conduct letter writing campaigns to create change socially, politically, environmentally and economically around the world. These organizations need us to speak up.

Verify the facts

Before you begin your letter, do your homework. Who is in charge? Get the correct name and title. Find out what has been done to date regarding this issue. Do an internet search on the topic, visit the library and use the very underused and extremely knowledgeable reference librarian, call the local governing body to determine the status of the issue. If you are writing as part of a globally organized letter writing campaign, the organization conducting the campaign will provide thorough background information for your use. Read this information. It is vital that you are knowledgeable on your topic if you want your letter to be read and taken seriously.

Write an Effective Letter

A letter to any corporate or political official must be professional, concise, and personal. Your goal is to get your letter read, and that will not happen if you don't maintain these standards. When you are ready to begin your letter, get out a nice white piece of paper and type your letter. Begin with the correct name, address and title of the official as well as the date. Be sure to include your return address on the letter (not just on the envelope) so that you can request and receive a response. Now organize your thoughts (on a separate piece of paper) and begin writing. Keep the following in mind:

Your letter should be short while covering all necessary information.
Be polite and constructive, never inflammatory or accusatory. Presume that the person to whom you are writing is reasonable and treat him or her with due respect.
Be certain of your facts. One incorrect or insufficiently researched fact will render your entire letter useless. Communicate your understanding of the context of the overall situation as well as the specific issue at hand.
Be specific about the action you are looking for, don't speak about vague or theoretical ideals.
Personalize your letter with information about why this issue is important to you, and how it affects you.
If the organization or person to whom you are writing has taken positive steps on this issue, compliment their action.
Finally, respectfully request a response to your letter and sign your letter by hand.

If you follow these steps, you can create a dialog between yourself and the official in charge. Become a respected member of this official's community whose opinion is welcome and desired, and you have made a difference.

Follow Up

If appropriate, send a copy of your letter to the local newspaper. Generating more interest in the issue creates better opportunity to create the desired action. Then, keep track of the result of your action. If you receive a response, acknowledge the response and thank the official for his or her consideration. If the action you requested is carried out, send a thank you letter expressing your appreciation. If you hear nothing and the issue seems to be unresolved, send another letter. We have a voice, but it is only heard if we speak!

How to Have an Effective Writing Group

2008-06-14T06:29:00.000-07:00

The works you've written are numerous, ranging from short stories to even the novel, hidden in a storage bin (under the bed) collecting dust. But there comes a time when you must wipe away that dust, regain your pride, and prepare your babies for publication! But, how do you get such a critical, unbiased eye to analyze your works, offering both praise and criticism?

It's simple-start a writing group!

Creating a writing group is the easy part, but creating a functioning and beneficial writing group can be quite a task.

Writing groups are age-old sessions where writers obtain helpful evaluations for their works. Nowadays, though, writing groups seem to be a fad, and for many a status symbol reassuring them of their writerdom. Don't create a writing group simply for the sake of saying, "I belong to a writing group". Create or join a group because of the numerous benefits that come along with them.

Keep Number of Members Limited. You don't want just one other person in this group. So shoot for 3 or more members. On the other hand, you don't want to have 30 people in the group either. Try approximately 8-10 members. If one person leaves the group, replace that person with a new recruit. Keep the same standards for all members. Make it standard that members can only join by an invite. Allowing your group to be very exclusive brings the group more pride.

Select Randomly. It's okay to have a friend in this group, but you chose to create this writing group for unbiased opinions. So don't allow ALL the members to be your best friends in which you see on a daily basis. Perhaps one member is 18 yrs old, while the other is 35. Keeping age, sex, ethnicity, and educational levels of your group will allow a diverse critique-which is ultimately what you're seeking. A diverse group will only make you and the group much stronger.

Meetings. We're all struggling writers, so most often the other members of the group will have jobs to attend. So finding an appropriate time for a meeting is crucial. I've found that one Sunday per month, after 2 p.m. is great. Make it an odd time. Creating times such as 2:07 p.m. will stand out and allow members to remember. Where are these meetings held? Keep switching locations. Allow the members to rotate the location to each of their homes. If homes are not available, then a select person should discuss where they choose the next meeting should be held. This is the reason membership should be limited to a few members. It's much easier to meet with just a few people.

Text. Focus your group on either poetry or prose-try not to mingle the two. If the text is prose, and the writer wants his novel critiqued, suggest that the novel be submitted on a "per chapter" (or two) basis. Don't overwhelm the members with too much to read at one time-or you'll end up with no members. The month before your work is critiqued, each writer should submit photocopies of their manuscript to each member.

Know your intentions. Make sure that, for the most part, members have similar goals: to be published or for sheer enjoyment of writing. This will eliminate time wasted if you know this upfront.

Critiquing. When critiquing the text, encourage the members to speak as if the writer isn't present. In the meanwhile, the author can sit back, take notes, and write down questions the critics may have posed. Encourage the critics to write on their versions of the text before meeting. Allow approximately 20 minutes to discuss each member's work. Upon completion of the critique, critics should give the author their "corrected" versions. Complete the critique by allowing the author to explain any unanswered questions and to thank the critics.

If members can't keep up with reading that much work per month, then divide it up. Four writers submit one month, while the remaining four submit the following month. Above all, writing groups should be a relaxed environment-away from your significant other, your children, and your job. Let this be a time where you hone your writing skills with the assistance of others who simply seek the same thing.

Unusual Points of View

2008-06-14T06:06:00.002-07:00

Most writers are familiar with first and third points of view and their variations. But have you ever experimented with alternative points of view? Below are some less used points of view, what I call "unusual points of view." Try using these when you're blocked or you want to try something new.

Second Person Point of View

Second person can be written as "you" singular or plural. Josip Novakovich in FICTION WRITER'S WORKSHOP says: "The author makes believe he's talking to someone, describing what the person addressed is doing. But the 'you' is not the reader, though sometimes it's hard to get rid of the impression the author is addressing you directly."

Here's an excerpt from Italo Calvino's first chapter of If on a winter night a traveler. I think it's one of the most engaging examples of second person point of view. But if the author is not speaking to the reader?then to whom? You be the judge.

You are about to begin reading Italo Calvino's new novel, If on a winter's night a traveler. Relax. Concentrate. Dispel ever other thought. Let the world around you fade. Best to close the door; the TV is always on in the next room. Tell others right away, "No, I don't want to watch TV!" Raise your voice-they won't hear you otherwise-"I'm reading! I don't want to be disturbed!" . . . So here you are now, ready to attack the first lines of the first page. You prepare to recognize the unmistakable tone of the author . . .

Most stories told in second person are written in the present tense, so the reader identifies directly with the character. You're along for the journey, being an active part of the story. I read this excerpt feeling as if the author sees me and is talking directly to me.

Like other points of view, second person has its pitfalls. One of them is keeping the reader's attention through the whole story (in this example, an entire novel). Some readers don't like to be told what they're thinking and doing and saying. Sometimes this point of view has a tendency to sound too journalistic or like a recipe.

First Person Collective Observer Point of View (or third person plural)

In this point of view the reader follows the motions and acts of one person through a group's viewpoint. Usually, someone in the group acts as narrator but doesn't have his/her own identity. Usually this is reserved for small town narratives, where an individual lives under communal scrutiny. Schools, towns, churches, or families focus on a secret person in conflict with the community. In William Faulkner's "A Rose for Emily" Emily is the character scrutinized by the residents of Yoknapatawpha County.

Here is an excerpt from the story which occurs after she is put in the ground and what "we" discover.

For a long while we just stood there, looking at the profound and fleshless grin. The body had apparently once lain in the attitude of an embrace, but now the long deep sleep that outlasts love, that conquers even the grimace of love, had cuckolded him . . . Then we noticed that in the second pillow was an indentation of a head. One of us lifted something from it, leaning forward, that fast and invisible dust dry and acrid in the nostrils, we saw a long strand of iron-gray hair.

Third Person Plural Observer ("They")

Here the perceptions of a critical situation comes from a group of characters who watch the protagonist. It could be a group of boys watching a teenage girl undressing in her window as in: "They saw her in the window." The excerpt from "A Rose for Emily" might as easily be written in the point of view.

First and Second Combined

This point of view is usually used in love poetry, and rarely in fiction. In this example from "The Roaring Bull and Electra," a short story, it's an adult daughter speaking to her father too ill to speak for himself.

Today the new Roaring Bull was christened, and I wanted you to be next to me as you had been, twenty years ago . . . Now you can't speak. You can barely swallow. I used to feed you melted ice cream and stroke your throat to get it down because I thought the taste would remind you of our ferry rides . . .

First and Third Combined

This point of view is used for characters with a personality dichotomy, to look at the same character from different angles. In "Sarah Cole: A Type of Love Story" Russell Banks does this to portray a narcissistic man's affair with a homely woman.

I felt warmed by her presence and was flirtatious and bold, a little pushy even.

Picture this. The man, tanned, limber . . . enters the apartment behind the woman.

The switch to third person is the character taking a look at himself, the way one might want to see himself projected onscreen. The shift in point of view might be annoying to the reader, so it's important to establish this shift pattern early in your story.

Try this exercise:

Choose one of your favorite stories and rewrite a scene from it in one of the "unusual points of view." You might want to try rewriting one of the excerpts above. In your exercise show the original passage, then your changed point of view (or points of view). You get extra brownie points if you write a scene from scratch. This is a challenging exercise, but it also shows you don't have to be limited by variations of first and third person.

Let go, breathe deep, and have fun with it!

Common Writing Mistakes

2008-06-14T06:06:00.001-07:00

Most books aren't rejected because the stories are "bad." They're rejected because they're not "ready to read." In short, minor stuff like typos, grammar, spelling, etc.

I don't mean places where we, as authors, deliberately break the rules. Those are fine. That's part of our job. Language always changes with use, and we can help it on its way. No, I'm referring to places where someone just plain didn't learn the rule or got confused or overlooked it during the self-edits.

I started editing novels in 2001. Looking back at my experiences, I feel like sharing the most common mistakes I've seen. If you'll go through your manuscript and fix these before you submit it to a publisher, your odds of publication will increase dramatically.

Once you've found a publisher who publishes what you write, you want to present yourself in the best way possible. Submitting an unedited manuscript is a bit like going to a job interview wearing a purple Mohawk, no shoes, torn jeans, and a dirty T-shirt. Your resume may be perfect, and your qualifications impeccable, but something tells me you won't get the job.

The publisher is investing a lot in every book it accepts. E-publishers tend to invest loads of time, and print publishers tend to invest an advertising budget and the cost of carrying an inventory. Why ask them to invest hours and days of editing time as well? If the publisher gets two or three or ten nearly identical books, you want yours to be the one requiring the least editing.

The first thing you need to do, and I hope you've already done it, is use the spelling and grammar checkers in your word processor. This will catch many of the "common mistakes" on my list. But I've been asked to edit many books where the author obviously didn't do this, and I confess that I may well have been lazy and let a couple of mine get to my editors unchecked. Bad Michael!

Here's a list of the mistakes I see most often.

* Dialogue where everyone speaks in perfect English and never violates any of the bullet points below. Okay, I made that up. That's not really a common problem at all. But I have seen it, and it's a terrible thing.

* It's is a contraction for "it is" and its is possessive.

* Who's is a contraction for "who is" and whose is possessive.

* You're is a contraction for "you are" and your is possessive.

* They're is a contraction for "they are," there is a place, their is possessive.

* There's is a contraction for "there is" and theirs is possessive.

* If you've been paying attention to the above examples, you've noticed that possessive pronouns never use apostrophes. Its, whose, your, yours, their, theirs...

* Let's is a contraction for "let us."

* When making a word plural by adding an s, don't use an apostrophe. (The cats are asleep.)

* When making a word possessive by adding an s, use an apostrophe. (The cat's bowl is empty.)

* A bath is a noun, what you take. Bathe is a verb, the action you do when taking or giving a bath.

* A breath is a noun, what you take. Breathe is a verb, the action you do when taking a breath.

* You wear clothes. When you put them on, you clothe yourself. They are made of cloth.

* Whenever you read a sentence with the word "that," ask yourself if you can delete that word and still achieve clarity. If so, kill it. The same can be said of all sentences. If you can delete a word without changing the meaning or sacrificing clarity, do it. "And then" is a phrase worth using your word processor's search feature to look for.

* Keep an eye on verb tenses. "He pulled the pin and throws the grenade" is not a good sentence.

* Keep an eye on making everything agree regarding singular and plural. "My cat and my wife is sleeping," "My cat sleep on the sofa," and "My wife is a beautiful women" are not good sentences. (I exaggerate in these examples, but you know what I mean.)

* I and me, he and him, etc. I hope no editor is rejecting any novels for this one, because I suspect that most people get confused at times. In dialogue, do whatever the heck you want because it sounds more "natural." But for the sake of your narrative, I'll try to explain the rule and the cheat. The rule involves knowing whether your pronoun is the subject or object. When Jim Morrison of The Doors sings, "til the stars fall from the sky for you and I," he's making a good rhyme but he's using bad grammar. According to the rule, "you and I" is the object of the preposition "for," thus it should be "for you and me." The cheat involves pretending "you and" isn't there, and just instinctively knowing "for I" just doesn't sound right. (I think only native English speakers can use my cheat. For the record, I have great admiration for authors writing in languages that aren't their native tongues.)

* Should of, would of, could of. This one can make me throw things. It's wrong! What you mean is should have, would have, could have. Or maybe you mean the contractions. Should've, would've, could've. And maybe 've sounds a bit like of. But it's not! Of is not a verb. Not now, not ever.

* More, shorter sentences are better. Always. Don't ask a single sentence to do too much work or advance the action too much, because then you've got lots of words scattered about like "that" and "however" and "because" and "or" and "as" and "and" and "while," much like this rather pathetic excuse for a sentence right here.

* On a similar (exaggerated) note: "He laughed a wicked laugh as he kicked Ralphie in the face while he aimed the gun at Lerod and pulled the trigger and then laughed maniacally as Lerod twisted in agony because of the bullet that burned through his face and splattered his brains against the wall and made the wall look like an overcooked lasagne or an abstract painting." Now tell me this sentence isn't trying to do too much.

* Too means also, two is a number, to is a preposition.

* He said/she said. Use those only when necessary to establish who's speaking. They distract the reader, pulling him out of the story and saying, "Hey look, you're reading a book." Ideally, within the context of the dialogue, we know who's talking just by the style or the ideas. When a new speaker arrives on the scene, identify him or her immediately. Beyond that, keep it to a minimum. Oh yeah, and give every speaker his/her own paragraph.

* Billy-Bob smiled his most winning smile and said, "What's a nice girl like you doing in a place like this?" I don't like this. Use two shorter sentences in the same paragraph. Billy-Bob smiled his most winning smile. "What's a nice girl like you doing in a place like this?" Same effect, fewer words, no dialogue tag (he said).

* In the previous example, I don't like "smiled his most winning smile," because it's redundant and also cliched. Please, if you find yourself writing something like that, try to find a better way to express it before you just give up and leave it like it is. During the self-edit, I mean, not during the initial writing.

* "The glow-in-the-dark poster of Jesus glowed in the dark." This editor won't let that one go. Much too redundant, and it appeared in a published novel.

* Lie is what you do when you lie down on the bed, lay is what you do to another object that you lay on the table. Just to confuse matters, the past tense of lie is lay. Whenever I hit a lay/lie word in reading, I stop and think. Do that when you self-edit. (Note: Don't fix this one in dialogue unless your character is quite well-educated, because most people say it wrong. I do.)

* Beware of the dangling modifier. "Rushing into the room, the exploding bombs dropped seven of the soldiers." Wait a minute! The bombs didn't rush into the room. The soldiers did. To get all technical about it, the first part is the "dependent clause," and it must have the same subject as the "independent clause" which follows. Otherwise it's amateur, distracting, and a real pain for your poor overworked editor.

* If you are able (many readers are not), keep an eye out for missing periods, weird commas, closing quotes, opening quotes, etc. When I read a book, be it an ebook or a printed book, I can't help but spot every single one that's missing. They slap me upside the head, which makes me a great editor but a lousy reader. If you're like me, use that to your advantage. If not, that's what editors are for!

Common Writing Mistakes

2008-06-14T06:06:00.000-07:00

Most books aren't rejected because the stories are "bad." They're rejected because they're not "ready to read." In short, minor stuff like typos, grammar, spelling, etc.

Here's a list of the mistakes I see most often.

* It's is a contraction for "it is" and its is possessive.

* Who's is a contraction for "who is" and whose is possessive.

* You're is a contraction for "you are" and your is possessive.

* They're is a contraction for "they are," there is a place, their is possessive.

* There's is a contraction for "there is" and theirs is possessive.

* If you've been paying attention to the above examples, you've noticed that possessive pronouns never use apostrophes. Its, whose, your, yours, their, theirs...

* Let's is a contraction for "let us."

* When making a word plural by adding an s, don't use an apostrophe. (The cats are asleep.)

* When making a word possessive by adding an s, use an apostrophe. (The cat's bowl is empty.)

* A bath is a noun, what you take. Bathe is a verb, the action you do when taking or giving a bath.

* A breath is a noun, what you take. Breathe is a verb, the action you do when taking a breath.

* You wear clothes. When you put them on, you clothe yourself. They are made of cloth.

* Keep an eye on verb tenses. "He pulled the pin and throws the grenade" is not a good sentence.

* Too means also, two is a number, to is a preposition.

* "The glow-in-the-dark poster of Jesus glowed in the dark." This editor won't let that one go. Much too redundant, and it appeared in a published novel.

Alternative View Points and the Lamp of Creativity

2008-06-05T13:42:00.011-07:00

Pictures they say are worth a thousand words, but many writers know that they are worth much more than that!

Without decent photographs or other artwork to accompany an article many features published in todays magazines and newspapers would never see the light of day, so it makes sense to try and supply illustrations along with your submissions.

Last month's article gave some tips and advice on how to improve your camera wielding technique so click here if you missed it.

This month we're going to look at how photographs can spark off ideas for features and other writing opportunities which means taking the slightly unusual step of writing the article around the picture rather than finding photographs to illustrate the article.

So let's begin with the hanged man. Who on earth is that and what does he have to do with writing or photography? Not much really, but he makes a nice analogy. The hanged man from the Tarot card deck for those not familiar with this form of divination, is the only card in the major arcana which is the right way up when it shows the hanged man upside down!

Although he is bound and beset by problems and troubles he has taken the bold step of considering the world and his options from an alternative view point which is what exchanging our computers and pens for a camera can do for us.

A good method of doing this is to set yourself a couple of themes. What these themes are depend on you and your interests, but let's suppose you chose "chimneys" and "dogs".

Both of these are common enough to ensure plenty of subject matter and you should be able to find enough examples whether you are a town or country dweller. Don't forget to take plenty of film with you, (or spare batteries and flash cards for digital cameras), and most importantly! A pen and notebook!

A couple of hours wandering the streets gazing skywards at smoke blackened chimney stacks or staring fixedly at the local canine Romeo plighting his troth to Lady Muck's prize Saluki might earn you a few odd looks from the neighbours, but with a bit of luck and determination on your part could also add a few pennies to the coffers as well.

The trick is to take plenty of snaps, a doddle if you've got a digital camera as you'll only be printing off the shots you want to keep. If not, well you can often get cheap film from your local dealer's bargain box. The developing costs you'll have to take on the chin, unless there's a special offer running.

The next stage is to examine what you've got. This is a bit like a deep sea fisherman trawling for cod. Your net is not very discriminating and you'll find a lot of sprats and mackerels amongst your "catch". You may not actually have any photographs worthy of publication, but you will almost certainly have ideas and if this means that you will have to go out again armed with your camera to shoot appropriate illustrations, then so be it!

Let's assume you do have a fair amount of reasonable photographs. What sort of article could you write around these subjects? Well of course this will depend very much on what is actually in the photographs, but let's go back to our neighbourhood Romeo. A few ideas you could pursue are the problems of stray dogs and irresponsible dog owners, owners that resemble their dogs, (or other pets), where to responsibly exercise the town dog, dogs at work, get the idea?

The chimney photographs may suggest a feature on ornate chimney pots,Victorian potters, (many were often made locally), the local chimney sweep, the history of a particular house or row and the characters associated with them, Santa and problem chimney stacks, (or lack of them!).

The photographs themselves will spark ideas, but you don't have to stop at newspaper or magazine features. Good animal, nature and landscape shots may also find a market with greeting card manufacturers and if you can write the sentiments to accompany them so much the better.

In fact, once you build up a collection of quality photographs your options increase all the time, not only in providing illustrations for your own articles, but as stand alone sales to newspapers which for the new comer, is one of the easiest markets to break into.

Our canine Romeo for instance could just make an editor's day as an alternative and humorous slant on Valentine's day. Now there's an idea! How about a feature on love in the animal kingdom? Just the thing for next year's Valentine's day!

Finally, a word of caution. Do be careful when taking photographs. Many people consider it a breach of privacy having their photographs taken without asking and may not relish being splashed across the front page of the local rag.

You need to be even more cautious when photographing children. They of course make excellent subjects but sadly your motives can easily be misconstrued. If you want to cover a local sports day, school fair or play always obtain permission from the school first.

When you arrive at the event, make a point of letting the head teacher know that you are there. Sending copies of snaps to the school and the children concerned will help to establish trust and credibility.

So, going back to the hanged man, all you need to make sales is an alternative view point. Thankfully you don't have to suspend yourself upside down from a tree, just reach for the light box and light the lamp of creativity!

Poetry for Profit contains a lot of information on the greeting card market which is an ideal place to target words and pictures while READ ALL ABOUT IT! The WriteLink to Newspaper Writing has a detailed chapter on taking photographs for the local and regional press.

About The Author

Sue Kendrick is a freelance writer and graphic designer living in the English Midlands.

She has written many special interest articles for magazines and contributed extensively to her regional newspaper.

Crime Writing Beckons

2008-06-05T13:42:00.009-07:00

If your cash is running out fast and you have an incessant need to write, why not turn to crime?

No! Not committing crime, but to writing about crime. Crime is all around us, and people want to know about it. Don't believe me? Turn on the five o'clock news, Lifetime TV or USA TV Network. You'll see true crime stories run rampant across television schedules. True crime on television is the number two genre (next to romance). And guess what? Someone has to write those movie scripts--might as well be you.

Many movies are adapted from books. Again, someone has to write those books. It's legal, profitable, and downright intriguing.

You ever wonder, when you're watching the news, "How could she be so stupid?" or "Didn't they know they were living with a maniac?" I do, it's only natural. In fact, I think we feel it could never happen to us.

But, crime can happen to any one of us. That's where true crime writing comes in. It answers the questions in story form.

For instance, we have learned that kids believe 'strangers' are ugly and 'scary-looking'--like monsters. But we know that's not accurate, so we teach our kids that a stranger can be good looking, well educated, and considerate. We can tell them about Ted Bundy (without the violence) and show them a picture if we really want to make the point. Many surviving crime victims often say that the person was so nice; they never suspected he could be capable of such destruction. We know this because we were told a story either in verbal, written, or picture form.

If true crime writing interests you, begin by searching local newspapers for stories. Don't search across the country, unless you are independently wealthy! Anytime you see an article that looks interesting, clip it and put it in your 'true crime clippings' file. If there are more articles about the same crime, then you know it is intriguing enough to warrant your attention. Still... it does not mean it is enough for an entire book. To discover the answer to that question will take research.

Do you have a fascinating criminal? Is the crime random, or was the victim chosen for a reason? Is the place of action special (was it at Disneyland, for instance)? Can you write about a totally different lifestyle than what we know? Is the criminal a member of MENSA? Is she dressed up as a clown when she commits her crimes? Is the victim the first woman space rocket engineer? Perhaps the victim is a deaf child. All of these facts increase the story's public interest and can take us into a world we have never been in before.

Are there subplots in the crime (not only did he murder his best friend, he also barged into his friend's family life and became like another son, then he robbed them one night, and then...). These questions will help you decide if you have a story worth considering?

True crime writing is lucrative and actually a challenging kind of fun. It is about combining journalism with novel writing. Nonfiction with fiction. If you have what it takes -- determination, time, and a strong stomach -- you can take up this as a career and soar.

Write A Better Newsletter!

2008-06-05T13:42:00.007-07:00

You've decided to write your very own Newsletter to promote your business, communicate with your customers, or just for FUN.

You've read hundreds of newsletters.

You've also noticed many of these newsletters lack original material.

They are identical in format and/or article content!

Don't Fall Into That Easy Trap!

The following tips will help the new newsletter writer/ publisher create a better newsletter.

Know Who You Are Writing For.

This sounds simple enough, you must know your readers. What are their demographics. Are they male, female, young, old, middle income, high income, getting by, just starting out, looking for business opportunities, looking for work at home jobs, stay at home moms, business women or men. Learn to select the articles that reflect your readers interest.

Establish A Publishing Schedule.

Professionals publish on a regular basis.

Make that your goal!

A regular publishing schedule will also assist you when you accept articles from writers. The contributors will have an idea when to submit articles. And this will also assist in scheduling your ads. You will know how to schedule ads, knowing what issue they will appear in, according to your publishing schedule.

Stick To Your Plan Like Glue.

If you plan your issues the 1'st of every month stick to it. Don't publish erratically. You will lose readers or they may forget they subscribed to your newsletter because of your irregular publishing schedule.

Proofread.

Proofreading is very critical to the publishing process. Every publisher must proofread the newsletter before it is sent out. Take the time to correct any spelling or grammar errors. This will improve the quality of your publication. Run your spell check program and then go over the text with your own eyes looking for common errors the program may have ignored like substituting two for too, or their for they're.

Experiment With Style.

Change your format. Add different types of articles. Ask readers to send in their questions or opinions. Have surveys. Trivia bits, breaking news, quotes, even your favorite jokes. The change in format will keep readers interested while improving your writing skills in various formats.

Research

Research your articles online. Add interesting links to more relevant information. Links to another free resource, software, interesting downloads, are always welcomed.

Invite New Writers

Writing a newsletter is overwhelming to most new publishers. Seek help from writers online. Ask your readers or writers to contribute to the newsletter. Offer a resource box in your newsletter to all contributors as compensation.

This will prompt queries from many writers. And of course you can easily download articles from many article directories online.

Becoming a Writer

2008-06-05T13:42:00.005-07:00

The urge to write fiction seems God given for some, a learned skill for others.

One thing is certain - it requires practice and a particular mindset. But, if you're a beginner, where do you start?

The following 10 tips will help kick-start your writing habit, whether you're a complete novice, or perhaps a pro who has lost their way!

1. Step Away From the Car, Sir.

Slightly detach yourself from your surroundings. Stop participating and begin observing. In social situations, watch people, see how they act and - more importantly - interact.

Don't pass judgment. Take it all in - and draw on it later when you write.

2. Look Harder, Homer

Stop and look around you. Consciously notice the buildings, what's underfoot, overhead, and what's right in front of you.

At home, look at something you take for granted. An iron, for instance. Find yours and study it.

3. Write Thinking Will Be Rewarded.

A simple technique. Your mother is making tea and you are chatting to her. Take a mental step back and describe the scene.

Similarly, when you're outside, describe your environment as though you were writing it down.

4. What Reasons Do You Need?

Don't wait for inspiration - just write!

Force yourself to write anything at all. A shopping list. An overheard conversation. Describe your bedroom.

It doesn't matter how personal it is, or how trivial, just get it down!

5. Wakey Wakey!

Set your alarm clock for an hour earlier than normal.

When the alarm goes off, get up. Don't dress, bathe or eat. Don't even make coffee. Just stagger to your writing space and write the first thing that comes into your head for five minutes.

6. Oh God - Not That!

Think of the most awful and embarrassing thing you've ever done - the more cringe-worthy the better. Now write about it. All of it, in all its gory, horrible detail.

Then hide it away for a year or so before you read it again!

7. Like Your Style, Baby.

Don't limit yourself. Write poems, songs, dialogue, fact, fiction, even practice writing advertising copy or horoscopes.

Your expertise improves in all areas - an improvement in one area can reap benefits in another.

8. The Sincerest Flattery

Take out a classic book from your bookcase. Copy out a paragraph. Think about the words as you write them. Don't get intimidated!

9. Wanna See My Invention?

When you're not writing, string together stories in your mind. Think of plots, characters, settings, dйnouements.

Ask yourself what you should do next to improve your writing.

Develop this technique into a habit.

10. It's A Goal!

When you start writing regularly, set yourself small goals. Anything from 200 words a day, or just a commitment to writing in your diary.

Later extend to finishing a short story, or an article or a poem. Perhaps one in a week.

The trick is to set goals you can achieve easily.

That way you'll get the writing habit - and you won't forget to enjoy it!

Voice in Narrative and Dialogue - A Contrast of Writing Styles

2008-06-05T13:42:00.003-07:00

One of the nice things about being an author is that we can break any rule we want. (I just did.) It's part of our job description. Language changes through usage -- definitions, spelling, grammar -- and authors can help it do this. But on the other hand, we have to have some sort of agreement on the language or we won't be able to talk to each other.

When we as authors break a rule or two, it's not because we're ignorant. It's because we have reasons to break them. That's one of the joys of writing.

Having said that, now I'm going to explain some rules. There are two types of writing in your novel. There is your narrative and there is your dialogue. The rules for the two are not the same.

For example, comma use. In dialogue, it's not so difficult. Put in a comma wherever your speaker pauses in his/her speaking. In narrative, you have to consult the style guides and hope that you and your editor, working as a team, can sort it all out.

NARRATIVE

A cop thriller like my VIGILANTE JUSTICE has a simple set of rules for the narrative portion. Third-person, straightforward writing, light on adjectives and adverbs, easy to read and grammatically correct. Sentence fragments are acceptable if communication is achieved, and you'll note that I use them often in this article. Why? Simply because it's more effective that way.

To a degree the genre will help you identify what's appropriate. For a cop drama, write in the dry style of a journalist. For horror, a bit of hyperbole may be acceptable in the most dramatic sections. For romance (not my genre), you can probably use lots more adjectives (swollen, heaving, throbbing, etc.) than you'd normally dare.

When I wrote RISING FROM THE ASHES, the true story of Mom raising my brother and me alone, I tried to adopt a "childlike voice" early in the narrative. As the character of Michael the storyteller grew older, I abandoned that childlike quality. (An entire book of that would get old fast anyway.)

When I wrote AN AMERICAN REDNECK IN HONG KONG, the humorous sequel, I once again used first person narrative. But the narrative of RISING is first person only in that it uses "I" instead of "Michael." Michael is only a camera. It still follows all the rules of "conventional" narrative. In REDNECK, I threw most of the rules out the window.

I used what one author referred to my as "conversational" tone to maximum effect in REDNECK. This fellow author felt like he wasn't so much reading my book as just listening to me tell some stories over a few beers. That's exactly what I wanted.

When I wrote the sequel to REDNECK, another bit of humor called WHO MOVED MY RICE?, I chose to keep that same narrative style, which I'd spent three years perfecting in my newsletter.

In RISING, while I was the "first person" character, I wasn't really the book's focus. In REDNECK and RICE, I am. Center stage, in the spotlight. Using more of a "dialogue" style in what should have been "narrative" allowed me to focus the reader's attention on the first person to a greater degree than simply describing him ever could. You may love me or you may hate me, but you'll know me and you'll laugh at me. Or, in the case of RICE, you'll feel my frequent confusion. I had to write that from "my perspective" because it was often the only one I understood.

If you want to see such a technique used to maximum effect, I recommend A MONK SWIMMING by Malachy McCourt. (I read it after writing REDNECK, by the way.) It's about an actor who gets drunk and does very bad things to himself and his family, and it's amazing just how much I laughed out loud reading it. Doesn't sound like a funny subject, does it? It's not, and yet it is, thanks to his unconventional narrative style.

To tell you the truth, I don't even think McCourt "wrote" that book. I think he just said it all into a tape recorder and transcribed it later. It reads that much like "a guy at the pub telling a tale." If he used the grammar checking function in MSWord, I bet it underlined every sentence. And, bright fellow that he is, he ignored them all and didn't change a word.

If you're going to use a more conversational tone in your narrative, don't think that means you just write something down and don't have to edit it. You still have to organize your thoughts, and that means rewriting. While your style may be unconventional, you have to make the ideas easy for the reader to follow.

(I'm not entirely serious when I say McCourt just spoke into a tape recorder, and even if he did that doesn't mean the rest of us can get away with it.)

In the case of narrative, you have the choice. If you want to spotlight the storyteller to maximum effect, you can go with first person and let the storyteller's narrative and his dialogue read the same. If you'd prefer to "move the camera" back a bit, make the narrative conventional in contrast to the dialogue. As a rule, this reader likes contrast, because he gets bored reading the same thing over and over again unless the style is really special. Or perhaps you can find a point somewhere in between.

Every story has a way that it should be told for maximum effect. Maximum effect in the author's eyes, of course, as it's a subjective thing. Keep it in mind as you write. Make the call, stick to it, change it if it's not working. It might even be okay to be inconsistent, but only if you do so deliberately. Just keep stuff like "ease of reading" and "maximum effect" in mind and be creative.

DIALOGUE

Have you ever read a book where the dialogue reads like narrative? I hope you haven't. But as an editor I've seen such things, and they're very ugly.

Do you know why they're so ugly? Because they remind the reader of the one thing an author does not want to remind the reader of. Namely, that every character on the page is a puppet under the author's control.

As readers, we put that thought aside so we can enjoy reading. "Willing suspension of disbelief," to quote the phrase an English teacher used when describing the performance of Shakespeare's plays. If the author ensures that the reader can't suspend disbelief, the book will not be read. Stilted dialogue is one of the quickest ways to make that happen.

I've decided that writing dialogue is the hardest thing we do. It's certainly not something we can go look up in a style manual like Strunk or Turabian.

What are the rules? "Make it sound real." But with the corollary, "not too real because people always say um and er and crap like that." Oh yeah. That explains everything! End of my article, right?

Nope. I'm still writing it.

Ideally, the greatest of the great creators of dialogue will have every character "speaking" in a voice so distinctive that he/she need never identify the speaker. Okay, that's enough fiction. Back to reality. None of us are writing dialogue that well, are we?

People use a lot more contractions in speech than in writing. They're faster. More sentence fragments, too. People very often use the wrong version of lie/lay or who/whom in speaking. (I never use "whom" in speaking or writing because I want to see the distinction scrapped, but that's another story.)

The dialogue portion of VIGILANTE JUSTICE isn't difficult to describe. The hero is a self-destructive cop named Gary Drake. He is based on a real-life cop, my little brother. So his dialogue was easy because, in my mind, I always heard Gary speaking in Barry's voice.

For my other characters, I had to find some other voices. For example, the voice of Doctor Garrett Allison is, to me, that of Michael Jordan.

That's right, people. When I write, I literally hear voices in my head.

As a beginning writer, and not a very good one, I read some advice somewhere saying you might want to cut photos out of magazines and use them when writing your physical description, in case you can't form a mental picture of your characters. I've used this technique, and with some modification I've extended it to voices.

As an author, you should always play to your greatest strengths while working to improve your weaknesses. I know many authors who think visually, and I envy them that. I've read some stuff that can make you feel you're skiing down a snow-covered mountain when it's actually 85 degrees in your flat and you've never skied in your life.

One author told me that when he writes, he literally sees movies in his head, then just has to type them really fast because that's how they're playing. Lucky him! My novels first come to me in snippets of dialogue. Every character has the same voice at that stage. (My voice, of course.)

Tight dialogue is one thing I enjoy when I read. Here are the characters at some sort of verbal showdown. I know them, I know their motives, I can read between the lines and know what's being left unsaid. I can just feel the tension in the air. I'm not so much mentally picturing bulging veins and angry glares as I am just feeling the spoken words.

I also have an excellent memory of voices. I always have. Like a dog remembers scents or an artist colors, it seems, I can remember voices. If I hear an unfamiliar song on the radio but I've ever heard that singer before, I can tell you who it is. I can tell you that the guy doing the voice of Gomez Addams in the original Addams Family cartoon is now doing one of the voices in the Tasmanian Devil's cartoon series. I can spot an actor like Andreas Katsulas no matter what species of rubberized alien he's playing, because I recognize his voice, although really that's no great challenge in his case.

(For the record, if you've read THE CHRONICLES OF A MADMAN, Ahriman looks and sounds like Andreas Katsulas. Clyde Windham is Dennis Franz. Wendy Himes is some girl who sold me some horse feed about 15 years ago.)

But just "hearing" the voices (if you're able) isn't enough. The words themselves will be different depending on who's speaking them, even if they're relaying the same information.

To get back to VIGILANTE JUSTICE, Gary Drake doesn't use a lot of words. He almost never describes his own feelings, and if he does he always feels guilty about it. He speaks with a Southern drawl. He tends to use a single swear word, and that word is "fuck."

Marjorie Brooks, on the other hand, mentions feelings and uses whichever swear word is the most accurate, except that she never says "fuck." Doctor Allison doesn't use as many contractions as the rest of us do. These are things I kept in mind as I wrote their dialogue.

Who remembers Mr. Spock? His speech sounds like written language, very grammatical and correct, and that's deliberate. He's a scientist, he's logical, and for him language is a tool to be used with as much precision as possible. That isn't just a different style of dialogue; it helps define his character.

In THE CHRONICLES OF A MADMAN, Ahriman used fewer contractions than the rest of us and he avoided sentence fragments. He probably even knew the difference between who and whom or lie and lay. That's because he's intelligent, you see. It kinds of goes with the territory when one is evil incarnate.

During an edit I did of a sci-fi book, I saw that the author wasn't using contractions in dialogue. I made many suggestions that he change the dialogue of the humans to use those contractions, except when military officers were giving orders, because order-giving officers tend to be more "serious" and "thoughtful" than folks just being regular folks.

I also suggested to this author that he change nothing about the "stilted" speech patterns of his aliens. English isn't their native language, you see, and one thing I've noticed from living in China is that the locals don't use nearly as many contractions as I do. So I thought that added realism. Plus, the contrast should help the readers keep everybody straight even if they aren't consciously aware of why.

I remember in one edit where I read some character saying, "I am an historian." Oh, I hate that phrase. I hate anyone ever putting "an" in front of a word that begins with the consonant "h." It's terribly pretentious and arrhythmic. As I kept reading the book, I quickly learned that the character in question is terribly pretentious. Nobody else in the book was throwing "an" in front of "h" words. It was a deliberate contrast on the author's part, and it worked quite nicely.

CONCLUSION

I suppose the point of all this is, remember the difference between narrative and dialogue.

In the case of narrative, you're simply trying to describe what happens. There is a famous quote of some sort that says, "Great writing is like a window pane." Stick to that maxim unless you feel you have a good reason not to. If you've got what it takes to make your writing style superior to the conventional, and if your story allows it, let that style be an asset of your writing. Otherwise, just stick to the rules until you master them.

In the case of dialogue, you're trying to write something that sounds like what the characters would actually say, but a bit more organized because "real" speech can be boring. Give every character his/her/its own voice.

Am I joking when I say "its?" Not entirely. THE CHRONICLES OF A MADMAN contains a short story, written in first person from my dog's viewpoint. But then again, I would never call Daisy an "it."

There's a stylistic decision you can make in narrative, by the way. I always refer to animals as "he" or "she." Some authors always use "it."

In dialogue, you can let some characters always say he or she, and let others always say it, to contrast the feeling with the unfeeling. (My heroes never call an animal "it.")

In the end, the goal is always the same. Make your writing as easy to read as you can. Keep that in mind, and always keep learning, and you won't go wrong.

Writing Short Info Reports

2008-06-05T13:42:00.001-07:00

People want information, they want it quick, frequently in short form, and straight to the point. Its no wonder that they go straight for a computer connected to the internet to find anything from how to grow tomatoes to choosing a web host.

As a home business owner, this "information revolution" as I like to call it, is only to your benefit. After all, you are in the business of trying to give people what they want time and again. So, give them the information they crave.

Now, e-books are a wonderful way to , but in the spirit of the Infopreneur, short high content reports which I like to call info-reports are perhaps even better. If formulated carefully, they can even be put to use to literally explode the size of an opt-in list of subscribers. To proceed you simply develop several high content short reports, targeted at a specific market which you would like to add to your subscriber base, and give it away free just for subscribing to your newsletter. With content, and the word "free", many people will flock to subscribe. Best of all this is a win-win situation: You pick up valuable subscribers to interact with on a weekly basis, and your subscribers receive valuable information from you.

So, how is it done you ask?

Report Ideas

Almost any idea you have can be made into a short report. However, not every idea is in demand.

Try this out.

Sit down with pen and paper in a quite location. Yes, you read correctly. I said pen and paper. It is easier from a work perspective to sit in front of your monitor, but past experience has taught me that the creative side of my brain works better with pen and paper. Of course it is up to what ever works for you.

Now, write down a short list of topics that you are semi-familiar with. I say "semi" because you can always perform a bit of research to learn more. These topics can be on anything: gardening, cooking, computer programming, specific hobbies, construction, research, medicine, etc.

After you have made your list, weed out the topics that are not associated with your business. For instance, if your business is computer programming, you probably don't want to focus on creating a short report on gardening. The reasoning here is to target your market. Gardening info is not targeted to the computer programming market.

Now pick one or two topics, open a word processor, or even your notebook, and start writing every little bit of information you know on the subject.

Putting It Together

I recommend structuring your report similar to a book report. Remember writing those in school? Why a book report? The focus here is short and informative. This isn't creative writing. You don't want to go off on some tangent about literary prose. Short, concise, and highly informative information to guide others is what works here.

Format And Packaging

Format is somewhat of a personal preference. But, keep computing platform in mind. There are numerous e-book compilers, many free, that can be used to create a small exe file of your report. The advantage here is that it can be created in web page format and then compiled with links that when clicked will actually open in the e-book window. One downside however is that as far as I have been able to tell they only compile in PC format. So, anyone with a Mac will not be able to view the file.

I have used Easy e-Book Creator for several short reports. It is simple and easy to use. I create the pages in HTML format using Microsoft Frontpage and then compile. If you want the full version without the Easy e-Book Creator logo and with added security features, you can purchase a license for about $20. The resulting e-book is in exe format. e-Book Compiler also has a free trial version. I however was not as happy with it.

PDF is essentially universal. Just about anyone these days can open a pdf. The problem is that pdf file creators are rather pricey. An alternative is the Microsoft Reader plug-in for Word. Microsoft is attempting to compete with Adobe in creating a new standard. The software is free to download from Microsoft at http://www.microsoft.com/reader/developers/downloads/rmr.asp.

Distribution

After all else is done, its time to get your report to market. Now, there is not a single definitive way to do this. I use e- zine advertising, classified ads, pay-per-click, and traffic exchanges to advertise short reports in the hopes of pulling interested readers to sign up for the e-Kinetic E-Zine. What is great about this method is that it truly is win-win. I gain new subscribers who I get to share interact with through the e-zine, and subscribers receive valuable information at zero cost.

The One-Plot Wonder

2008-05-27T14:04:00.012-07:00

Back in the mid to late 1980s I was a security guard. The pay was lousy, but it gave me many hours in seclusion to write short stories and novels. However, I usually worked over 80 hours a week. No one can write that much. Well, at least not me. Thus I discovered the joys of my local libraries.

Recently, I decided to look up an author who gave me great pleasure in those days. Most of his books are now out of print, I've learned, even the one that became a movie.

I found that two of his were books available, so I ordered them. One I'd enjoyed before. The other was a straight thriller from the days before he created the "Appleton Porter" spy spoofs, re-released in 2001 in POD. I didn't know this before it arrived at my home in China.

Since I'm giving away THE plot spoiler, I won't identify the author or title.

A man who deeply loves his wife buys her a hotel outside London. She is very happy there, at first. This is a fine suspenseful read as she notes oddities and eventually appears to be losing her mind and such. Suicides, an eventual murder. Finally, her husband pays a doctor to kill her.

Her husband arranged all this, we learn at the end, because she was dying of a horrible and incurable illness. Rather than let her suffer the indignity, he tries to give her some final days filled with wonderful memories. He never realizes that he ended her days with a living hell.

The writing was fine, aside from some stupid typos of the sort common in unedited POD titles. He's obviously a sincere, hard-working, talented author. The plot was wholly consistent and everything "worked."

So why is it a weak book? Because the plot I described is all there is. It's a one-plot wonder.

As an author, if you find yourself floundering, if you find your work-in-progress failing to make progress, ask yourself. Is it a one-plot wonder?

Here are some best sellers I've read over the past thirty years.

During the Cold War, a Soviet commander steals a top-secret submarine and tries to defect to the US with it. A good and idealistic young law graduate accepts a job too good to be true, only to eventually learn he's working for the Mafia. An alcoholic author and his family become caretakers at an old Maine hotel, alone during the winter, and he eventually goes nuts. A US President declares war on drug dealers, a "clear and present danger" to national security. A crippled author is kidnapped by the ultimate fan.

I've chosen these titles because I've read the books and seen the movies. None of my plot summaries are wrong. But with some of those novels, there are many more plots and subplots at work. These are the novels that didn't always translate well to the big screen due to time constraints and/or loss of non-objective voice.

I love a well-conceived "what if" scenario, and none of these books lack that. But more importantly, I love a novel that's rich with the fabric of life. That's where multiple plots come into play. Very rarely will a movie capture this as well as a novel can.

A one-plot wonder is a boring read. It's a boring write. It's not realistic. And, it's a hard sell. All your eggs are in one basket. If the editor isn't enthralled with that sole plot, you aren't published. If the reviewer isn't enthralled with that sole plot, he pans you. If the potential reader isn't enthralled with that sole plot, he doesn't buy your book. Or if he does, maybe you don't get any repeat business from him. You don't get mine.

Plus, we should be setting the bar a bit higher for ourselves anyway. We entertain, but we also enlighten and educate. Or at the very least, provide needed escape. But it's hard to escape to a one-plot wonder. I keep taking coffee breaks between chapters.

I single out no writing medium with this. All are guilty. Come on, TERMINATOR 2 has more subplots than many successful books these days. And it's not just "these days," incidentally. The title I reviewed early in this article is from 1979. Published, successful, well-written, flat.

Craftsmanship is fine. Craftsmanship is wonderful to behold. Craftsmanship is a necessity. But, it's not enough.

Do you want to build a horse barn that never leaks or do you want to build a two-story A-frame home that survives five hurricanes undamaged? My carpenter did the latter and I can't do the former. But if I had the ability to build a leak-proof barn, I certainly wouldn't limit myself to barns. I'd try to build houses.

I'm not talking about weighty tomes. Times change, readers change, and most people don't read them any more. What was once considered gripping is now considered boring.

But one-plot wonders also bore readers. They read it, enjoy it moderately, then go look for something else to do. There's little satisfaction at the end. Rarely the big "wow" that probably made you start writing in the first place.

I'm talking about shooting for five stars instead of two or three. I'm talking about richness of story, raising the standard, writing your absolute best instead of settling for adequate.

I risk oversimplification here, but I'm seeing far too many one-plot wonders. People are buying them, too. But it's time for us, the authors, to quit writing them.

Interviewing an Author: Dont Be Left Speechless

2008-05-27T14:04:00.011-07:00

Joyce Carol Oates. Langston Hughes. Anne Sexton. F. Scott Fitzgerald. Nikki Giovanni. The names of authors (dead and alive) can go on and on. But I'll let you have first pick!

You are in a room with some of your favorite authors. About ten of them. However, you are only allowed to invite one of them to Starbucks for a couple of chocolate mochas. Just you and your favorite author. It doesn't matter if the writer is deceased-use your imagination! After all, you're a writer, right?

Oh dear, who shall it be? Should it be William Shakespeare with his purple pantaloons; Sylvia Plath who now vows to use an electric oven instead of gas; or should it be Maya Angelou and old playmates from her broken-hearted brothel?

Finally, you have selected an author.

You take him (or her) to Starbucks. You order the mochas. You sit down. As you open your mouth to ask the author questions nothing useful comes out.

What's the problem?

Often times we'll chance upon moments when we can interview an author. And, with technology nowadays, methods of research and brainstorming have changed slightly.

1. Research the Author

Ask yourself, "Is the author self-published or published in a traditional publishing house?"

Actually, does it really matter?! No. Why? Because you're going to need to treat all authors the same-with much respect. Be laid back, and in turn, the interviewee will become comfortable and open-up to you.

After all, whether published or not, we're all human. Before the interview, however, use your investigative reporting skills and attempt to discover as much as you can about the author. Surf the Internet for any hidden agendas internet-published writings the writer may have. Not only do you want to know about the author's book, but the personal life as well. Find out what makes the author tick.

2. Research their genre and subject matter

Does the author write poetry? Historical nonfiction? Dramatic nonfiction? Children's literature? Discover how easy or difficult it is to publish in that particular area of writing. Before you meet up with the author, you must know their genre, as well as the basic themes. If the author writes only historical nonfiction-what's their subject matter? Pre-civil war? Early African Slave Trade? Cuban artwork? Compare and contrast authors in similar subject matters.

Learn as much as you can while you can. And, at the same time, be sure to formulate an opinion about the subject matter, whether it be pro or con. This will allow you to ask more in depth questions.

3. Don't Interrupt

Remember to ask your question then shut up. This isn't a time for you to reminisce of your (waning) writing skills. This is moment for the author to be in the spotlight. Listen to their responses, and make sure that you have a rebuttal question prepared in the back of your head.

After you are away from that particular topic, be sure to go to your next question. Though you may have your list of questions-it's okay to ask the questions out-of-order. Actually, I highly recommend to adlib the questions. This will make the questions seem a bit more unforced. In short, treat your interview as if it's just a regular discussion amongst friends.

Above all, I highly recommend to record the interview. Before you display your trusty hand-held recorder, ask the interviewee for permission to record them. Keep and label all used tapes with the author's name, date and location of the interview. You never know when that once self-published novelist will become the next Best Seller.

Edited by Jenny Wilson

About The Author

Stephen Jordan has five years experience within the educational publishing industry. Stephen was a freelance editor with such educational foundations as Princeton Review, The College Board, New York University, and Columbia University. Away from the office, Stephen promotes his creative writing with his home-freelance business OutStretch Publications and his artwork. Stephen holds two Bachelor of Arts degrees in writing and literature from Alderson-Broaddus College of Philippi, West Virginia

Interview with Suspense Author Peter Abrahams

2008-05-27T14:04:00.009-07:00

Peter Abrahams is the author of thirteen novels, including "The Tutor," (Ballantine Books) "A Perfect Crime," (Ballantine Books), "The Fan" (Fawcett Books), and most recently, "Their Wildest Dreams" (Ballantine Books).

Known for his sharp wit and incredible gift for keeping readers on the edge of their seats, Abrahams has been entertaining readers for more than two decades--spinning multi-layered tales involving ordinary people who find themselves in horrific situations. Nominated for the Edgar Award, and known for his memorable, unique characters, colorful writing style, and non-stop suspense, Peter Abrahams seems to have it all--even the praise of horror author Stephen King.

Here is what he had to tell Writer's Break.

THE INTERVIEW

WB: What formal training did you have before becoming an author?

Peter: I had little formal training. My mother--who wrote television drama--taught me a lot about writing when I was very young. For example--don't use linking words between sentences (however, nevertheless, etc.), but use linked ideas, mood, rhythm.

WB: What's a typical writing day like for you?

Peter: Typical writing day--I drive my daughter to school, hit the gym, then breakfast and finally the office, where I work from about 10 to 5. Late in a book I sometimes do more after dinner.

WB: How long does it typically take for you to complete a novel?

Peter: The actual writing of a book takes me 5-6 months if everything is going well. I wouldn't call myself fast, just steady.

WB: What inspired you to write your latest novel, "Their Wildest Dreams"?

Peter: I don't know if inspired is the word. I've often got little ideas drifting around in my mind. In the case of "THEIR WILDEST DREAMS," I was thinking a struggling woman and a Russian immigrant and a heist gone bad. Then, on Don Imus's radio show, I heard Delbert McClinton singing a song called When Rita Leaves. Most of the story--Mackie, the southwest, the dude ranch, Buckaroo's--came to me in the next five minutes.

WB: How did you decide to become a full-time novelist? What were you doing before?

Peter: The short answer is that I finally started doing what I was designed to do. The long answer isn't that interesting. Earlier, I worked in radio. Before that, I was a spearfisherman in the Bahamas.

WB: What would you say is the "best" and "worst" aspects to this job?

Peter: The best is that hard-to-describe pleasure that comes with making something out of nothing. The worst? A toss-up between the business aspects and the solitary nature of the job.

WB: Who are some of your favorite authors?

Peter: Lots of dead favorites, and a few living ones, including Stephen King and Saul Bellow.

WB: What can fans expect from you next?

Peter: My next book, "OBLIVION," comes out next year. It's my first detective novel. I think I can safely say that the detective, Nick Petrov, faces challenges unlike any previous fictional detective. I'm also involved in another new thing for me--a young adult mystery series that I'm really excited about.

WB: Do you do a lot of research for your books?

Peter: Research--it depends what you mean. A lot of it just comes from living. But as for all the little facts, I do what I have to to get them right. I visit places I write about--some, like southern Arizona in "Their Wildest Dreams," have a deep effect on me.

WB: What would you like to do if you weren't a novelist?

Peter: If I wasn't a novelist, I'd like to be a musician.

WB: What advice would you give to aspiring writers?

Peter: My advice to writers, at least those of the narrative kind: Don't watch TV. There's nothing for you there.

Understanding Editorial Guidelines

2008-05-27T14:04:00.007-07:00

Editorial guidelines, also known as writer's guidelines, are the rules set forth by publishers for contributing authors. In order to have your article taken seriously you must review the guidelines prior to submission. It is also recommended that you review previous editions of the publication to get a better feel for the types of articles favored by the editor(s).

Outlined below are the typical issues covered in editorial guidelines along with their definitions and any additional information you should know.

Length of article: The minimum and maximum word count of articles considered for publication. Online articles are usually expected to be 750 to 1,000 words while off-line publications will often accept a longer article.

Topics: The subjects of articles accepted by the publication. Never submit an off topic article as this is very annoying and may result in further submissions from you being banned.

Illustrations/Photographs: Some publications require/accept illustrations or photographs and will usually specify the size and format required for acceptance.

Editorial style: Consistency and accuracy governs the use of a style selected by the editorial department of a publication. Many publications require the use of the Associated Press Stylebook which covers spelling, capitalization, grammar, punctuation and usage.

Author Photograph: Some publications require or accept a photograph of the author usually included with the submission of the article. Guidelines will often cover the size and format of photographs.

Byline length: Also known as an author biography or resource box. Some publications have certain requirements for length, characters per line and what or how much contact information can be included.

Payment: Your byline is often the only payment you will receive for your article. However, some publications (particularly those in print) pay for articles by the word or per article.

Rights: Governs whether or not the publication will accept original or reprinted articles, how long they plan to use the material and whether the article can be used elsewhere at the same time.

Query requirement: A query is a letter written to the editor that proposes an article topic and asks permission to submit. Some publications require that you query the editor (by e-mail, fax or mail) prior to forwarding your article.

Submission methods: Methods of submissions may include via fax, e-mail or hard copy sent by courier or standard mail.

Editorial calendar: It is not unusual for a publication to establish an editorial calendar for each year far in advance. The calendar will cover topics, themes, article types and required submission dates broken down by publication dates.

Format accepted: Each publication will accept articles in certain formats such as Word, WordPerfect, text or Adobe Acrobat.

Audience: Demographics such as number of subscribers, gender, educational level, age and income level.

Notification: When you will be contacted about your submission. Many publishers choose to contact only if an article is chosen for publication.

Acknowledgements: In some cases you will be required to sign (either electronically or on paper) an acknowledgement that you have read the guidelines.

It is very important to understand and follow the editorial guidelines of your target publications in order to maximize your chances of publication. Not all publications will include all of the above items in their editorial guidelines. Contact the editor if any of this information is not disclosed and you need it to refine your submission.

The Three Cs of Writing an Excellent all Purpose Headline

2008-05-27T14:04:00.005-07:00

Since the headline is the first contact your readers have with your message, it must reach out to them. Promise them a benefit. Tell them how they will be better off if they read the rest of the ad. Use action verbs. Save ten dollars is a stronger heading than Savings of ten dollars because of the verb.

Headlines can be classified into the following five basic types; effective headlines frequently combine two or more of these kinds.

News Headlines

This form tells the reader something he or she did not know before. Using the word news does not make it a news headline. "Now - a copy machine that copies in color" is an example of this type headline.

Advice and Promise Headline

Here you are promising something if the reader follows the advice in your ad. "Switch to Amoco premium, no-lead gasoline, and your car will stop pinging."

Selective Headline

This headline limits the audience to a specific group. For example: "To all gray-haired men over forty." Caution! Be absolutely sure you do not eliminate potential customers with this type of headline.

Curiosity Headline

The intent here is to arouse the reader's interest enough to make him or her read the ad. The danger is that this headline often appears "cute" or "clever" and fails in its mission. An example: "Do you have trouble going to sleep at night?"

Command or Demand Headline

Watch out for this one as most people resist pushiness, especially in advertising. "Do it now!" or "Buy this today!" This headline generally can be improved by changing to less obtrusive wording such as: "Call for your key to success!"

One common misconception about headlines is that they must be short and easy to understand. This is not always true. Here is a headline that was used extensively in print ads by Ogilvy and Mather for one of their clients: At 60 miles an hour, the loudest noise in this Rolls-Royce comes from the electric clock.

Illustrations

There are three primary reasons for using illustrations in an advertisement.

To attract attention to the ad.
To illustrate the item being featured.
To create a mood in the mind of the reader.

Everyone has heard, A picture is worth a thousand words; in advertising, the illustration frequently helps the reader visualize the benefits promised. You can almost feel the warmth of the tropical sun when you see the photos in January travel ads. Cost and practicality may dictate whether your ad uses photographs, artists' drawings or merely canned artwork. Any of these can make the ad more appealing to the reader's eye.

Copy

If you follow the three principles of good copy, your ads will be effective:

Good copy should be clear.
Good copy should be crisp.
Good copy should be concise.

Clear, crisp and concise . . . the three Cs of copy writing suggest that the words in your advertising message merely do a good job of communicating. Do not use big words when small words can make your meaning clear. Use colorful, descriptive terms. Use the number of words necessary to make your meaning clear and no more-but also no less! Selecting the right words is critical to the success of the ads. Recent research conducted at Yale University found that the following 12 words are the most personal and persuasive words in our language.

You Discovery Safety

Money Proven Results

Love Guarantee Save

New Easy Health

Notice the overused word free is not on the list.

REMEMBER THAT WHEN YOUR MESSAGE IS PRINTED IN ALL CAPITAL LETTERS INSTEAD OF UPPER- AND LOWERCASE LETTERS, IT IS FAR MORE DIFFICULT FOR THE READER TO FOLLOW AND REMAIN INTERESTED. EVEN IN HEADLINES ALL CAPITAL LETTERS SHOULD BE AVOIDED.

5 Reasons People Like Technology White Papers

2008-05-27T14:04:00.003-07:00

A good white paper is a paper that makes you look good.

You look good when your white paper makes sense, when it's readable, when it concentrates on benefits and examples, and when it's easy to get. Here's why:

Reason #1. Many people would rather die than talk to a sales representative right off the bat, but they will read a white paper. When people start researching a product, they are not prepared to talk to a salesperson. They have no idea if the product is for them, or if they even need the technology at all. They'll also be resistant to new and innovative technologies. Well-written, benefit-laden white papers will qualify your product to the reader, and qualify the reader to you at the next stage in the sales cycle.

Reason #2. White papers build a bridge between the prospect and your organization's salespeople. When the salesperson does call, it's not out of the blue. If a user has downloaded a white paper, there is an established connection between user interest and your company. The call can even be welcome if the customer has more questions and is interested in moving forward.

Reason #3. White papers are simple to host on the Web, where people can easily download and read them. In addition to your own company Website, there are numerous sites that host white papers and make it easy for prospects to download the paper. Many companies take this opportunity to capture reader information, including if the reader wants to be contacted. If they do request contact, for heaven's sake contact them! They are coming highly qualified.

Reason #4. You're not just reaching prospective customers with white papers, you're also reaching journalists. Or you should be. This is why you should always include a solid technical section in a white paper: journalists doesn't want to download a white paper and find a brochure, it makes them cranky. But if you deliver a valuable white paper, the journalist is far more likely to speak well of you and your product. (This, of course, is the essence of media relations.)

Reason #5. And speaking of journalists, what do they do when they pick up or receive expensive press kits? They throw them away, but they do keep valuable information like booklets and white papers. As a senior editor and editor-in-chief for data storage magazines, I can't tell you how many beautiful and pricey press kits I picked up, then threw away. What did I keep? White papers. Who did I think of when I was writing a story on that technology? The company that wrote the white paper.

The CLEAR Process

All white papers need to combine good writing, good structure, and clear technical explanations -- high level or not, depending on purpose and audience -- and case studies. The process is CLEAR:

Clarify the problem
List your technology's features
Educate your customers on benefits
Add proof points
Restate your case

People like technology white papers if the paper is clear, useful, readable and available. Make sure your white papers fit the bill with the CLEAR process, or call a professional white paper writer for your next project.

Home Business Writing Made Simple

2008-05-27T14:04:00.001-07:00

Have you ever written a letter to a friend? Ever written an outline for any project you were about to start? What about a shopping list? If you have, and I imagine most have, you can then write focused, brief, content articles for your online home business.

Why write? Well, of course you can spend lots of money to drive traffic to your site with absolutely no guarantee that you will obtain a single sale. Moreover, most of the traffic, although targeted, may leave your site and forget it ever existed. Writing puts you personally, your site, and your products/services within the same framework as a well-honed opt-in list of subscribers. People remember you, learn to trust you, eventually purchase from you, and most importantly return to purchase again and again, as long as you continue to offer what they need.

"So how can I simplify what seems to be the arduous task of writing", you ask?

Try this:

(1) Take out pen and paper and go someplace quiet where you can trigger the creative side of your brain. (Yes, I said pen and paper. Don't sit in front of the computer for this exercise.)

(2) Sit back and think for a moment about your online home business. What do you offer? What have you learned so far about building traffic? Have you noticed any patterns for certain promotion methods that work? What about anything that can be considered well needed advice to others just starting out?

(3) Now write down the first thoughts that come to your mind. Don't edit. Your not at that stage yet. Just write the ideas, and do this for several minutes, or until you have at least a single page filled up.

(4) Done? Good. Now go back to the top of the list. Slowly go through and hone the ideas. Anything that pops out as particularly intriguing or immediately brings up related ideas mark off for the next step. These are the ones to develop further.

(5) Now take out a sheet of paper for several of the ideas marked off and write the idea at the top of the paper. (You can use your computer now, but I tend to think better with pen in hand.)

(6) O.k. Ready? At the beginning I asked if you ever have written a letter to a friend? Remember? Keep this in the back of your mind always. Write like you speak. I promise you that for short content articles to develop your online home business, this is the tone that works. If people need a textbook they will buy one.

(7) First make a list, sort of a shopping list of related things to cover. Try not to get carried away. Remember - short content articles.

(8) Now fill in the details as if you were explaining it to a friend.

That's it. All there is to it. I think you will be surprised how easy it is once you write a few. Personally, I keep a notebook handy at all times just for ideas that I later cultivate into short articles. When I learn something new that I believe will be of benefit to others I make a note.

The power in this technique resides in the fact that you are not a robot and neither are your prospects. When you write, and take it from the perspective of friends sharing information, you step onto a personal level. Now who wouldn't pick up on that. Eventually, with continually writing and publishing your articles in newsgroups, e-zines, and other web site, your credibility builds, your persona builds, and your traffic and sales will build. You absolutely cannot loose with this cost effective traffic generating strategy.

Making The Time To Write That Novel

2008-05-20T00:52:00.007-07:00

Finding the time to write a novel is one of the major issues confronting writers, particularly those who haven't been published yet. How does one justify to themselves, or to their loved ones, that they need time to write if they have demands on their time, like a job, or a house to be cleaned, a family to be fed, or shopping to do? They make the time.

To make time, one would have to sit down and plan it. If this is not done, then writing will become a haphazard event, dictated by a whim, or a passing urge, rather than a scheduled time. This often results in the book never really being finished. You do want to finish that book, don't you? Below, I have my own suggestions as to how to make time.

Think about your daily schedule, just like when you do a budget, only instead of money, you'll be budgeting time.

Then get a nice large desktop calendar, the ones that cost about two dollars. Begin filling in the mandatory slots for the week. Do you have a work schedule, or a doctor's appointment, a meeting to go to, etc.? Then write these times down.

Next, fill in the times for meals, showers, shopping, socials, etc.

Now look at the times that you are free. Please don't say there isn't any time left! There will probably be some time available somewhere. Maybe it'll be at lunchtime, if you are working, or after dinner, or even during the day if you're a stay-at home parent (when junior is napping).

If you are a new writer, start slow. Maybe find one hour a day and reserve that for your writing. Go ahead and write the date in the calendar. You just made an appointment with yourself. Now do it for every day of the week. You decide if you want to work the weekend or not.

If you are a more seasoned writer, you will probably need more time. I find that I need a minimum of three hours a day to write. Sometimes I may also use this time doing research for my book.

Once you make that appointment with yourself, that's the easy part. Next, you have to keep that appointment. There are so many instances when something else interferes with your designated time. I know, I've been there. Therefore, you need to have some flexibility. Always have a reserve time slot handy in case you don't make your date. Although I was pretty regular and rarely strayed from my afternoon schedule, there were times that I just couldn't stay on track. I learned to be flexible and wrote in the evenings. The important thing to remember is to not stray too far from your schedule, because it defeats the purpose.

Once you've scheduled your writing dates, then prepare your work area. Try and have it ready before your designated time. If you have a computer, make sure the printer has enough paper, and there's a floppy disk available to save your Word files in. If you use a pen and paper instead, make sure you have them handy. Also, make sure you have enough lighting in the room. You wouldn't want to strain your eyes. Make your writing area as comfortable as you can.

Now try writing for a week. How did it feel? If you're like me, it felt great. Not only did it feel great writing, but I quickly found out it wasn't enough time! One does need time to get into the story, to think about the dialogue, to write that chapter. Sometimes you'll be so absorbed in your writing, that you may surpass the hour you designated, and that's fine if you go beyond your scheduled time (unless it affects your other activities). There will be other times when you'll sit there doodling, trying to write something, and it won't be easy, so you'll probably finish quicker than the allotted time.

The important thing is to write on a consistent basis. It's similar to exercise. In order to see results, you have to do it persistently and over a long period of time. A novel can never be written in one sitting! Over the course of your writing, you'll be learning valuable skills that can only come from experience. Also, you'll notice that the more you write, the easier it'll become.

As you follow your daily writing schedule, you will show your loved ones that you are serious about your work, and more importantly, prove to yourself that you can write that novel!

I wrote my first novel in 1-Ѕ years. Being a stay-at-home mother gave me the opportunity to write during my baby's naps, which averaged about 2-3 hours each afternoon. It is very rewarding to see your novel taking shape. If I could do it, then so can you!

Top 10 Tips to Complete a Creative Writing Project Without Losing Your Creativity

2008-05-20T00:52:00.006-07:00

Have you ever started a creative writing project with great excitement, only to have your interest dwindle as the process, itself, interfere with your creativity? How do you keep the momentum going and continue to enjoy the creative process? Follow these tips for high creativity, fun and success!

1. Create a writing environment that inspires you.

Create a place in your home or outdoors that calls you to write. Consider light, color, sound, scent, taste, writing materials.

2. Follow The Artist's Way, by Julia Cameron.

I highly recommend this book. It keeps you focused, observant, playful, and creative - and it keeps you believing in yourself as a writer!

3. Choose your writing project in a joyful way.

When choosing a writing project, come from your heart - not your head. Be playful. Be creative about how you choose your project.

4. Make a creative representation of the project's ideal end.

Draw, paint - use a creative medium other than writing to represent the completed project. Consider, especially, how you will feel when it's done. Put your model in a prominent place. Use this to trigger the desired feeling, before the completion - every day!

5. Make a timeline with celebration points.

Make it visually appealing. Have a step-by-step outline and celebrate creatively as you complete each step.

6. Create an R&D Team for your project.

Contact a number of your friends, colleagues, and readers. Invite them to join your R&D Team. Send them snippets of what you write, questions you have about the process, or anything else you want input on - on a regular basis. Their input will keep you going.

7. Keep Creating & Editing times separate.

If you edit while you write, the process can become boring. Clearly block a specific amount of time for editing into your schedule. Don't let it interfere with your creative writing time!

8. If blocked, shake things up!

Do something fun, unusual, active! Get your mind somewhere else and move your body. Your creative side will work in your subconscious while you're at play. Read the tips in The Artist's Way. There are also many resources on the internet for handling writers' block. Check some of these links: http://owl.english.purdue.edu/handouts/general/gl_block.html

http://www.sff.net/people/LisaRC/

http://leo.stcloudstate.edu/acadwrite/block.html

9. Have a Fan Club.

Critics and editors are fine, but have a few friends or family members who you can ask to cheer you on or cheer you up, no matter what you write. Hire a Creativity Coach to keep you focused and to be an unbiased supporter of your creative success!

10. Celebrate in a big way!

When you reach the big finish, give it a big finish! Do something you've always wanted to do, but have never done before. Make the finish so memorable that you'll be eager to begin your next creative writing project!

How To Stay Fit While Writing

2008-05-20T00:52:00.005-07:00

Day after day, writers tend to sit for hours writing that novel or story, and over time, this can become a potential problem. Their metabolism may slow down and the pounds can inch up. Statistics show all kinds of health problems associated with obesity.

If you're an author, you are aware how your image plays a role in promoting your books. You are asked to speak or lecture at a gathering, or promote your books doing book tours and signings. Or even better yet, you're asked to go on a TV show, like Oprah! That is not the time to think about losing weight! You have to start now, before that book goes out on the shelves, so when you go on that stage or in front of the television, you're looking and feeling good.

How can you tell if you're obese? Here are a few ways to tell -

you pinch the area around your waist and it's two inches thick,

you lie down and can't feel the top of your breastbone,

your clothes don't fit you,

you avoid having your picture taken,

you keep telling yourself you need to get a new scale because your scale isn't working

Check your weight against the Body Mass Index table provided by NIH website:

http://www.niddk.nih.gov/health/nutrit/pubs/statobes.htm#table

How can writers live long and healthy lives if they don't take care of their bodies? Here are some tips I've designed to stay fit while writing that novel.

MAKE SURE YOU TAKE BREAKS

Breaks are important for you. Not only so you can get up and stretch or walk around, but to allow your brain a rest. One way that is helpful, is to put a timer on for 45 minutes. When the timer goes off, take that break, walk around, do your laundry or something physical, anything to get you moving. After 10-15 minutes, you will feel refreshed and ready to get back to writing.

SLOW DOWN ON THE MUNCHIES

Working at home is a wonderful feeling. You can set your own hours, wear whatever you want, and have the freedom to come and go. However, beware of the munchies syndrome. It may begin with a cup of coffee and a sweet, then some chips or nuts. Before you know it, it'll turn into a habit, and every time you sit down to write, you'll expect a delicious sweet or crunchy snack nearby. DON'T DO IT! The chips have tons of sodium in them, which makes your body retain water and will make you swell up like a balloon. So think twice before you dip into those salty chips or nuts.

The brain is like a reliable machine. It will work hours for you on end if you take care of it. Just like you oil and gas your car, you need to do the same for your brain. The brain cannot work endlessly without some reinforcement. It needs energy foods as well as bouts of rest to operate at its best. Although the brain loves sugar, hence the urge to eat sweet foods like cookies, cakes, donuts, there are drawbacks to feeding it sugar all the time (weight gain, diabetes, etc.). Sometimes substitutes like a granola bar or fresh fruit will do just as well, thank you. Carrot sticks work for me!

Don' be like those squirrels munching away constantly. If you catch yourself going to your writing desk carrying plates loaded with goodies, etc., then beware. Go right back to the kitchen and set those plates down. Promise yourself that you'll have your snack, but only at certain times (like mid-morning, or mid-afternoon). Your brain will get used to it, believe me. It will adapt. Habits can be broken.

RECOMMENDED DAILY FOODS AND VITAMINS

5 servings of vegetables and/or fruits

2-3 servings low-fat dairy products (milk, cheese, yogurt, etc.)

One serving of protein (meat, chicken, fish, soy, legumes)

5 servings of grains (cereal, bread, pasta)

Vitamins - take your multivitamin, your calcium (as we age, we need more), and any other vitamins you feel are helpful. Vitamin B complex, Selenium, Zinc, Fish Oil, and Vitamin E are also good for you.

Also, make it a point to drink plenty of water. Around 6-8 glasses of water a day are good for you. Sometimes we are thirsty and we think we're hungry. So next time you go for the bag of chips, get yourself a glass of water instead.

EXERCISE, EXERCISE, EXERCISE

Exercise boosts your metabolism, gets those endorphins streaming through your body to make you feel good, gets the blood coursing through your arteries and veins, lowers blood pressure and cholesterol. There are so many benefits linked to exercise, it would be foolish not to include it in your daily activities. Exercise makes you look younger (who doesn't want to look younger?) and has also been known to lower one's craving for food.

There are three intensities of exercise (low, moderate, and high):

Low intensity exercise is leisurely walking - you don't really get sweaty. If you are beginning to exercise, start here. Do this for a couple of weeks.

Moderate intensity exercise is when you bicycle, or jog, or even walk fast, and usually start sweating around 10-15 minutes into the exercise. This is a good level intensity, geared to those who have already done low intensity for awhile.

High intensity exercise is when you run, bike, play tennis competitively and sweat within 3 minutes of beginning this exercise. Not recommended if you haven't exercised in awhile. Muscle cramps, and pulled muscles can result if you're not in shape. If you think you'd like to try this, ease into it by alternating between moderate and high intensity in the same exercise session.

Always remember to stretch before and after each session, and drink plenty of water. Check with your doctor first if you have health problems before beginning any exercise program. It'll take about 5-6 weeks for results to show. So give yourself plenty of time and be patient. It does work.

Winter is the hardest time to stay fit because the weather can be so cruel during this season, particularly if you live in the north and you're an outdoors type person (jogger, swimmer, tennis player, etc.). There are ways to get around it.

Get an aerobics videotape and do a dose of aerobics (30-40 minutes/day) in your home. At least 5 days a week.

Get an indoor treadmill or stationary bicycle. They're worth it. Again, five days a week, 30-40 minutes.

Join an indoor swimming pool, tennis club, etc. and make it a point to go there faithfully.

If you're broke, go to the mall and walk around there for 45 minutes a day.

If all the above aren't for you, just keep moving (household chores, up and down the stairs, shopping, etc.).

KEEP TRACK OF YOUR PROGRESS

How will you know if you are doing well if you don't keep track of your progress? One way to do this, is to keep a log. Write down your initial weight, and your goal weight. Each day jot down what you eat, and the amount and type of exercise you do in your log. Since writers like to write, this won't be a problem to write in the log. Right?

In order for your weight loss to work, you have to be faithful to losing the weight, and to yourself. Try it for a few weeks. Over time, you'll start seeing an eating pattern, good or bad. If you notice you didn't lose weight for a certain week, check your log to see what happened (maybe ate out more, or partied). That's ok, you can always get on track the following week. Don't be hard on yourself. Every pound you lose is one less to worry about.

GO SLOW

I know this may sound contradictory, but go slow on your wellness program. Take your time. It doesn't pay to add stress to your life. If you lose a pound a week, that's a good benchmark. If you're losing 5 pounds a week on average, that's not so good. You've heard the term "easy come, easy go". It also applies to weight loss. Quick weight loss means quick weight gain down the road. You need to feel comfortable with what you are doing, or else it won't work.

JOIN A WEIGHT LOSS PROGRAM

If you've tried losing weight and it's just not happening, then maybe you might consider joining a weight loss program. Some people do better if they're in a supportive group setting. That's fine. Just be wary of the weight loss programs that sound too good to be true. One rule of thumb that works for me is if you can't stick to the diet for life, then don't do it.

The Unwritten World Of The Reality Of Letterwriting

2008-05-20T00:52:00.003-07:00

You may wonder why I have chosen this title of this post. Well from my experience is that it is really hard to put the feeling into words about what letter writing means to me. Letter writing is becoming a lost art on many levels. It is fading into the background of society. It is still practised by many people. It is those people that I am looking to connect with. I have been told by many people whom have read my posts that they feel the same way about letter writing as I do. I want to hear from those people what they feel; I want to hear their words.

I think that it is so important that we embrace the things that we are passionate about. In this case, I want people from all walks of life, all over the world. Put a pen to paper that is letter writing; pen pals, snail mail whatever it is you call it and tell your story about what writing and receiving actual physical mail in the mail box means to you.

For me I love the whole process from finding kwel and interesting stationary, note cards, ticklopes (they are so cute) to stickers, to colour full envelopes to tuckins to put in the envelopes. For me it is to make others happy to see a letter to them in their box.

I want to hear from you yes you the one reading this post. I know you love to get a letter addressed to you? Who doesn't? Is there some that you have kept? If so? Why? When? How? Yes I want all the 5 W's answered. The reason is I think that it is important to have book that expresses just how important this art of letter writing is to our society. I have heard from a publisher that they are interested. Now I just have to create the masterpiece called the unwritten "reality" of the lost art of letterwriting.

Help me help shine the light on this amazing gift so that it doesn't disappear from the future. If you want more info please feel free to contact me. I have more to share as always. If you can think of other places to post or spread the word please do. This is dedicated to you. I would appreciate any help in getting the word out. I don't think that I could do this book justice with out having fellow letter writers sharing their experiences about the passion of this amazing hobby.

Four Easy Ways to Get a Book Written (Especially If You Dont Like to Write)

2008-05-20T00:52:00.001-07:00

Becoming an author is probably a lot easier than you think. It's time to get that book out of your head and onto the printed page. Ready? Boot out your excuses. Here's how to do it.

Method One: Think Quality, Not Quantity. To be classified as a book - as opposed to a booklet or pamphlet - your work needs a mere 49 pages (excluding the cover). Not only that but, depending on your topic, you can be liberal with photographs, charts, illustrations, bullet points, fill-in-the-blank worksheets, etc. Use them strategically in place of text. If it fits your theme, intersperse powerful quotations throughout your book, and give them a page of their own, even if it's only a line or two. Ditch the perception that you have to have a minimum number of lines on each page.

Method Two: Start Talking. Invest in a tape recorder and shoot the breeze. I must admit that this isn't quite as easy as it sounds, but if you're articulate and you have skill at organizing your thoughts and ideas, it's doable. Don't try to wing it. Break down your book into chapters. Then prepare a detailed outline of each chapter. If it's fiction you're writing, outline the plot. For nonfiction, along with your outline, have any additional material handy that you want to refer to.

After you're done, have a typist transcribe the tape. Save it onto a floppy disk and give it to an editor. She'll polish the content. A variation of this method is to use voice recognition software that turns your spoken words into text.

Method Three: Do an Anthology. If you don't want to go it alone - and you don't mind sharing the spotlight - have other writers contribute a chapter to your book. Then you'll have only a chapter to write yourself. Whether it's a collection of short stories or a manual of topics on your subject, this method really lightens your load. Be sure to place each writer's name on their chapter's byline.

Find other writers by asking for referrals. Who to ask? Try the librarian at your local library, an editor at your city's newspaper, an English teacher at a nearby college, or professionals in the subject area of your book. Or place a classified ad in a writers' magazine. And of course, be prepared to remunerate your contributors.

Method Four: Hire a Ghost. As I stated in my book, The Art of Hiring Someone to Write Your Book: A Step by Step Guide to Successfully Collaborating (Instant Publisher, 2004), "A ghostwriter will gather content for your book by handling research, poring over books and articles, conducting interviews, and launching Internet searches. They extract the information that best meets the needs of your project, organizing it, reshaping it, and giving it a creative twist. After they put it all together, they go over their own work, polishing it to flawlessness. As the project develops, they invite your input and seek your approval. Because you have the final say over the project, they comply with whatever changes you suggest."

Whichever method you opt for, happy authoring. I'll see you in print.

Characters In A Romance Novel

2008-05-16T22:49:00.007-07:00

Before you even begin writing your novel, you need to know who your characters will be. Minimally, you would want two major characters, the hero and the heroine. They will interact mostly with each other throughout the novel. How they interact with each other will determine the outcome of the story. Will they resist each other in the beginning of the story and by the end, fall in love? Or will they fall in love in the beginning of the story and then be driven apart by conflict? Once you've chosen them, then you need to decide what age they are, their personality traits, and their names.

AGE

Age-appropriate actions are paramount to development of the character. If the heroine is in her teens, she will react differently to situations than if she is in her late twenties. The same goes with the hero. In a romance novel, the typical heroine is in her early twenties, while the hero is older. If he is in his twenties, he shouldn't be shown as a tycoon, unless of course, he inherited the wealth. If he is in his thirties, he shouldn't be shown doing activities that are immature for his age.

PERSONALITY TRAITS

A character in your novel needs to have distinct personality traits that make them unique. By distinguishing them from the other persons in the novel, you can create all kinds of situations based on those traits. Personality traits are typically revealed in the story through actions, dialogue with other people in the story, and sometimes through flashbacks that may reveal how that person became the way they are.

If you are not familiar with personality traits, you can begin by studying the psychology books that describe them. Some examples of personality traits are introvert/extrovert, obsessive-compulsive, Type "A"/Type "B" personalities, etc. For example, an introverted person would appear shy, doesn't speak much, and shuns being in social situations, whereas an extroverted person would be gregarious, out-going, and usually a partygoer.

There are many types of personalities that you can choose from for your heroine, but typically, a "romantic" female would include the following: kind, young, nurturing, loving, warm, single, sensual, doesn't fool around, and attractive. For your hero, the characteristics could vary even more, and usually include being: older, decisive, powerful, kind, caring, single, gentle, and handsome.

Typically, you should have well-rounded characters. However, beware of making them too perfect. Readers prefer reading about realistic people, and yet at the same time, want to escape a little. Leave some room for improvement to allow character development to take place. As a writer, you will have to do some mental gymnastics to allow this to happen. Maybe she is stubborn and headstrong, and doesn't listen to other people's advice. Maybe he doesn't trust anyone, so he is wary and cautious. That's fine. Once you decide on the traits of each character, then the next step would be to envision how they would react to certain situations. For example, an impulsive person would probably react differently than a cautious person to the same situation. Be prepared to get into the shoes of your character and feel what they would feel. When a hero and heroine get together, they may help each other overcome their character flaws by the end of the story. Through their love for each other, they help each other grow as human beings, and at the same time, accept each other's flaws and imperfections. Of course, there will be some type of conflict in attaining their love. What story exists without conflict? But by the end of the story, they realize the importance of each other in their life and cannot live without the other, no matter what the price. Ahhh, true love!

NAMES

Once you have the age and personality trait of each character, then you need to give them a name that fits them. If the male character is a warrior or has a tough-minded personality, you wouldn't want to give him a name that sounds feminine, like Jean or Francis. Also, be sensitive to the setting, locale, and the time period, when deciding upon names. In addition, the names of your other characters should not overpower the hero/heroine's names.

OTHER CHARACTERS

Once you have your main characters, then think about whom else will be in the novel. What role will these other players maintain to help the hero or heroine go forth? If you just add someone in the novel because you like him or her, but they don't help the story, then rethink on how they could be useful to the story. Maybe they know something that might be useful to the hero or heroine, then add that into the story.

Cardboard characters are a result of focusing on one dimension of a character. The cardboard character can be either totally evil, good, funny, sad, etc. They don't waver much from that description. Sometimes they are added in the novel to prove someone's character. For example, an evil cardboard character makes the hero look good by battling with him. That's the only purpose the evil character has, to show the hero's good side. We don't try to develop the evil person's character so that he/she is less evil. However, in recent literature, one sees more sympathetic looking evil people doing their bad deeds, yet somehow managing to make the reader feel sorry about them. Those complex types are not considered cardboard characters.

BALANCING ACT

No matter how well you think you are writing, always go back and double check your work for consistency. Make sure that if your hero has blue eyes in the beginning of the story, that he still has blue eyes by the end of the story, etc. Also, make sure you know your characters before you write. If you don't, it will show up in your writing. Throughout the story, you have to carefully describe the real person in all their glory, as well as their character flaws. When I went back and read the first draft of my romance novel "Lipsi's Daughter, I found that I tended to lean more towards making my characters too good. I then went in and deliberately inserted a fault or two. Those faults also help with the conflict. Conflict drives the story forward.

The final balancing act will come at the end, where you will have created, or synthesized a whole new person that has evolved into a better human being from the lessons they learned in the story. So now that you've read this section, go ahead, write your characters. Make them come alive!

Beginnings

2008-05-16T22:49:00.005-07:00

Just about everyone is familiar with this beginning: "In the beginning God created the heavens and earth. The earth was without form and void, and darkness was upon the face of the deep . . ." (Genesis 1: 1-2 RSV) In a sense we're playing God when we write a story. We create the characters, plot, and setting, turning a blank page-nothingness-into a compelling story.

Not only is your first scene the first impression of a story, it is the doorway that invites your reader on a journey. First scenes are what determine whether or not your reader is going to follow your characters to the end.

Your beginning must accomplish several things:

Introduce your characters

Establish the place and time the story occurs

Introduce the conflict or point at which change begins.

Your opening sets the tone, mood, situation or problem. It actually begins in the middle of things.

Looking at the first lines of Genesis from a purely literary standpoint, the first lines introduce God as the protagonist. The time and setting (simply) is the moment of Creation, same as the point of change. Before God created the world there was nothing. For the purpose of this illustration from a literary standpoint, Nothing was what happened before the story begins. It starts in medius res-in the middle of things.

Let's look at a few opening lines of other stories.

I could tell the minute I got in the door and dropped my bag, I wasn't staying. "Medley" by Toni Cade Bambara

This blind man, an old friend of my wife's, he was on his way to spend the night. "Cathedral" by Raymond Carver

She told him with a little gesture he had never seen her use before. "Gesturing" by John Updike

Something has already happened before the opening line. The first line is actually the middle of the story. Each story has its own history. The plot is affected by something that happened before the first sentence on the first page. In Anne Bernays and Pamela Painter's book, What If? They describe story beginnings: " . . . think of the story as a straight line with sentence one appearing somewhere beyond the start of the line-ideally near the middle. At some point, most stories or novels dip back into the past, to the beginning of the straight line and catch the reader up on the situation-how and why X has gotten himself into such a pickle with character Y."

Take out an old story, or one you've been working on. Look at the opening scene. As yourself: Does the story have a past? Is the current conflict grounded in the history of the story? If you answer no, then you don't know your story's past well enough.

John Irving said: "Know the story-as much of the story as you can possibly know, if not the whole story-before you commit yourself to the first paragraph. Know the story-the whole story, if possible-before you fall in love with your first sentence, not to mention your first chapter."

The Hard Facts About Editing

2008-05-16T22:49:00.003-07:00

Whether you're interviewing for a new job, trying to woo a love interest on a first date, selling your work on the Internet, or submitting a query to an editor, you can never make a second first impression. It's true. It's just one of life's hard facts.

To sell your article, novel, product, or yourself, you need to work on that very critical first impression--and a surefire way to make a bad impression is to present poorly edited work. All the hours of researching, outlining, and writing are squandered if the final version of your manuscript is not tightly written and error-free.

How can you possibly convince an editor, agent, or customer that you can produce a great product when there are errors in your queries, on your web site, or in your marketing materials? I don't know about you, but I lose trust in what I'm reading once I've seen more than one error. In some cases (e.g., a web site for an editing service) even that one error is enough. I think it's careless and it leads me to wonder if the creator is as careless with the quality of his products or services.

Okay, now that we've made it clear that you will be judged harshly by your errors, let's work on ways to error-proof your work.

Editing Cures More than Typos. Proper editing cures not only typographical errors, but also inconsistent statements, ambiguities, poorly written sentences, and weak word choices. Appropriate attention to these aspects of writing make all the difference between a mediocre piece of work and an excellent one.

Spelling and Grammar Checks. Standard spelling and grammar checks are available to you, so use them! Remember, however, they won't catch everything.

Print Your Work. Print a copy of your manuscript and whip out the red pen. Generally, you will find mistakes you weren't able to detect when reading on the monitor.

Let It Simmer. Put your manuscript away for a period of time so that you can look at it later with fresh eyes. After the established time period, print another copy of your work and again, pull out the red pen. Tighten your sentences, examine your word choices, and hunt down any errors you couldn't find before. I find this step to be invaluable!

Ask a Friend to Read. It's helpful to have friends look at your work. They'll see it with a new perspective, which in turn will help them find things you may have missed. But remember, non-writer friends may not always know what to look for. Friends may also be shy about correcting you. You need dead-honest criticism, so if you feel you won't get it from a particular person, don't ask him to read.

Join a Critique Group. Peer critiques can be a terrific way to get feedback on your work, and to offer feedback on the work of others. As an added benefit, you will learn that there's a lot to gain from correcting others' mistakes. There are many online critique groups. (One place to look is Yahoo Groups http://groups.yahoo.com/). Find one that works for you, then submit and critique as needed.

Read Books. There are many good books that can teach you to become a better self-editor. Check out a couple of them. Also, make sure to keep a style guide handy. One good one is Strunk and White's, "The Elements of Style."

Hire an Editor. A good editor will be able to reveal hidden mistakes and will ensure that your best possible work is being submitted. There are many editors who will gladly take your money, so be careful when choosing someone with whom to work. Ask friends for recommendations. If you'd like "my" recommendation, WritersBreak.com works with a fantastic and super-affordable editor who owns BookShelf Editing Services. I cannot recommend her highly enough for editing articles, novels, or web material. She can be found at www.writersbreak.com/bookshelf-editing.htm.

Remember, few things undermine credibility as quickly as work that contains errors. But, on a positive note, also remember that there are many actions you can take to avoid them.

A Mode of Transportation

2008-05-16T22:49:00.001-07:00

Great writing transports one vicariously to realms that the reader would not otherwise experience.

One of these areas is physical: ancient, modern, or futuristic. A great writer can bring the past into the present and make the reader experience the culture, the locale, the people of the time. Jean Auel's great novels come to mind.

Another region is the pschological realm: Again great writing conveys us into the minds of characters giving us a better understanding of our motives, our passions, our wants, and our needs. Crime and Punishment is a good example.

Then there is the sociological realm where great writing gets the reader involved in the world of crime, or romance, or poverty, or wealth, and many other social situations, problems and solutions. Charles Dickens was such a writer.

The cultural region is another area where great writing has an impact, particularly authors from other ethnicities that help us to understand the mores and viewpoints that are different.

Finally we enter the political sphere. Here again, great writing points out the good and bad of different ideologies, political parties, governments. It introduces us to the search for power and influence, the good and the bad, the acceptable and the unacceptable.

Great writing occurs in fiction, non-fiction, poetry, etc. Great writers abound, and each reader has his or her favorite.

Charles O. Goulet has a BA in history and a BEd in English literature. He has written several historical novels that are available from Amazon.com and other bookstores.

How to Finish Your Self-Published Book Fast

2008-05-16T22:48:00.000-07:00

Started a book and then got bogged down? Like many of my bookcoaching clients do you say, "I have so many other demands, I just can't get to the book."

This isn't procrastination or fear. Most writers get stuck when they don't know how to move forward, finish, publish and sell their unique, useful book to audiences just waiting for it to come out. Let me share two ways to speed up your process.

One. Take One or More High Level Action Each Day

Another to do, you groan? Not really. If you don't make your book one of the top three priorities in your life, it won't finish it.

Get real. How many hours can you give to your book a week? If not ten, I say you may never get your book out. Clients get so discouraged when they don't do their fieldwork for our coaching calls, so I came up with one solution of doing one High Level Activity or more each day for five days a week. (HLAs) Go ahead; take the weekend off like I do.

Some HLA steps include:

- Write on a chapter that you have passion for first.

- Write 2-3 pages a day on just one chapter.

- Finish one chapter before you move on.

- Write 3-6 questions you need to answer for your audience for each chapter before you write a word.

- Read a book on how to put a chapter together the fast way

- Write in your organizer each day the specific HLAs you will do

- Contact a book coach who has low-cost teleclasses, small group coaching groups, or writes books on the topic you need help on.

- Write a sample chapter introduction with a hook and thesis to direct your reader to the meat.

-Write compelling copy so your reader will turn all the pages and recommend your book to others.

Sample Organizer Page

Write your intention: I finish this book (name the title) by (name date and year)

Affirm: I stay on track every day with my HLA's.

Take Action: My HLAs for Wednesday, date, year

1. Contact a cover person for my how to book

2. Answer three questions for chapter 6. For example,

- Can I write print or eBook at the same time?

- What's the best eBook format for my book's purpose and me?

- How much will it cost to self- publish? (A lot less than you think)

- Add front and back material to sell more copies

Think of the Payoffs.

The trick is to finish these three HLAs or even one before you go to bed that day. If you finish fully, you'll feel confident and your guilt will disappear.

Two. Write Fast-Forward, Well-Organized, Easy-to-Read Chapters

Do you try to use past research for your chapters? This is not necessary. All you need to do is answer your reader's concerns and questions.

Your reader wants your to solve his problem or challenge, whether it be to make more money, save more money, create better relationships, connect with their inner self, or to communicate better.

If you don't answer these in each chapter, your reader will say "ho hum" or "I'm confused, what's the point of this chapter? They will put your book down and not recommend it to others.

One common mistake writers make with their books:

They don't complete one chapter with all its parts including the sizzling hook and introduction, the middle with stories or how tos with engaging headlines, and the ending that inspires the writer to keep going to the next chapter.

When you sidetrack, you get off focus, and that's also a big challenge for book writers. When you focus, you write so much faster, and with a little professional help, get to market so much sooner. Results? More cash flow so you can market and promote properly.

Documenting Everything: Your Journal is Your Logbook

2008-05-15T03:09:00.011-07:00

Sailors had it for years. Great explorers had it as well. If you go on an expedition to an ancient Aztec mound, more than likely the archaeologist will have one too - so, why shouldn't you own one?

No, I'm not speaking of the scurvy that plagued the sailors! No, I'm not speaking of the Loch Ness Monster or Bigfoot, whom explorers claimed to have seen in snowy Manitoba winters. Nor am I speaking of a lost city, which was never truly lost, but simply buried under mounds of earth and recently dug up by an archaeologist.

I'm speaking of journals. Journals? Yes! Keeping a journal can be just as much of an adventure as sailing the high seas, exploring unknown Canadian wilderness or digging in the dirt to find buried treasure.

Journals have been a source of reflection for centuries. My suggestion is to look at your writing career as if you're an explorer analyzing new-found land; an archaeologist digging up new artifacts and renaming them and so on...

How can you do this? Well, view your journal as a logbook and document your daily happenings. Here is a suggested format for keeping your captain's log.

Divide your journal entries into sections: Date, Weather, Mood, Events and Freewrite

1. Date: This is the obvious one (for some people). Write the month, day and the year. Also write which day of the week it is (i.e., December 17, 2001; Monday).

2. Weather: Make note of the temperature outside. Is it 100 degrees? Or perhaps it's only 20 degrees? Is it raining and 35 degrees? Snowing and 110 degrees? Raining cats and dogs? (Don't step in a poodle....)

3. Mood: What's going on in your head? Did you just get off the phone with your ex-lover who ruined your day and sank you into the depths of depression? Write about it. Did you manage to pull off some wondrous passive-aggressive revenge against said ex-lover? Write about that too and how it made you feel.

4. Events: Here's where things get a bit complicated - for some. You have to do your homework. Watch television, read the newspaper and write a few lines about what's going on in your city, state, country or the world in general.

5. Freewrite: Here's your chance to shine. Since we're all writers, we should leave a section for freewriting. Allow yourself some space to simply write aimlessly without direction. But, here's the challenge - try to limit yourself to a certain number of lines.

When you keep these entries for a week, two weeks or a longer period of time, it can be extremely beneficial. Comparing and contrasting the Mondays or Tuesdays could be a surprising learning experience.

Many times I've written stories and wanted to "know" what 78 degrees felt like, so I went to my journal and found an entry, read my mood descriptions and weather descriptions and was easily informed from my own documentation.

Keep in mind, a good writer documents everything - whether it be on paper or just in the mind's filing cabinet. But, to keep things in order, try to keep your documentation on paper - or at least saved to disk.

Seven Compelling Reasons to Get Your Name on a Book Cover

2008-05-15T03:09:00.009-07:00

Have you ever considered writing a book? If so, maybe you've already established firmly in mind your exact purpose for becoming an author. Your reasons may match one or more of those below. Or perhaps you could add yours to the list. Nevertheless, with some 65,000 books being published in the United States yearly, there is overwhelming attraction to joining the ranks of authors.

Reason 1: Renown- Did you know that Martha Stewart ("Entertaining"), Harvey McKay ("Swim With the Sharks Without Being Eaten Alive"), and Tom Peters ("In Search of Excellence"), were virtually unknown until they became authors? It's no wonder. Authoring a book heightens your credibility, elevates your prestige and dubs you an expert. It could open the door to television, radio, and newspaper interviews. (You will, however, have to get out there and stimulate media attention). Having a book with your name on it may also attract public speaking engagements and other business opportunities. It affords you a chance to bask in the spotlight!

Reason 2: Wealth- Certainly not every book brings its author riches, but some do. In his book, "Damn! Why Didn't I Write That?" Marc McCutcheon lists 71 titles that sold 1 million or more copies, some many more, not to mention the multitude of books that sold tens and hundreds of thousands of copies. Yours could be added to the list. Of course it's going to take a hot topic, an attention-grabbing title, a well-written book and some strategic marketing, but the effort is going to be worth it.

Reason 3: Legacy- Depending on how good your book is, it may be read by generations to come. Your descendants, whom you may never see, may come to know you by your work. Family photographs are fine. They show the person. A book, however, shows what's inside the person: their knowledge, findings, experiences, and beliefs. Let your book be their heritage - and a legacy for readers everywhere.

Reason 4: Heroism- As a result of having read a book, people have saved their marriages, improved their health, fixed their finances, boosted their self-esteem, beautified their homes, gotten their souls redeemed, lost weight, roared with laughter, become better lovers, developed their computer skills. Books have improved businesses, inspired dreams, polished parenting abilities, brought history to life, and incited million dollar ideas. The list goes on and on. Your book is undoubtedly going to make a contribution too and it's no telling the impact it is going to have.

Reason 5: Personal Fulfillment- God put each of us here on earth for a purpose. That is, we each have unique gifts and abilities for which we cannot truly feel complete until we have used them. In setting out to have a book written, you have almost certainly developed a passion about whatever it is that you want to communicate. Good. Your passions reveal something about what your talents are. But until you actually get those words out, you may continually have that nudging. You are a unique being with something that only you can say. Have a book written and you will be well on the way to fulfilling your life purpose.

Reason 6: Adventure- Even if you, as a collaborator, are only casually involved in producing your book, the experience is an exploration into uncharted territory. It's quite likely that you and your ghost may come across amazing facts about your chosen topic that you were previously unaware of. You may unexpectedly meet people who could be valuable to your research or to the sales of your book. Even in the process of marketing a book, your tour may lead to exotic places. Being an author could very well be -- in a nutshell -- fun.

Reason 7: Economic Boost- Because a horde of people will be involved in the writing, publishing, sales and distribution of your book, you can take pride in the fact that your book is contributing to the wealth of the nation. That's especially significant in times of mass layoffs, rising taxes, and poverty. I applaud you!

There you have it - seven surefire reasons to become an author, a worthy investment in your business, your career, your life and the lives of your readers.

Need a Book Coach, Ghost Writer, or Editor? Part 2

2008-05-15T03:09:00.007-07:00

Know Your Editing Choices

Line editing. Use this final professional edit after you have already revised your work three times. These three revisions include: excluding all redundancies, reworking all the words and sentences so they are your finest with few passive verb constructions (aim for 2-4%) and relatively short sentences. Finally, look at headings, paragraphs and transitions to make sure your message carries power through placement and is easy to read. These editors charge $50 an hour or more.
Developmental editing. While you put your writing, ideas and sentences forth, a developmental editor will not just polish your syntax, but fill in gaps you don't want to take time for. It's practically like ghost-writing and you need to choose a really professional editor who will not do this work on spec, but will charge you an hourly fee of $60 an hour plus or by the project.
Ghost writing. You give your topic, thesis and chapter focuses to a person you want to finish the research, put it together in chapter form, and write it to sell well. Again, you need to hire a real professional who specializes in ghost writing for your kind of book, whether it is a novel, memoir, how-to or history. These professionals also charge $60 plus an hour or by the project.

Seek a Book Coach First before you waste time or money going down a path that does not serve you.

========

Benefits a Book Coach Brings

1. A coach can look at your idea or topic and ask you a few questions.

What's your book's purpose?
Where are you now with this project?
What chapters are finished?
Is your introduction and table of contents done?
Does your title convince your preferred audience to buy?
Do you know your audience inside and out? Prospective buyers will ask you, "Why should I buy your book?" Can you tell them in a few sentences?
is this topic your # one passion?
Are you willing to put in two-three years to get the word out with traditional promoting?
Or eight months to a year with internet marketing?

Depending on your answers, you will learn from your coach what you need to do next.

The biggest mistakes emerging writers make, even if they are professionals:

They don't know their book's many benefits and features. Knowing these first before you write a chapter assist you in writing a focused, well-organized, compelling book that speaks directly to your potential buyer. If they think it is easy to read, they will buy now and tell their friends.

They don't have a book plan beyond a good idea and notes they have written. If you want your book to get read you need to answer all of your customer's questions. When a book coach guides you in this process, you write consistent chapters that practically write themselves with half the edits you usually have.

They have the idea but don't know their audience first. It's always better to know what an audience wants, then write the book for them. Today, look to online readers who join ezines for free information. These people want new material in all subjects for their web sites as well as possibly buying your plan (book) to help them succeed.

They don't realize today's audience wants shorter books, and will print eBooks under 100 pages. A book coach can show you how to write your print and eBook at the same time. You don't have to publish with a traditional publisher either. The shorter route is self-publishing. Find out about how it works before you chase a route that won't suit you. Even if you are not a techie, learn from the coach how you can get your book out directly from your home or office.

Finally, think of your book as a lifetime profit center. Invest in the service that gives you what you need to sell well.

Need a Book Coach, Ghost Writer, or Editor? Part 1

2008-05-15T03:09:00.005-07:00

If you either want to write a book to help others create a better life and boost business or you already have your book nearly finished, you may need book coaching to answer all of your questions "What step to take next?" Many writers think that all they need is a good editor and their book will be ready for publishing and promoting.

Maybe you think you don't have enough time to write it yourself. You may want a ghost writer to finish the research and get it out.

But you need to start by consulting with a book coach who knows your book category, who your market is, and where to find them. Your book coach also knows what makes up a saleable title and can help guide you to write a great seller by knowing your thesis, your audience, your "tell and sell," and the correct introduction. When you incorporate these essential "hot-selling" points before you write many chapters, you will then write a compelling, organized, easy-to read page turner.

Don't hire a ghost writer before you know exactly what you need to write, publish, and promote a great-selling book.

Maybe you have a lot of your book done. You wrote your story, but did you write it for your audience or yourself? Many professionals and business people know their topic well, but may not know the rules for writing a saleable book. Too many "I's" and linking verbs like "is" and was" slow readers down and bore them because of the lack of action. They put your potential great book down and don't recommend it to friends or associates.

You already know that word-of-mouth works, yet takes a few years to really get up steam. Many authors quit too soon because they don't know how or don't want to promote their book. An experienced book coach can give you the real picture before you put time and money into your book. She can also make you aware of easy marketing and promotion that takes only a few hours a week at home or in the office.

Maybe, you just want to get your book done. An editor can fix your grammar and even your disorganization, but can an editor help you get your book published, and know which way is the best for you?

Think about what you want--a saleable book whose audience will flock to it because it totally helps answer their questions or solves their challenge. Editors are not trained to think about the benefits your book will give their audience. They don't know how to market as you write. Check with your book coach who will point out your brilliance and show you your benefits and features. Because only benefits sell, and most authors think features such as charts, tips, interview, pictures, or quotes.

When you don't know why your audience should buy your book and you can't tell them in a few sentences either in print or in person, they will back away and keep their wallet or credit card inside their pockets or purse.

Hire your editor after you contact a book coach. When your chapters do not have a consistent format with questions posed as headings and answers following in the copy below, a line editor cannot make your work sell just by changing a few sentences. Even a developmental editor needs format to help make your book the best it can be.

Think of your book as a lifetime profit center. Invest in the service that gives you what you need to sell well. Part two of this article is available.

Why We Dont Write Our Books

2008-05-15T03:09:00.003-07:00

In the ten years that I've taught people how to get on with their books, I've noticed a phenomenon that I'll call "Author's Block." Would-be writers can, indeed, sit down and work when pressed to it. The problem is that they're not so sure they want the pressure of being an author. But they do want to. But they don't. And so on.

Ah, the agony of getting on with your book.

Well, I'm here to diffuse that situation with a list of what I think are the key reasons we don't immediately set down to write. Perhaps this will help the next time you find yourself polishing doorknobs instead of sitting down to write.

* We lie to ourselves about why we can't write the book. We think our stalling is about lack of time, or too much pressure at work, or not enough solitude in the evening. But guess what? Chances are a deeper, darker reason may be at play, like 'I'm not supposed to be bigger than Mom' or 'What if this thing really takes off?'

* We fear the impact our book could have. Sometimes when I coach writers in my self-help author's crash course, I'll ask them what's impeding progress. And after some probing, it will come out that they're afraid of the big exposure a book can have if it takes off. I'm here to assure you that should that happen, (and chances are your book will not unleash wild mobs of millions) you will be able to handle it. How do I know? On that deep level where psyche meets karma, you won't create a reader more than you're ready to receive.

* We think our book doesn't matter, so why bother? One writer I know put this so succinctly: "I've tried getting up at 5AM to write, and staying up late, and leaving my home, but none of it works. I have this tired feeling that none of it's going to amount to a hill of beans." In fact, writing and publication can be an entirely self-determined activity these days. If the publishing pundits don't go for your book, there's always self-publishing and e-books on your website. In other words, your book does matter, and you really have no excuse. (Acid test: if the book keeps on patiently urging you to sit down and write it for months and even years, chances are you'd better do it.)

* We think we don't know how to write a book. Guess what? Neither does any other first time writer. And that may be a wonderful thing because you don't com in with a carload of expectations and demands from your process. You're just open, like? well, a nice blank book. All you really need is your intuition, and the will to write your book as honestly as you can.

* We have no support. You need someone in your corner, cheering you on, to get through the long and somewhat tiring process of birthing a book. That's why my Self-Help Author's Crash Course is not an e-book (believe me, it would be easier!) but a 12-week teleclass series. Because these writers need a place to show up and be accountable for their progress. They need someone to keep saying, 'Yes, you really can do this." That's how tricky and difficult our minds are when it comes to big challenges.

* We're afraid we'll run out of material. There isn't a writer out there who hasn't had this fear. And I'm here to say that if you just stay loose and open, and willing to receive the ideas, they will show up. All you have to do is commit - really sit down, and begin to bring that book into being - and the work will magically appear. Sometimes it won't flow that easily, and sometimes it will scare you with it's speed and power. But it will, indeed, show up.

* We think 'Who am I to write a book?' And yet, you are the perfect person to write your book, because you're the one chosen to receive this material. (You don't have to be spiritually inclined to believe this.) I personally believe that books are given to us when we're ready to receive them? and when we do, our lives are changed by that process.

* We fear uncomfortable moments. Ah, but that's the most exciting thing about writing your book. You will be given challenges and lessons that just seem untenable along the way. And if you're committed enough, you'll rise above them and so become stronger in the process. This is especially true for self-help books: we write what we need to learn.

I'm here to urge you to just get on with your book. Not only do you deserve it - so do we.

How to Write a Holiday Tale that Isn't a Turkey

2008-05-15T03:09:00.001-07:00

When we write stories, with the purpose of sharing them with others, we enter into an agreement where we allow our reader to see a glimpse of our heart, our souls and our memories. If we truly want them to be immersed in the tale, we actively immerse ourselves in those memories so that a glimmer of what we saw, heard and felt comes through.

This is especially true with holiday tales. The best way to convey a holiday scene is to take a trip back in time through the wonderful world of our unconscious. Here are some great ways to delve back into our child hood memories and incorporate them into our holiday tales.

1) Sit in a darkened room and close your eyes. Allow yourself to go back in time to the very first Christmas that you can remember. Take a deep breath and relax. What are the scents, sounds and feelings that come up? What is the first picture that pops into your mind?

Is it the sound of children racing down the stairs that comes to you first? The feel of your heart pounding when you awoke and found that Christmas was really here? The warmth of your parents' blankets as you bounced on them, anxious to wake them up?

The autumn and winter holidays will always be associated, for me, with my grandmother's cooking and pumpkin pies. I remember running into her little house, and the sound of the front door's slam behind me. I was immediately engulfed in warmth. The scent of nutmeg and cinnamon and pumpkin seeds physically drew me forward, until I was wrapped in my grandmother's embrace.

2) Recreate the scene. Since a prime trigger for me is the scent of pumpkin pies, I often order pumpkin scented candles from Yankee Candles. I sit on the couch, wrapped up in a blanket, light the candles and wait. Within moments, the scent has pulled me back to my grandmother's kitchen. And I hear the sound of my cousins pounding down the hall after me, each of us anxious to win the first warm treat.

You can do the same. If a scent triggers your memories, you can either bake the cake or cookie or brew the eggnog. Or you can get one of those scented candles and simply light it.

If the feel of sweaters immediately transports you back to your snow throwing days, slip one on. If you are like me and live in Florida, turn the air way up first. Close your eyes and hear the sound of children shouting as they try to nail each other with snowballs. Picture their fresh flushed faces.

3) If there is a particular holiday character that sparks your memories, rent holiday movies. Some of my favorites are Frosty the Snowman and Miracle on Thirty fourth street. Watch one for a while, until you get the holiday feeling, then turn the sound off. Watch the pictures and let your mind go.

4) Use all of these pictures and sensations and feelings in your story.

If you are writing about a little girl in a big family, think back to what holiday dinners were like for you. Did everyone talk at once? Does your character like this or does she feel overwhelmed? What is it like to be the smallest one in a room full of adults? Is there a cousin or neighbor that is constantly picking on her? Do the children get bored and decide to explore the forbidden attic?

5) Once you have a scene in mind, write down all of these questions. Don't worry about answering them until you have run out of questions. Then think back to the picture, sound or feeling that you associate with and answer the questions.

6) Now describe everything that you can about the characters. What are their ages? What do they look like? Are they the youngest or oldest in their family? Where do they live? What is their favorite thing? What are their best friend's names? Who is their arch nemesis and why?

Get as much detail as possible down.

Once you can describe all of these things, the pieces of your story will begin to fall into place. More importantly, your characters and your scenes will be real and alive. Be brave and put as much of yourself into these stories and your characters. Your readers will love you for it.

Mission Possible: Get Published with Goals, Guidance, and Persistance

2008-05-10T01:39:00.005-07:00

You send me an e-mail. You tell me you've written over three hundred poems since you were 16 (in your teenage angst stage). You mention the novel you've completed and it's really good (it really is!!!), and the novel-in-progress. You mention how the International Library of Poetry has published one of your poems. (But, whom haven't they published?)

However, all your work is stored away, hidden from the public eye on a black little disk.

You have one mission: Getting published.

"How do I get published?" you finally question at the end of the e-mail.

At times, I ask myself the same question.

Is this mission impossible? To many, it seems that way. If you stick with me, I'll make the publishing process slightly simpler.

On this mission, you'll need three things: Goals, Guidance, and Persistence.

An unmentioned New York City college (as well as other schools, I'm sure) offered a course on "How to Get Published". Various bigwigs from major publishing houses in New York City were guest speakers on many occasions.

A writer-friend of mine felt it would be a great opportunity to network and finally understand how to get her works published in magazines, and various books. I was hesitant, and suspicious of the course's objectives, so I didn't follow the friend's lead. I was far from disappointed about my decision. You'll soon discover why.

Getting published isn't as hard as you think. But, when you're a beginning writer getting published seems as difficult as James Bond jet-skiing along the River Thames with five barges heading his way.

As a beginning writer, I feel, the main priority should be getting your name out there in the public's eye. Understand that, at times, you'll have to accept the free issues instead of cash payment. Before you consider publishing though, you should reassure yourself a rejection slip won't lower your self-esteem and cause you to never pick up a pen, or stroke another key at your keyboard. Hey, trust me, rejections happen to everyone! Here are a few suggestions to better your chances of getting published:

Write, Write, Write. This is the obvious one. You need to write all the time. Too many writers say, "I have a novel about . . ." And the novel sounds spectacular. But, when I ask if I can read it, offer suggestions, the writers finally admit, "Oh . . . I haven't started on it . . . But the title of it is . . ." I despise working with an enthusiastic, talented writer who simply won't write. Don't waste your breath! Whatever you do-write your work first, and then speak about it so you won't look/feel like a fool.

Edit, Edit, Edit. If you feel your work is perfect (or as good as you can make it), keep in mind-nothing is perfect! That's what editors are for! If you are a college student, ask a professor to read it at his/her leisure. If you're already in the workforce, ask a well-read co-worker to edit it. Or, since you've some extra cash to spare, hire an editor. Many places, like OutStretch Publications, for instance, offer extremely reasonable prices for editing/proofing services.

Share Works with Others. This is when a workshop comes in handy. Students-take a creative writing course. Or, if you're not in school, give copies to about 5 or 6 acquaintances in advance. Then, schedule a "reading" at your place. Allow the guests to give suggestions and talk about your work as if you're not there. Remember, all criticism is helpful criticism. Remember to ask questions about the shaky portions of your work.

Websites: Build a website and add your writing to it. Or, even easier, find some of the online places like poetryboard.com, or some of the AOL bulletin boards where writers you don't know can critique your work, and people like me (who have a publication) may find your work and ask for your approval for publication. (This is a very rare occasion, but it does happen.)

Here's the TRICK: Mass Mailings! If you happen to see 2, 3, 4, or even 5 publications that don't mind simultaneous submissions and accepts work similar to what you've written, send your work to all of them. Sure, sending out a mass mailing of submissions will guarantee more rejections, but you also better your chances of getting published. Remember, include SASE with each submission or 9 times out of 10 you'll never hear from the publisher/editor. (Some publishers like you to include your e-mail address nowadays for quicker responses.)

Keeping Track. Keep track of all of your submissions. Be organized. A simple database program is perfect. In the database, list 1) the date you submitted work, 2) the publication and its address, 3) the works you submitted, and 4) the date you receive an acceptance/rejection slip.

If, for some reason you DO get a rejection slip. So what? Just think of it like this: Perhaps the publication wasn't right for your writing. Better still, everyone has his or her own opinion, so the editor simply didn't favor your particular style. Someone else out there probably appreciates your style of writing. Perhaps your submission was received past their deadline. Big deal. Send it somewhere else! Remember, though, writing can always be improved.

Now that you've read this, let me tell you something. This is everything my writer-friend learned from the writing course. Seems simple, eh? And, what's even better, unlike my friend, you didn't have to pay a course fee!

This mission doesn't seem so impossible now, does it?

Grab the goals of getting published, the guidance I just gave, the persistence with mass mailings and get yourself published.

Good luck with your publishing endeavors!

Is Now the Time for a Play about the War in Iraq?

2008-05-10T01:39:00.003-07:00

Everone knows that comedy is mostly about timing. If you hit upon the right nerve (is a funny bone a nerve?) at the right time then, usually, you don't even have to be original or even marginally funny to win laughs. The audience laughs just at the reference (i.e. "How about Michael Jackson?") and may fall into hysterics at a gifted comic's pause.

Of course the other element in comedy is distance. The funniest jokes might fall flat if the audience remains in grief or on edge (it might be too soon for "Now that John Ritter's dead, can we agree that three's a crowd?"). We may be past the days of "tarring and feathering", but if somebody decides to throw something at you, chances are it won't be a cake or a pie (which used to, at least, be good for laughs). So, it's important to be able to recognize this.

I started writing my play, "The Rules of Embedment or Why Are We Back In Iraq?", in June, a few days after a costume-wearing George Dubya Bush flew on to a carrier with a banner reading "Mission Accomplished." I knew Iraq War II was far from over - no matter what the Media was babbling - but I thought my take on the situation warranted the risk. Instead of carrying a sign on the street, I wanted to deliver my message within an entertaining context (much safer, these days, the way cops treat protestors now).

My play combines drama and satire, sometimes simultaneously. During the readings with different audiences my play's had, I've discovered that what some people find funny, other people gasp at. In my play, a young Mexican-American Marine [Santana] discusses his wish to be naturalized by the government. In response, a Gulf War veteran Sergeant [Drudge] mutters, "If you die, maybe they'll make you [a citizen] one." One audience became silent, the other roared. When I wrote that line I was aiming for tragic but I'll gladly accept the guffaws.

It's one thing to write about history after it's mostly been done and said. But my play had to be shaped to withstand any future developments. I believe (fingers crossed with duct tape) I achieved this by sharply defining the timeframe of the play. It's not about what happened or even what really happened. It's about what we knew when it happened then. I based my play on the opinions and beliefs that were in vogue in order to show how it all came to pass. Instead of focussing my sights on the Administration, I targetted the Media and how they sold the American public a preventive invasion (one way was by referring to it as preemptive).

Every day I hear new news I still sometimes worry that all my hard work will have gone to waste (though if tomorrow Bush/Cheney gets impeached, Rumsfeld, Wolfowitz, etc. go to jail, and our troops come home I won't mind). But so far my plan has worked. Saddam's capture caused me to pause, but that still didn't change "what happened then" (plus I still don't trust anything they say, for all we really know Saddam may have died in 1999 like it was rumoured) and never will.

Are there enough people out there aching to see a work like mine at this juncture? We'll see (or, hopefully, you'll see).

Freelance Writing: A Career From Anywhere

2008-05-10T01:39:00.001-07:00

An island in the Mediterranean. A beach in Africa. The east coast of New Zealand. What do all these locations have in common? A recent call for assistance from freelance writers elicited replies from every one of these locations. In each of these and in many other remote places, I know of writers who are freelancing with a fair degree of success. Indeed it is possible for freelance writers to work from anywhere.

Consider my own recent experience. As the editor of the Worldwide Freelance Writer web site, I publish a newsletter that goes out to thousands of freelance writers around the world. I can recall one particular issue in the middle of 2002. I started planning the newsletter in the heat and humidity of Hong Kong. When the first draft came together I was in Indianapolis, in the United States. And by the time I completed the final copy and pushed the send button I was at a lakeside cottage in Ontario, Canada, with snow lightly falling outside.

Maybe you are interested in a freelance writing career but you worry about whether you live in a suitable location. Well, think again. Freelance writing is a job you can do from anywhere. It is true that if your home is near New York's editorial offices you may be able to use your proximity to some advantage. But many, many freelance writers are working successfully from more distant locations, and in many cases enjoying a better lifestyle in the places where they live.

Take Ron Irwin, for example. An American, Ron freelances from a small house on the beach in Cape Town, South Africa. The majority of his work is still for North American markets. Consider Vella Corinne, a native of Malta in the center of the Mediterranean Sea. From this island steeped in history - the Order of St John was based here and the temples are thought to be older than the pyramids - she writes travel and lifestyle features.

Writers in locations such as these, far from being at a serious disadvantage, can actually enjoy a number of benefits. For a start, these writers are in an excellent position to write about their own locations, the people and the culture. Also, the living costs are often less expensive than for writers in major cities. And if that is not enough, how about fresh, clean air?

Writers working from remote locations usually live in a cleaner, more peaceful environment, and may live closer to outdoor and recreational activities. Vella reveals how she enjoys the warmer days: "Once I pack up my computer, I just head to the beach. Distances are short and, the island being small, I'm always close to the center of whatever's happening here. I can control my own time in a way that I could not if I lived in a busy city."

Twenty years ago writers in remote locations were often frustrated by the slowness of communicating with editors on the other side of the world. It would always take months to receive a reply from an editor. Waiting for a response to a query was about as exciting as watching grass grow!

In recent years the availability of the Internet has made it easier than ever before for freelancers to communicate almost instantly with anyone, anywhere in the world. In my own example above I traveled through a few countries over a three-week period and managed to conduct my freelance work at the same time. Many of my clients didn't even know I was 'on the move'. Little did they know that between receiving and replying to their messages, I was fishing in the lake and hiking through the woods I could easily keep in touch with important contacts, as well as write and send out my newsletter.

But do you know what was even more exciting? While I was traveling my web site was hard at work, the entire time, 'day and night'. Even while I was flying at thirty thousand feet, taking a nap, I was effectively selling a bunch of writing-related books and products. Now if that isn't a freelancer's dream becoming reality, I don't know what is! Such accomplishments were definitely not so attainable before the advent of email and the World Wide Web.

Kathy Crockett freelances from Gisborne, New Zealand, on the east coast of the North Island. She commented to me on the difference technology makes when working from such a location. "It's a city of 35,000", she explains, "the closest to the international dateline, and the first city in the world to see the sun each day. Its closest city-size neighbors are three hours drive on windy roads...the internet, mobile phones...technology lets me be wherever I want to be... and fool others into thinking I'm where they'd like me to be!"

Of course working remotely is not always easy and there are a number of challenges that writers typically face. Isolation is a common issue. Vella explained to me she has a way of dealing with it. "At times it feels like I have a totally atomized existence. I balance that by scheduling some 'face time' each day", she explains. I agree with her. Sometimes you must make a conscious effort to spend time with family, friends, or other writers.

Another challenge may be difficulties with technology. Finding a PC repair shop may be next to impossible. Internet access may be unavailable or unreliable. There are many, many places in the world that don't even have telephone lines yet, not to mention email access. You can still work as a freelance writer from these locations, but it will not be as convenient. If you have any choice where you live, always try to choose a town that has telephone lines with reliable Internet access.

And that goes for working while you are on holiday too. Check the available technology in advance. In the example of my trip above, I received a surprise. There was no telephone line or email access in the cottage. My initial panic subsided when I discovered a telephone not too far away. In freezing temperatures, I trudged up the road. When I pushed the button to send out my newsletter my notebook computer was plugged into a payphone.

Are writers in remote locations at a serious disadvantage? No way! I am sold on the concept that you can work as a freelance writer from anywhere. And while you will face some challenges, none of them will be insurmountable.

So if you're looking for a career you can do from anywhere, look no further. The writers I referred to and many others are working successfully right where they are. And so can you. Open up your notebook. Start writing. You can begin to build a rewarding career as a freelance writer today.

A Quick Guide to ISBNs for Self-Publishers

2008-05-10T01:39:00.000-07:00

ISBN stands for International Standard Book Number. It is a code assigned to every published book that uniquely identifies it in the marketplace. ISBNs make it easier and more efficient for libraries, booksellers and others in the publishing industry to order, distribute and catalog books.

When To Use an ISBN

You need to assign an ISBN to any content you intend to distribute through outside channels such as bookstores, catalogues or libraries. ISBNs should be placed on

-- print books

-- electronic books

-- videos

-- audio cassettes and CDs

-- CD-ROMs, and

-- other items as detailed by the International ISBN Agency.

You need to issue a separate ISBN for each edition of your book and for every format. For example, if you issued the same book as a print book, e-book, audio book and Braille book, you would require a separate identifier for each. If one year later, you updated the manuscript and re-issued the book, you would assign new ISBNs to this second edition in each of its different formats.

Deciphering the Numbering System

All ISBNs are currently 10 digits. (The industry will slowly be transitioning to a 13-digit system starting in 2005. See http://www.isbn.org/standards/home/isbn/transition.asp for more information on the change.)

The digits identify

-- the group (country, area or language area of the publisher)

-- the publisher, and

-- the title of the item.

The last digit is a check digit.

The group number is comprised of one to three digits. Zero is the number for the English language group that includes the United States, English-speaking Canada, the U.K., Australia and other countries.

The publisher number is comprised of two to seven digits. The more ISBNs a publisher uses, the small their publisher number.

Publishers that use more than 100,000 ISBNs are given a publisher number of only two digits. If you apply for 10 or fewer ISBNs, you will be assigned a publisher number with seven digits. Everyone else falls somewhere in the middle.

Thus anyone in the book trade can look at an ISBN and know roughly how big you are as a publisher by the number of ISBNs you have applied to use. This is why self-publishing gurus like Dan Poynter recommend acquiring your ISBNs in blocks of 100 to avoid being labeled "small potatoes."

Poynter further recommends that you use an ISBN from the middle of your list of 100 for your first book, since a 0 or 1 as your title number will reveal you as a first-timer.

The check digits range from one to 10. Since there is space for only one check digit, the number 10 is represented by an X.

How To Acquire ISBNs

ISBNs in the United States are administered by R.R. Bowker. Bowker charges a fee to process your application. Ten ISBNs cost $225; 100 ISBNs cost $800. Visit www.bowker.com for more information, or to complete an application.

ISBNs in Canada are administered by the National Public Library as a free service. Visit http://www.nlc-bnc.ca/isbn/index-e.html for more information or to apply on-line.

Learning to Question Your Elephant Child: Who, What, Where, When and Why

2008-05-10T01:38:00.001-07:00

Having problems writing? I don't know why. San Francisco Chronicle columnist Jon Carroll writes up to five columns a week. After all, if he can write five columns, you should be able to write a five-lined poem-but that does not seem to be the case.

How does he do it? Carroll claimed to recite lines from Rudyard Kipling's "The Elephant Child":

"I have six humble serving men

They taught me all I knew

Their names are what

And where and when

And why and how and who."

I'm more than sure that two incentives for Jon Carroll are 1.) Creating deadlines and 2.) His salary! Yes, we writers DO get paid every now and then!

Basing my philosophies on those few lines of Kipling's "The Elephant Child", my advice is to "Simply Ask Questions". Rummage through some old work (whether it be poetry, nonfiction, or fiction) that you've written and use the following techniques to enhance your skills. And, then, ask yourself the follow questions.

WHAT is the underlying theme?

Try to come up with a single-word or phrase to describe your story. Perhaps one reason your story has not been effective in the past is that you have too many intertwining stories. This, in turn, can cause confusion for the reader. So, ask yourself, "What is my story about?" And, give yourself answers such as: Desolation, Lost Hope, Self-Confidence, Racism, Attained Dreams, etc. If you can KISS (keep it simple stupid), then your readers won't MISS your point.

As practice, read some of the great contemporary writers and ask yourself the same question-"What is the underlying theme?" Describe the book in one word or one phrase, instead of using a high school book-report technique.

WHERE does your story or poem take place?Knowing the setting can allow you to be a bit more descriptive with your work. Does your poem or prose take place in Alaska? Florida? China? Yugoslavia? Hawaii? Kentucky? Each of these places is, perhaps, equal opposites of the next. To know your setting you have two choices-- 1.) Be a good researcher; collect pictures and read as much as you can about the location, or 2.) Take a road trip! Nothing can be grander than to spend your weekend visiting unknown territories.

WHEN did the events take place in which you are writing?If you're doing factual reporting-this is especially a MUST-DO. For instance, if you read a news article a reader wants to know when Ms. Johnson's house was burglarized. Did it happen June 20, 2001? June 20, 1984? Did the events take place when it was winter with ten inches of snow? Or, better still, did the events take place at Virginia Beach mid-August?

WHY did the events take place?Is there a conflict within your character? A lot of times character's (and real people too) have problems only because their conscious is "eating them away". Is this the case? If so, why does your character feel so guilty that he made such decisions? Perhaps the events that take place are only cause-effect. Most always people cause their own mental downfall and breakdown. Always know why your characters complete every task and why the events take place.

How did the events happen?Too often people will say, "I had a car wreck today?" But, do they leave it at that? No, no, no. You must always tell how the events happened. Were you driving in the incorrect lane, but still feel it's not your fault? Did you skid uncontrollably on a patch of ice? Maybe, you wanted to avoid the slow-moving tortoise that crossed your lane? If other characters are involved, it's important to get their perspective in dialogue. Maybe they feel the events happened differently.

Who did the events happen to?Who your events happen to is one of the main focuses. You have to choose your characters carefully. Why? Well, it would change a story completely if you wrote of a 68-year old cheerleader. Your work would be a different story if the character were an autistic adult. How would the events change if, let's say, the main character was indeed the Elephant Child, child of the deceased Elephant Man? Be creative with your characters and allow their personalities to work well for you when creating your piece.

Sometimes writers can use techniques that allow them to disregard some of these steps. Oh, Really? -You question. Yes. For instance, a writer may know the intentions of a character, a location-but you may not want to put it in print. My suggestion is that you KNOW all the answers to the above questions to make the work have more substance. By knowing all the answers you can create images, people, and scenarios by using symbols and customs of a particular area.

Imagine The Imagination

2008-05-08T02:19:00.007-07:00

Imagine a three hundred page book was in the author's mind before it was poured out onto the pages of the book.

Imagine all those words are words we all know and use but one person takes those words and arranges them in a certain way in the mind; the person fuses these words to form a story. Amazing isn't it?

Writers have a different way of seeing the world. They can see poetry in someone's hair and use it as metaphor for life or as an image to communicate a thought about something else that has nothing to do with hair.

But how is the writer able to use words in a fascinating new way?

It is natural in the way they are, the way they think.

The same way language is an innate mechanism to us the same way writers have the ability to use language in a different sort of way to communicate feelings we all feel.

Although they use language in a different way what they write is about what we all feel; that is why we can relate. The reason why what is written sounds true to life is because it is poured out naturally because it expresses what the writer is feeling on the inside at the moment.

To see beauty in the growth of grass is the expression of the soft and aesthetic side.

But does that mean when stuck in a traffic jam the writer will not get impatient, when faced with dishonest persons the writer is not repulsed; when faced with the sight of a hunk flexing his muscles the writer does not think dirty little thoughts?

Absolutely not.

Just because the experience of grass growing does not embrace these experiences does not mean these aspects of the author are not present. within the author.

Words are simply used to express the self and are not a substitute for the entire self.

Ever heard of being dramatic?

In the moment of writing of the growth of grass the writer exists in that world and the self that writes the story is different from the other selves of the writer.

Do not think of many selves as being schizophrenic. You are open with close friends, distant with persons you do not like, professional with business associates and intimate with a loved one.

Of course the writer's self is in consonance with the other selves- in the mode of thinking and being.

It is natural to be one self as naturally as the other selves, and writing means being imbued with the value and ideology system of the total self (that is the sum of all the other selves).

BUT

Does the writing of a piece during a depressed period make the person emotional who sentimentalizes everything?

The author in real life may prefer comedies to dramas.

Thoughts or portions of thoughts are focused upon that the other portions of the thought or other thoughts are not dealt with.

Think of standing before a forest and wanting to take a picture of all you see before you but all you have is a 35mm camera which is unable to photograph all of the trees many of which will have to be cut off from the photograph.

The writer then builds up portions of the thought or the thought into a literary piece for the audience.

We don't want to eat chips (fries) alone. We want a piece of meat or a slice of fish to go with it. And pour some ketchup and mustard on those chips.

This requires being dramatic.

Think of movies and soundtracks. At a certain point there is a certain feeling, a certain idea, a certain vibe and a song is played during the action to build up this aura.

The audience has to relate to what you have to say yet at the same time it has to be put forward in a different way so the audience will be compelled to read about something they already know about.

Think of the night when sounds are heard. They may be sounds of the day but under the cover of the night when the other sounds are smothered you never heard those other sounds until now. The sounds harmless during the day suddenly become eerie in the quietness of the night.

This process converts the original thoughts into lies for they are built up for the purpose of being read by an audience and the original thought although present does not exist in its original setting of the mind but in a new setting on the page.

Don't you always think every time you see yourself in a picture you look much better when you look at yourself in a mirror than in the picture taken (by someone else [so too the writer writes as if beside the self]) of yourself for it does not look anything as fabulous as you really look in reality?

So just imagine that.

Gut Check: Quitting Your Full-time Job for Your Freelance Career

2008-05-08T02:19:00.006-07:00

It's 6:00 p.m. You're dead tired, but instead of an early night, you go to your "second job" - your freelance business.

Between writing articles, researching new assignments and invoicing for completed work, it will be well past midnight before you can even think of going to bed. How much longer can you keep this up, you wonder? If this sounds familiar, maybe it's time to quit your job and focus on your freelance career full-time.

One of the best ways to ensure success as a freelancer is to start part-time while holding a full-time job. However, when do you know it's time to let go of your job?

The following checklist will help you decide if it's time to make the leap from employee to full-time freelancer.

1. Money: If you started freelancing with the intention of one day quitting your full-time job, then that plan should have included setting income aside for this day.

Do you have six months to one year of expenses set aside? Is your business bringing in steady income? If you were able to devote 15-20 more hours per week to it, could you at least double what it brings in now?

Looking back over one to two years of numbers should give you enough data to do some smart (read, conservative) projections. Don't have at least 12 months of income data to analyze? Then my advice is not to quit - unless the business is exceeding all expectations and you are really raking in the profits.

Bottom line: If you have six to twelve months worth of expenses set aside and won't have to depend on your freelance income to pay you anything during this period, then maybe it's time to consider quitting, or at least switching roles (ie, working your job part-time and freelancing full-time).

2. Time: Do your freelance duties take up more than four hours a day? Do you work six to seven days a week just to stay on top of your workload?

If this is true and you have a steady stream of projects already lined up, then maybe it's time to make the move.

Note: Freelancing is an up and down business. Just because projects are lined up does not mean they will come to fruition. If these are steady clients that almost always come through (ie, they do an annual report every year and you have been doing it for the past two years), then you can "safely" count on the income.

However, be careful that the bulk of your income is not coming from 1-2 clients. Get 6, 7, 8 or more, steady clients - and constantly market to acquire new ones - before you even consider making the move.

3. Quality of Life: If the quality of your life is suffering because there are only 24 hours in the day and you need 56, then it's definitely time to consider quitting.

If you're working all the time and not spending time with family and friends, then both streams of income will start to suffer. If your freelance business has been humming along on training wheels for a while, then maybe it's time to make a real go of it.

What exactly does this mean? It means that you get up and put in a solid 8, 9, 10 hours (at least) a day to expand. I'm reminded of the quote, "An entrepreneur [freelancer] works 16 hours for himself, so he won't have to work 8 for someone else."

If you decide to make a go of freelancing full-time, then this is where the gloves come off; where the real work comes in. Here are some general guidelines to observe as you make the transition:

Leave your job on good terms: That means handing in proper notice, offering to train a replacement, be on call for finishing up any special projects - whatever it takes to let your previous employer know that you are a professional and won't leave them in the lurch.

After all, you never know if/when you will need to return or if your company will be able to refer clients or become a client themselves.

Prioritize: Managing yourself is a lot harder than being under someone else's tutelage. Develop the habit of writing a list of things to be accomplished. What works for me is at the end of every day, writing in my day planner what I need to accomplish the following day. It usually doesn't work out that way, but at least I have a plan if I start to stray, or feel like, "Now what do I do?"

Eat right and exercise: After all, if you don't take care of yourself, it jeopardizes all of your income.

Good luck!

Writing For Free: When & When Not to Do It!

2008-05-08T02:19:00.005-07:00

Right off the bat, I want to say that there is no right or wrong answer to this topic. A lot depends on your end goal - to get a job, garner publicity, build a portfolio, etc. However, there comes a time when every writer should say no to writing for free. Below are some issues that I've been pondering about freelance writing.

Issue 1: Content for websites. Content is king on the Internet and everyone wants something fresh and unique on a regular basis. If you are promoting a product/service and write articles to generate publicity, then by all means, give the content away.

However, if what you are selling is your writing skill and are not promoting anything, then don't give it away. You'd be better off doing a direct mail campaign and spending your time creating pieces for your portfolio - even if they are only make-believe companies.

One could argue that the reason good writing is taken for granted is so many give it away. I give a lot of content away, but only within the framework of WIIFM (what's in it for me).

Issue 2: Writing on spec: For those of you who don't know what this is, see this excellent primer article at http://inkwelleditorial.com/beginnersguideglatzer.htm This established freelance writer explains spec writing brilliantly. The bottom line, once your portfolio is complete with good samples, stop this practice.

The exception would be if it's a credit from a noted source that you really want. After all, who's going to turn down Fortune? However, I believe there's a big enough need for good writers that you don't have to sell your soul for one credit, even if it is a "biggie."

How many samples should you have? I advise between five and ten. Try to get them from different sources - eg, two newspaper, three websites, two brochure, one sales letter, etc. This will give your portfolio a range. Nonprofits, friends with small businesses, neighborhood shops - all are possible non-paid sources to build your writing credits.

A tip: Choose a small business and do the brochure, sales letter, etc. first. Then, send it to your target and ask if they would mind if you included it in your portfolio. I don't know any small business that would refuse a well-written promotional piece that doesn't cost them a dime. Bang, a legitimate credit!

Issue 3: Original Content & Rights: I don't believe in giving away original content - again, unless you are promoting a product/service or are just starting out. I am constantly amazed at the number of publications that want original content but don't want to pay for it.

An example. I write a small business column. An editor saw it and approached me to be a regular contributor to their publication, which is quite noted in business circles. The kicker? They didn't want my column but wanted me to contribute original content with no pay. I had to turn them down. I offered the column at no charge (since I already write it), but explained that original content outside of this without payment was not possible.

If you write, then you know it's not easy coming up with original content on a regular basis. Some subjects are so covered that nine times out of ten, new ground is never being broken. We are usually just putting a new spin on it. This costs brain cells! And, trust me, not everybody can do it.

So, the next time you put finger to keyboard, think about your objective. If we all stopped giving away our pearls of wisdom, then the pay level across the board would be raised.

Why Every Freelancer Should Have A Web Site

2008-05-08T02:19:00.004-07:00

"Do I send samples, a media kit, or just the query, postcard and/or sales letter?" As a freelancer, when you are trying to reach new clients or stay in touch with old ones, how to approach the contact can be a sticky, confusing, discombobulating journey. Having a web site can solve all of these situations. How?

Outlined below are four ways a web site can contribute to the bottom line success of your business.

1. Save Postage: When prospecting for new clients, instead of sending an entire media kit, numerous clippings, and/or writing samples, simply direct your target to your web site.

A simple postcard can list the services you offer and/or products you sell. For samples of your work direct prospects to your web site, which can do a better job of selling. A web site can list client testimonials, special deals and discounts, awards - the possibilities are endless.

In essence, you are selling a potential client on your business for just the cost of a postcard. Of course, you can always send a sales letter instead of a postcard. The point is, you don't have to spend a lot of money on postage up front.

If a client is interested enough from your initial postcard/letter to look at your web site, then you have a better chance of them contacting you. One could argue, the less you spend up front, the better. This weeds out the tire kickers from the serious buyers.

Can you do business without a web site? Yes. But, consider the following first.

2. Increase Revenue: Would you like to make money while you sleep? Essentially, a web site allows you to do just that. Proof?

After launching a Web site, 41% of small businesses report an increase in their sales volume, and more than half (55%) with a Web site say their sites have generated a profit or paid for themselves. SmallBusinessComputing.com, "Internet Future Bright for Small Businesses." January 14, 2003.

This does not mean you don't have to do all those things necessary to drive potential customers to your site, i.e., market your site. A web site is simply another avenue, albeit a powerful one, for you to increase your bottom line.

Providing such info as location, photos, testimonials, price, hours of operation, et cetera, somewhat pre-qualifies clients without you ever having to meet them. This greatly increases your chances of making a sale.

A 2001 study from Cyber Dialogue reveals that 86% of U.S. adults who were online have either clicked on e-ads or gathered product information online and then made an offline purchase based on the web ads or data.

3. Stay in Touch with Existing Clients: Via your web site you can alert clients to special deals and discounts, announce new hires and promotions, advertise feedback and company awards, showcase media outlets where your business has been featured - the possibilities are endless.

As postage increases, adding some type of listserv* software to your site to collect names and address of visitors is not only smart business, it's essential. Sending announcements via email is infinitely less expensive (some studies quote as high as 90%) than doing even a postcard mailing.

Staying in touch with your clients puts your business foremost in their minds when it comes time for them to purchase the type of product/service you offer.

*LISTSERV is a computer program that allows you to create, manage and control electronic mailing lists. Each list has a general (or sometimes very specific) topic of interest. It makes sending email to groups of people fast, easy, and cost-efficient.

4. Saves Time (Hence Money): Thomas Jefferson said, "If you love life, do not waste time, for that is what life is made of."

Remember, posting all pertinent information on your company web site - hours of operation, location, company history, products/services offered, type of clients served, et cetera - saves untold hours in phone time answering the same rote questions. This is time that can be better spent servicing existing customers (hence, making more money).

And, to reiterate, adding listserv software automates the process of collecting names and addresses of customers. This saves time and money because you don't have to (or pay someone to) type all of this information into a database. The customers themselves do this. Further, since the customer voluntarily gives you their information, this builds your in-house mailing list. By building your own mailing list (which will almost always out pull most purchased mailing lists), you won't have to seek out lists for which you have to pay.

Lastly, an in-house mailing list can be rented or sold to companies with complementary services. For example, a wedding consultant might rent/sell their list to a photographer. However, be very, very careful about this. It should be clearly stated in your privacy policy if you outright sell your list.

Instead of selling an in-house list, most companies prefer to offer the products/services of an outside company in conjunction with their own services. In the example mentioned above, the wedding consultant's mailing of, for example, 10,000 brochures, would contain a mention of the photographer's service. The photographer's mention can be large or small, depending on mutual agreement.

Note: Most customers WILL NOT voluntarily give you their contact information if you sell it. Guard your in-house list as if it's gold - because it is. These are customers you have worked hard and spent untold dollars to obtain. Although selling your list might be tempting, it breaches customer trust. In the long run, it is almost never worth the short-term gain.

In conclusion, having an Internet presence speaks volumes about your firm's professionalism. This is especially important for small businesses. It adds another measure of credibility to your growing enterprise, while adding positively to your bottom line.

Parts of this article were excerpted from How to Get Your Small Biz on the Web Quickly & Affordably, available for immediate download.

How to Build A Success Freelance Career (Part 2)

2008-05-08T02:19:00.003-07:00

Part 1 of this article discussed the experience you need to successfully build a freelance career. Here, I will outline other necessities.

EQUIPMENT: Working from home means you must to have all the necessary equipment. Minimally, a phone, computer and fax machine. Ideally, a [color] copier, modem, fast Internet access, scanner (if your field requires it) and separate work room in your home would complete the picture.

CONTACTS/REFERENCES: The most obvious place to start building your customer base is previous employers. Remember the saying, "Don't burn your bridges." It has never been more true than when trying to build a freelance career.

As companies cut back, employers like to use former employees because they already know the work, routines, and systems of the company. Therefore, very little, if any training is needed.

These same industry contacts also make great references as you continue to expand your customer base. There is no better assurance to a potential new client than an ex-employer who says: "I'd hire her back if I could. She does great work for us as a freelancer. One of the reasons we use her as a freelancer is because she did such excellent work as an employee."

Wouldn't you feel confident if you were a potential client?

SAVINGS: In utopia, six months expenses (rent, food, cleaners, credit card bills, student loans, travel expenses, etc.) will be in the bank before you embark on your freelance career. In our experience, it takes about two years to build a solid base of clients that will (hopefully) keep you busy.

If this is not possible, try to plan as much in advance as you can. The "fear of the first blues" [when rent is due] can be frightening if you have no income and no prospects on the horizon.

PART-TIME JOB: I suggest that instead of going from a full-time job into a freelance career, that you get a steady part-time job for a while. This will allow you to: 1) transition between the two without taking the financial hit (especially if you haven't planned), and 2) get a feel for how to organize as a freelancer.

Freelancing usually means intense periods of work, eg, four 12-hour days, and then maybe a week with "nothing" going on. Nothing is in quotation marks because as a freelancer, just because there's no client project on your desk, does not mean that you should be idle.

During these down times is when you should be organizing your books, re-stocking supplies, prospecting for new clients, tracking advertising - in short, running your business. If you think of freelancing as a business and organize yourself accordingly from the beginning, it will make this existence infinitely easier (especially at tax time).

PERSONALITY: Freelancing is an enjoyable experience for some, a painful existence for others. Do a personality check to see if you can ride the roller coaster of this up-and-down existence.

If you don't take one other thing from this article, remember this: No matter how talented you are, what your background is, or how well connected you are, there will come a time when work just seems to dry up. At this point you may start to question your abilities, seriously consider a full-time jobs, and/or wonder if freelancing is for you.

If this is the existence you've decided you want, stick with it. Continue to advertise, even when it seems that no one is interested. The average consumer has to see your advertisement at least 7-28 times (depending on what article you read) before they will act on it. So, be confident that if you advertise consistently, when they need a service/product that you offer, you will be at the forefront, rather than the hit-and-run advertisers.

After all, the quickest way not to succeed is to quit.

Good luck!

How to Write Bad Poetry

2008-05-08T02:19:00.001-07:00

So you've decided to crown yourself with a title that a million other people (just like you (yes, just like you!)) give themselves every day. Some people believe giving yourself such a title is equivalent to, and just as beneficial monetarily, as naming yourself Queen of England. But, there is no grace, rarely enough publicity, and only the title of Court Jester seems to be becoming for you because you are a fool among others.

What is this sacred title? Poet.

Why does titling yourself a "poet" make you a Fool? Well, it doesn't, not in and of itself. But if you've only been published online, never in print-that could be a sign of your well-earned Fool status. To be blunt-that is a sign that you write bad poetry.

Why would these sites accept your work if it sucked, you ask? Maybe to raise their quota, maybe to get more submissions of the site's particular interest, but mainly to actually HAVE something to post-most (but not all) sites are desperate for submissions. Or maybe they're out for a profit. Come on, who among us HASN'T had something accepted by the National Library of Poetry, and then gotten all the brochures for expensive products featuring our work?

The Webmaster vs. Editor Problem: Go to any website, check it out. Can you find someone with the title of Webmaster? How about editor? Or, still yet, Webmaster AND Editor? A Webmaster does not, by any means, mean Editor. Simply because someone is a webmaster (someone who controls the site, updates the postings, etc. . . ) does not mean that the person is an EDITOR (someone who corrects the work, proofreads, re-writes, re-words, etc?) of the work posted on the site. In many cases, webmasters who are disguising themselves as editors are giving real editors a bad name. A webmaster, will too often post submissions "as is" and not give a damn about the content or presentation. However, if a site has someone who can both edit and be a webmaster then the site is moving in the right direction.

This is the main problem source. Building a website, and getting work "published" on a website is so easily done by anyone whether they have talent or not that it de-values the word "published" and lessens the role of an Editor.

Granted, the internet IS a great marketing tool for promoting your work, getting your name in the public's eye, and getting writing experience, but have you ever asked yourself why your work is ONLY published online? Perhaps it is because no discerning EDITOR has ever seen your dribbly poems, except in browsing the web for bad poems to laugh at.

Here are a few tips that will help you to get your work published online. Hey, I figured if you're going to be a fool about getting your unpolished work published on the internet for the world to see, I'd give a few tips to help your bad poetry stay that way, since you seem to like that way best:

Place the word "Love" in your title. That's a major plus!

Be straight-forward, don't use symbols, metaphors or anything that will make the reader think. Readers don't have time to think.

Focus on form-(sonnets, villanelles, haiku). Since you think in form, write in form.

Keep your poem in a rhyme-scheme. Why? Well, EVERYONE knows that all GOOD poems rhyme, the rest can be disregarded as a post-modern mess!

Only write in YOUR point of view. Write exactly what you believe, never try to portray the image of someone else. Better yet, start the poem with "I".

Keep your poems untitled. Readers love to be creative and imagine what the title should and could be.

Write in the same place. If you write in your bedroom-always write there; if you write outside under a tree-always write there---why try variety and ruin a good thing?

Don't ever base a character in a poem on someone you actually KNOW. Heaven forbid you get the piece published, and have to explain to the person-"this is you".

Read, but if you don't like a poem or a poet-just toss it. Don't even question why you don't appreciate the work.

Have no structure. Poetry is about limitless expressions, right? So in that sense, make your lines and stanzas as long as you wish. Just write exactly how you feel!

Don't keep a journal. Journal causes too much self-reflection and you want to write for the moment, not yesterday.

Use clichйs as much as possible. People like to read familiar phrases.

Not every line of a poem is important. Just make sure you have a good first and last line.

14.Poems don't progress, that's the difference between a story and a poem. Poems aren't suppose to take you on a journey to learn.

Submit your poems to only websites. That way, you will never have to face the fact that your poetry SUCKS, because it will only be read by the friends and relatives to whom you give the site's URL, and your friends will never tell you that reading your poetry is greater torture than letting a small, sharp-clawed guinea pig walk on their sunburned skin.

If you follow these guidelines, and start writing, you will be a "poet" in no time. Remember that poetry HAS to rhyme, and remember that the less you practice the better you are.

Joking aside-you might want to try doing exactly opposite of the "tips" in the list. And, since many webmasters (who are titling themselves Editor) aren't doing their job, it's up to you to learn to edit your work before you embarrass yourself.

(This article is not commenting that ALL online poetry is not well-crafted. But the poorly crafted poetry far outweighs the well-written by a landslide.)

How to Build A Success Freelance Career (Part 1)

2008-05-07T07:35:00.010-07:00

In the current job market, many editorial workers have turned to freelancing as a matter of survival. I receive many queries from applicants regarding how to go about freelancing.

Here I will address what, in my opinion, is the single most important asset you need to build a successful freelance career. See Part 2 for more.

EXPERIENCE:

You need a minimum of three years (five is ideal), preferably as a full-time employee. Clients will feel more comfortable in your knowledge and abilities if you can demonstrate that you've performed your duties in the past, full-time, at an established institution.

Each industry has its own "lingo". Experience in an industry allows you to understand it and communicate effectively with your clients. As a proofreader, a potential client [eg, a reference book publisher] might say:

"I have 300 pages that need to be proofed. The footnotes and illos will be sent separately. Please make sure there's a hole for each illo and that all footnotes run consecutive, beginning anew with each new chapter. The chapter title is the right running head, there is no left running head. How long do you think it will take to complete this job?"

With no experience in publishing, it would be difficult to begin to assess the job. Before giving an estimate, some questions you would ask are:

Is this typed or handwritten copy?

Are there inserts to the existing copy that need to be proofed?

What style of proofreading do you use?

Are changes to be made on disk or hard copy?

There may be four or five more questions that need to be asked before you can realistically assess how long it will take you to complete this job.

Experience in the industry allows you to have the necessary knowledge to ask the right questions to judge each project.

Knowledge of your industry will also enable you to decide how to charge for the job. Some jobs are billed on an hourly basis, others are billed on a project basis, and still others are billed as a page rate.

Again, if you know your industry, you will be able to effectively calculate how much time the job will take and what billing method to use.

See Part 2 for remainder of article.

The Work Flow Cycle of the Editorial Industry

2008-05-07T07:35:00.009-07:00

As an editorial professional, I'm sure you're aware of the market slump right now. What you may not be aware of is that this is due to more than just the economy.

Editorial work is a seasonal profession. From mid-June through Labor Day and from Christmas through the end of January are usually pretty slow.

If you are a regular reader of a newspaper, ever notice how thin it is during the summer - especially the Help Wanted section?

What is the point in bringing this to your attention? First, to get you to relax and not worry.

And second, focus on preparatory work during down times. For example, rework your resume; order new supplies; take care of admnistrative paperwork, etc. FYI, there are some great resume tips geared specifically toward the editorial industry on Inkwell Editorial's site at http://www.InkwellEditorial.com/resumetips.htm

I hope you find them helpful.

Im Just The Writer

2008-05-07T07:35:00.007-07:00

Writers are often are greatly surprised or disappointed by how their work is changed when it is adapted for the big screen. When Irwin Shaw's World War II novel The Young Lions was shot in Paris in 1958, the Nazi character was played by Marlon Brando. Ever the method actor, Brando provoked an uproar by strutting around town in his SS uniform, even going into restaurants to dine. The thirty three year old star was unsure if the Parisians ripping his clothes were doing it out of adulation or disdain. Like most actors Brando wanted to be loved and he took his concern to Shaw that the Nazi be made sympathetic. "You just don't understand the character", Brando told the amazed writer. "It's my character," replied Shaw. "Not anymore", replied the actor.

Some writers grow resigned to their voices being lost. George S. Kaufman wrote the screenplay for the Marx Brother's comedy Animal Crackers in 1930. He attended rehearsals and realized that nothing Groucho, Chico and Harpo were doing resembled his original draft. He watched as the director Victor Heerman was driven to distraction by the brothers showing up late, placing bets on horses, playing the stock market and never sticking to the script. Heeman literally threatened to imprison them in cages till they behaved. Kaufman took it in stride falling asleep through much of the tomfoolery. At one point the writer woke up with a start and shouted," Oh my God! I thought I heard one of my lines."

A few years ago comedy playwright Neil Simon announced he was moving from Los Angeles to New York. In Los Angeles he was isolated in his car all the time and he felt it is was hurting his writing. Better to be in New York where you walked everywhere and met people. His departure may have been hastened by writing and showing up to the set of The Marrying Man (1991). He got to witness Kim Basinger holding up the production with tardiness, temper tantrums and her much publicized love affair with co-star Alec Baldwin. Simon was humiliated when she held up her copy of the script and stated for all to hear," Whoever wrote this knows nothing about comedy!" The Odd Couple writer was too insulted to help fix the plot problems and the picture bombed.

Some writers are amazed to see their words turn into movie reality. When Margaret Mitchell (1900 -1949) was a young girl in Atlanta, various relatives took her on tours of Confederate battle sites, describing the Civil War so vividly that she imagined she was part of it. It took her ten years to write the text for Gone With The Wind which she scribbled on yellow legal pads, shoving them under her couch when friends would come over to visit her. The best-seller was turned into a movie in 1939 and Mitchell showed up in Hollywood for the fiming of Scarlett O'Hara (Vivian Leigh) nursing wounded soldiers at the Atlanta railway station. The author was overwhelmed by the sheer vastness of the scene. "My God", she told producer David O. Selznick. "If we would have had this many soldiers we would have won the war."

Some writers have strong ideas about who should play their characters. Novelist Tom Clancy was initially unhappy with the fifty year old Harrison Ford cast as the thirty something CIA agent Jack Ryan in Patriot Games (1992) and Clear And Present Danger (1994). He also berated the actor for suggesting plot changes to his stories. Ford angrily retorted that writers who sell their work to the big screen have to expect it to be changed, otherwise don't sell it. After the two films did great at the box office, Clancy hinted that he would be willing to bury the hatchet to get Ford to star in the next Jack Ryan installment, The Sum Of All Fears (eventually made with Ben Affleck in 2002). Ford demurred by saying," Maybe when I'm sixty."

Sometimes stars are better off just following the writer's instincts. Lou Holtz Jr. was disappointed that Jim Carrey brought in a team of writers to change his lighthearted script The Cable Guy (1996) into a dark tale about stalking. Despite Carrey winning the MTV award for best villain, the movie was panned by critics, led to several executives being fired at Sony pictures and became known in Hollywood as "The Straight To Cable Guy".

How to Create Stories that Sizzle

2008-05-07T07:35:00.005-07:00

How to Start Your Story with a Bang

The purpose of creating a story is to create a world that will draw the reader away from their own. In order to do this one must create suspense, drama and mystery. Your reader must absolutely need to get from page to page, to find out what happens.

There are several simple techniques to get your story going and draw the reader in. Here are just a few:

1) Start in the middle of a problem.

Ex. A lover's quarrel, a murder, a personal dilemma

2) Start with an unusual environment

Ex. Alice in Wonderland, the beginning of the final frontier, a journey to a new world

3) Start with action

Ex. A gun has just been fired, A woman is deciding whether to jump or not, A hospital ER being mobilized

4) Start with a feeling

Ex. The soft silk slid across her skin, as she finally slid into his bed.

Hot coals burned his stomach as the bullet tore through him.

The rich velvety feel of chocolate on her tongue was the perfect end to a dreadful day.

Don't spend the first day bogged down on details, unless they are absolutely crucial to understanding your story. Even then, save descriptions for later in your story, if you can. Get the reader hooked first, then you can describe the rich incandescence of his eyes or the exact color of her house. Remember your story should be like life, fast paced, even at a standstill, and utterly surprising.

How To Build A Successful Freelance Editorial Career

2008-05-07T07:35:00.003-07:00

In the current job market, many editorial freelancers have turned to freelance work as a matter of survival. I receive many queries from applicants regarding this part of the market. Addressed here are the key building blocks necessary for a successful freelance career.

EXPERIENCE: You need a minimum of three years (five is ideal), preferably as a full-time employee. Clients will feel more comfortable in your knowledge and abilities if you can demonstrate that you've performed your duties in the past, full-time, at an established institution.

With no experience in publishing, it would be difficult to begin to assess the job. Before giving an estimate, some questions you would ask are:

Is this typed or handwritten copy?

Are there inserts to the existing copy that need to be proofed?

What style of proofreading do you use?

Are changes to be made on disk or hard copy?

There may be four or five more questions that need to be asked before you can realistically assess how long it will take you to complete this job.

Experience in the industry allows you to have the necessary knowledge to ask the right questions to judge each project.

Again, if you know your industry, you will be able to effectively calculate how much time the job will take and what billing method to use.

As companies cut back, employers like to use former employees because they already know the work, routines, and systems of the company. Therefore, very little, if any training is needed.

Wouldn't you feel confident if you were a potential client?

If this is not possible, try to plan as much in advance as you can. The "fear of the first blues" [when rent is due] can be frightening if you have no income and no prospects on the horizon.

PART-TIME JOB: I suggest that instead of going from a full-time job into a freelance career, get a steady, part-time job for a while. This will allow you to: 1) transition between the two without taking the financial hit (especially if you haven't planned); and 2) get a feel for how to organize as a freelancer.

PERSONALITY: Freelancing is an enjoyable experience for some, a painful existence for others. Do a personality check to see if you can ride the roller coaster of this up-and-down existence. Do you like working alone; can you handle economic uncertainty; are you naturally motivated; are you organized - all of these, plus other elements are key traits in successful freelancers.

After all, the quickest way not to succeed is to quit.

Good luck!

Could Your Book Idea Be the Next Best Seller?

2008-05-07T07:35:00.001-07:00

Everyone has a unique story to tell. From explaining business processes to revealing our personal history, we all have a natural desire to share our experiences with the world. As a result, bookstore shelves are packed with numerous titles that promise to entertain, enlighten, and educate readers.

Perhaps, then, the old saying that "everyone has at least one book in them" is true. If so, how do you know whether your current idea really is book worthy or if it needs some fine-tuning to have maximum marketability?

Before you put pen to paper (or fingers to keyboard), put your book idea to the test. Use the following questions as a way to hone your idea's development and create a manuscript destined for the best-seller list.

Can you state your book's purpose in 10 words or less?

Many new authors face the challenge of wanting to give too much information at once. Instead of focusing on one specific idea, they try to wrap multiple concepts into one book. This approach not only makes it difficult to organize your book, but it also overwhelms your readers.

With any good book, you can state the book's specific purpose in 10 words or less. Realize that your purpose is not the same as your theme or plot. The book's purpose is what you specifically want the reader to do or think as a result of reading your book. Now, a statement such as "to live a better life" or "to run a better business" is not specific. A purpose is not a generalization. It's a specific action that you motivate the reader to embark upon.

For example, if you're writing a business book, your purpose should be to help your readers improve one specific business function, such as its marketing efforts, its customer service, its project management, etc. Your purpose should not be "to teach business executives how to create better marketing materials, deliver improved customer service, establish long-term customer relations, increase employee retention, and locate the best new talent." That's simply too much for one book to cover. Keep your purpose specific so you can deliver targeted and useful information.
Does your book have a specific audience?

While you certainly want a large audience to market your book to, you also want an audience that's targeted to your topic. Simply stating that your audience is "business people" or "women" or "the general public" is not a targeted audience. Why? Not all business people have the same concerns, not all women are interested in the same topics, and not everyone in the general public will be able to identify with your ideas.

When you narrow your audience to include those with a specific tie to your theme or who fit a certain demographic, you gain a marketing edge that can position your book more effectively. So instead of stating that your audience is "business people," perhaps you can narrow it down to "company owners," "middle management," or "entrepreneurs." Rather than target the broad category of "women," you'd have better sales by focusing on "women over age 50," "working moms," or "single women under age 35." All these categories consist of a large number of people, yet they are narrow enough so you can streamline your message.
Are you saying something new?

If you want people to invest the time and money to read your book, you have to tell them something new. Too many authors attempt to reword or rehash old ideas that others have stated over and over. While you should use other people's works to substantiate claims or add credibility to your message, make sure your central idea is fresh and unique.

How can you make sure your approach is new? Incorporate the results of a survey you personally conducted. Include case studies from your own business or life. Interview people who can contribute facts and information. Add elements of yourself to punctuate your message. This is your book, so tell your story or stance on an issue.

Many authors are afraid to state a new opinion on a topic that others have covered. They think they may turn people off or offend. Remember that people like controversy, so if your book can stir things up and make people think twice about something, you'll have a greater chance of creating a buzz about your book.
Are your writing skills up to par?

You could have the best idea in the world, but if your text is filled with errors, is poorly organized, or is difficult to understand, no one will want to read it. Before you write too much of your book, brush up on your writing skills by attending a writing class, studying a writing guide, or hiring a writing coach to help you correct your writing challenges. Also, educate yourself on what writing style appeals to your audience, and then strive to imitate that style. Gear your writing to your intended audience as much as possible.

If you're unsure whether your writing skills make the grade, consult with a professional editor or ghostwriter who can rework your writing and bring it up to publishing standards. Don't let poor writing skills ruin your best-selling idea.

Start Writing Now

Writing a book is no small undertaking. When you can answer "yes" to each of the above questions, you'll be on your way to transforming your idea into a publishable piece of work. Take the time to nurture and develop your idea before you start writing so you can be sure to create the best book possible. A little pre-planning and foresight is all it takes to give your book the most market appeal.

Five Minute Miracles

2008-05-06T02:04:00.008-07:00

FIVE MINUTES ... Is All You Need ........to phone a friend ..... peel potatoes for dinner ..... pick the kids up from school ..... or write a few words that could earn you anything from a plastic pinny or ballpoint pen, to a dream house in the sun, a top-of-the-range sports car, or thousands of dollars in cash and luxury goods!

Even if just a few minutes a day is all you can spare, you can still be a well-respected, regularly published writer.

No special skills are required, you definitely don't need a computer or word processor, a telephone or desk. And you certainly do not need lots of spare time ..... because you are about to enter the fascinating world of .....

THE FIVE MINUTE WRITER!

Short written pieces are in great demand all over the world, by editors and publishers, alongside other high-paying clients, both to fill space where a feature falls short of the published page, hence 'filler', and to lighten otherwise staid publications, such as medical journals and import/export bulletins.

Five minute writing covers far more enjoyable and profitable projects than most people appreciate ..... taking just minutes to produce ..... and covering everything from readers' letters and fillers, to mini-articles, puzzles and quizzes, recipes and household hints, photographs and cartoons, to greetings card verses, competition slogans, and much, much more besides.

That's why five minute writing is considered the best way to begin and develop a successful writing career, and why many established and very well-paid writers stay with this profitable medium, plus:

It's very satisfying to see your work and name in print and the earlier that happens the sooner you become a professional writer, and the smoother the road becomes to longer, more profitable writing assignments.
Smaller pieces gets you know to editors who, having seen and enjoyed your work, are more likely to commission you for longer pieces later.
Word for word, rewards are far higher than for almost any other type of written projects, with the possible exception of creating winning slogans and tie-breakers for big-prize competitions.
No rejection slips, ever! What better start to a full-time writing career?
Complete pieces can be finished in minutes and spread over whatever time the writer can spare between other professional and domestic activities. Great for mother or carer, or otherwise housebound or restricted individual with a desire to write, but little time to spare.
No bulky equipment and research materials required, meaning you can write, any time, any place, anywhere. A notepad and pen is all you really need to get started on this amazing journey to becoming a well-paid writer.
Fillers can be fitted between longer assignments, offering a change of 'scenery' and more frequent financial rewards.
Every single piece you write can be recycled in columns, articles, even full-length best-selling books, and can continue earning high rewards over months, years, perhaps forever.

It's not a case of 'cheap and cheerful' for those who publish your work - they need you - to increase interest in their publications, reduce reading times, multiply circulation rates, and cut their overheads.

For that they'll reward you well, and continue doing so, perhaps for the lifetime of your mutual existence!

How to Create Incredible Characters Easily

2008-05-06T02:04:00.007-07:00

Creating incredible characters can be easy if you know of a few simple rules:

Each character should have his own voice. If your character is from Brooklyn, give him brooklyn accent and mannerisms.

Before you write, decide on his or her background and outline it thoroughly. If she is supposed to be from a high profile Georgia family, know what her parents do for a living. Is she trying to live up to their standards or does she move to California in rebellion? Why?

Know your character's motivations. If he is a seriel killer, what about his upbringing or his mind created him into the pathological criminal that he is.

The lesson is know your characters. Know what makes them tick. Know what drives them wild and what drives them crazy. Know them as well as you know yourself otherwise your audience never will.

By creating a thorough outline on each characters before you begin writing, the decisions are made for you. You will know your characters well enough to know what they would and wouldn't say and how they would say it. More importantly, your readers will believe in them and in you.

Beginners Blues: How to Collect Samples, Testimonials, and References as a Freelancer

2008-05-06T02:04:00.005-07:00

Beginner's Blues: How to Collect Samples, Testimonials, and References as a Freelancer by Brian S. Konradt of BSK Communications and Associates

My samples are self-selling. They gleam behind protective covers in my portfolio and snatch me business. "Wow, I really like this one," says a new client, studying one of my newsletter samples. "That's what I want. Can you do something similar for me?"

"I sure can," I tell the client. "I think we should shoot for four colors, instead of two. And thick texture paper would be better for self-mailing."

The client agrees. He also agrees to pay me $850 for the 4-page newsletter, half now and the rest when I complete the job.

"Your samples are your most persuasive tools to seal the deal," advises Mary Anne Shultz, a NY-based freelance writer who specializes in ad copy.

"At least seven out of my ten clients had asked to see some sort of samples before hiring me for the job," says freelance writer Joan Berk. "Clients want to know what you are capable of doing for them."

"Even if your new client does not ask to see samples, you must have samples," says Louie Markowitz, a freelance writer specializing in corporate newsletters. "I show every new client at least one of my samples -- a sample that is similar to what they have in mind. This helps me get constructive feedback and insight into what the client wants."

This is easy for the established freelancer to say, who has collected professional samples over the years and knows that samples sell themselves to clients.

But what about the beginning freelancer who has nothing?

According to freelance writer, Scot Card: "Don't panic. Many freelancers start at the bottom. It's where I started. And probably so will you."

As a beginning freelance writer embarking on a part-time or full-time freelancing career, you'll need to do a lot of "grunt" work in your field of specialty. Depending on your approach or what you choose, you'll be doing assignments and working on projects for little or no money, but the payoff will reward you in the long run.

Writing a brochure for a local non-profit organization or writing a press release for your church's summer events will come in handy the day you need to show your first client what you've been up to. But it doesn't just begin with freelancing to local non-profit organizations or churches. You can tap into many other outlets to collect samples while improving your experience, skills and knowledge before you begin freelancing part-time or full-time.

Your first step to get started is obvious: Take inventory of everything you have written.

Everyone has done some writing in the past: writing term and thesis papers; writing articles for your college newspaper; providing copy for a flier or brochure for an organization; helping your friends write their resumes, or your own. The list goes on.

Of course, a client won't hire you after he glosses over your high school term paper (with the bright red A at the top) or a short poem you scribbled in a birthday card. But all of your past writings can serve as a benchmark as to where you stand now. You may even possess samples hiding in your closet or lost somewhere in the massive directories of your hard drive, waiting to be reworked and re-edited for a fresh facelift.

Take inventory of all of your writing samples and evaluate them as if you are the client. What grabs your attention? What makes you squint away. Do your samples have anything in common with your specialty? Can you rewrite any of your samples for improvement? If so, redo them and use them to begin your portfolio. If not, listen closely...

Here are some ways, endorsed by established freelancers in the field, that can help you collect samples of your writing, including testimonials and references; but by no means do you have to follow them. Be creative and seek out other alternatives.

Joseph Martenello (technical writer): "I worked as a part-time stringer for my local newspaper for a year. How'd I get the job? I responded to an ad in the newspaper, even though I barely had any writing experience. Next thing I know, I was covering town meetings and local events, boring stuff. I didn't get paid much -- not enough that I could live off -- but this lead to a higher paying position writing short features for a while and freelancing for neighboring newspapers for dirt pay...I was able to collect my published articles and put them into a portfolio. Even now, six years later, I'm able to state in my sales letter that I worked as a newspaper reporter. That title has a lot of clout with clients. My clients expect short, tight copy -- the type of copy evidenced by my published newspaper clips."

Judith Corbishley (PR consultant/writer): "I started my so called 'freelancing' by catering my writing services to local organizations. You wouldn't believe the demand for freelance writing in organizations! And the reason why is that many [organizations] will not pay you, at least the non-profit ones won't. I basically immersed myself in everything I could get my hands on. I wrote press releases, developed brochures, published fliers, you name it. Gradually, my specialty -- from having to handle many writing tasks -- emerged. I fell in love with PR, and now do it full-time, supporting myself with my writing. And it all started by contacting the director of a local non-profit computer education organization. You can do the same. Check your community newspaper or local bulletin board for volunteer help. Then call up the director or contact person. Ask if they need somebody for writing. Most likely the answer will be yes! You'll be able to do the writing at home under a flexible deadline. When the time comes to produce your promotional material, you can list the organization as one of your clients. You are under no obligation to state that you've worked for free. Leave this information out. Go for it and good luck!"

Brian Konradt (copy writer/DTP publisher): "Years ago I had joined a national writers' group. I started a newsletter for the organization, out of my own expenses, and charged each member $3 for a copy. I also wrote a press release to publicize the newsletter. My press release was published in three trade magazines. I never made a profit -- in fact, I lost money on this endeavor. But I used the newsletter and the published press releases as samples. Members also mailed me testimonials about how much they loved the newsletter and how professional it looked. This was my very first professional sample that I stuck in my portfolio, and possibly, I believe, persuaded my first client to invest in my services. You can do something similar."

Michelle O'Reilly (copy writer): "Network. Meet people. You got that? My first client came as a result of my being in the right place at the right time with a stack of my bright white business cards tucked away in the fist of my hand. I had attended a marketing seminar that was held by a local business chapter. The seminar had attracted a large gathering of business professionals, entrepreneurs, and other freelancers. There was time afterwards for networking -- and that's what I did. I handed out my business cards to anyone who sounded as if they'd be interested in my writing services. And somebody was interested! A few days later I received a call from a young entrepreneur who was looking for a way to promote a new product. Was I interested in writing a brochure for him? I told him let's get started, I'm ready, with not even an idea of what I was going to charge him. I only got paid a fraction of the amount I demand now, but it helped me launch my career. Whenever there's a social gathering in your area, make sure you attend and network. Put your face in front of the crowd. Let everyone know you exist and you have these great skills as a writer. Network. Remember it. It's a great way to get clients and referrals."

Andi Lipschein (technical writer): "If you want to get yourself samples, attend a workshop. It's how I got my first professional sample: a technical manual, critiqued and corrected by the instructor, on how to operate a piece of equipment. My advice is attend as many workshops as you can in your area of specialty. They offer tremendous benefits: you increase your knowledge on the subject, you get trained by a professional, you get hands-on experience, and you walk away with professional, critiqued samples for your portfolio. Many local community colleges and high schools offer writing workshops as part of their Continuing Education series. The information and samples you obtain will last a lifetime."

Rita Clayborne (PR writer): "I interned my way to success...My experience and skills came from interning for five different public relations firms in New York for two years. I got a lot of hands-on experience -- and a lot of headaches, but I learned how to work with deadlines and how to deal with clients. I also got tremendous insight into the field, such as pricing my services competitively, how to tap into my market, and how to make a business succeed. This had a positive impact on the success of my PR business today. You can intern part-time (a couple of days out of the week), or full-time (five days out of the week). I got paid for my work as an intern, but don't always expect to get paid. Call up some PR firms in your area and speak with the person in charge. Ask if they offer an internship program; if not, ask if they'd be willing to accept you as an intern. You can locate PR firms in the Yellow Pages. Alternatively, you can contact the Cooperative Education department of your local college and ask the director to help you in your search. As an intern, you will collect many professional samples, references and contacts!"

John Palmeri (graphic designer): "When the company I worked for was planning to do a newsletter to celebrate its 30 years of service, I jumped at the opportunity. I was only a stock clerk there, but I was attending college for my bachelor's degree in Communications Arts, and I had some skills as a layout artist. My boss agreed to let me produce the newsletter, and boy, did I get excited. I didn't get paid for doing it -- although there was a bigger Christmas bonus for me -- but it helped me produce my first sample with my name on it. At that time I wasn't planning to freelance -- but that changed down the road when I wanted to make more money doing what I love most: producing newsletters. To this day, I still produce newsletters for the same company I had worked for five years ago. The difference now is I get paid top dollar to produce it, and I'm my own boss."

NOW WHAT? Once you have samples, you'll need to prepare a portfolio, plus a brochure or sales letter or web site selling your services. Your promotional material should contain testimonials for hard-hitting power. As a beginner, don't spend a lot of money advertising your services. The time will eventually come when you'll turn "pro" and you'll spend at least 25% of your earnings on promotion. For now, decide to place a small classified ad in your local newspaper, tack up fliers on the bulletin boards at your local supermarkets and libraries, or advertise your services on free job boards on the Internet. See what types of responses you get. Be persistent in your search for clients. Most of all: Don't give up! The professional is the amateur who had never quit in the first place.

When you get your first client, let the client do most of the talking. You will find that many clients will not even ask to see your samples -- so don't even bring it up. Many clients will accept you as a writer -- on your word alone -- and will work with you.

Work hard and good luck!

The Myths Of Writing: Have You Bought Into These?

2008-05-06T02:04:00.003-07:00

There is an image most people carry of the artist (think Van Gough's self-portrait, the one with his ear bandaged), working in solitude in a barren garret in a dark corner of the city. Everyday is a struggle. He continually walks between moments of brilliance and moments of insanity. It's a romantic image, I suppose. Built around the belief that an artist must suffer for his art.

This applies not only to the painter, mind you, but also to the actor, the dancer, the photographer, the writer. We all must suffer for our art.

But image and reality are often two different things. Writing, for example, does NOT have to be a torturous process of endurance and pain. In fact, it should be exactly the opposite. Liberating. Joyous. Enlightening. Why else would you want to invest so much of yourself in it?

So let's take a closer look at a few common writing myths.

This first one actually applies in all areas of a person's life. Simply stated: Having a big ego is a bad thing. It's unbecoming. It's boastful. It puts you in a negative light.

The truth is ? if you want to be a success at anything, you need an ego. It motivates you, keeps you moving, pushes you to do your best. It's not your enemy. It's your ally.

The key to making it work for you is to keep it directed inward. Pump yourself up silently. Let it fill you with pride and a sense of possibilities. That's what the ego does best. Used wisely, it will move you toward your writing goals, not away from them.

Our next common writing myth is one you hear all the time: you have to write something original.

What is originality?

There's only one thing in the world that can make your work original. That's you. Because that's all you have to bring to the table as a writer. Who you are. Your history. Your experiences. Your family. Your beliefs.

When a publisher says he wants something original, he's saying he wants something fresh, something that reflects you the writer. He wants your voice, your honesty. The world already has a Stephen King and a Mary Higgins Clark and a John Grisham. It doesn't need more of them.

Our final common writing myth (though there is no shortage of such myths, we are limited by space): the slower you write, the more time you spend with each and every word, the better your writing will be.

The catch to this one is simple: there's a time and place for writing, and there's a time and place for editing.

When you mix the two activities (which are very different in their requirements and purpose), you rarely do either one justice. If anything will suffer, it will be your writing. Because suddenly you'll be under the constraints of the editor sitting on your shoulder. You'll be fretting over the words while losing perspective on the more important elements of the story. Does the scene work? Are your characters being true to their nature? Does this move the story forward?

The truth is this: your writing will ALWAYS be better when you write in the moment. Remember when you were a child? When you could spend hours building a sand castle or playing catch or flying a kite? Those were moments when nothing else in the world existed because you were completely absorbed in the activity. Write with that same captivation, as if each scene were unfolding right before your eyes, and you'll find your writing will not only be vivid and powerful, it will flow faster than you ever imagined possible.

Writing does not have to be a torturous, exacting process.

Allow yourself to have fun with it, and you'll be a better writer for the effort.

Editorial Freelancing: 5 Must-Know Tips to Getting Your Foot in the Door

2008-05-06T02:04:00.001-07:00

So, you want to freelance as an editor, writer, copy editor, copywriter, graphic designer, proofreader, etc.? But, how do you go about it?

My mother was fond of saying, "If you want to know something, go directly to the source." Taking this advice to heart, I interviewed professionals in the industry for the e-book, How to Really Make a Living as an Editorial Freelancer.

Publishers, editorial directors, human resource managers and editors, among others were a vocal lot regarding freelancers and what they should/should not do to get their foot in the door.

What nuggets of information can you glean from them? Here are five concrete points about which they were adamant.

1. Know your craft: Most clients like to see direct experience. This usually means working in the industry full-time for a number of years before going out on your own as a freelancer.

A vice president of publishing at a major trade publisher says, "Experience is key for us. Three to five years minimum, with a proven track record on our types of books. We don't linger over education, but I suspect most have a four-year degree."

As an editorial recruiter, I generally advise two to three years of full-time experience in the position/discipline for which you want to freelance. Five or more is better. Also, provide samples - published or unpublished. If unpublished - say so.

2. Time: Don't pester and/or waste the time of those in a position to hire. One editor responded, "Don't call me and call me and call me. I would actually NOT hire someone who calls me after I've said I'd call them."

Additionally, find the right person to contact. Most agreed that you should bypass the human resources department and contact the editorial department directly. Why? It is rare that materials will be passed on to the right person, especially if they are in another department.

3. Rate: Most companies have pre-determined rates and wiggle room is tight, if nonexistent.

An editorial director at an educational publisher commented, "We have a standard freelancer's rate for whatever discipline is involved - copyediting, graphic design, etc. Occasionally, a project will come along for which we'll make special arrangements. These can include special rates, working on premises, etc. I also try to be flexible while working within departmental budgets."

Usually, after you've worked with a client for a while, you can adjust your fees. Although, not by much. Editorial, especially general trade, is notoriously low paying.

4. Contact: Email seems to be the preferred method. However, to cover all bases, if you contact via email first, send a follow-up note with your credentials via snail mail. Remember, keep all contact brief and to the point. And please, do not send samples unless/until they are requested.

I personally have received books, an envelope full of clippings that weighed more than two pounds, and a magazine or two before I ever spoke with a prospect.

These are not more likely to get you a call back. If anything, it's presumptuous and can frustrate a potential client. Desks are usually pretty full without figuring out where to put more stuff. Above all, if you send it, do not expect it back; even if you send a SASE.

If your skills are sufficient AND a client has the need for your type of service, your resume / credentials alone will get you an interview.

5. Professional Presentation of Material: A Director of Public Information at a large nonprofit noted, "This should be implicit, but I wouldn't be mentioning it if in fact it was - any material that is sent should be neatly presented and visually clear with no typos, correct grammar, etc. Material should demonstrate that: (1) you know your job; and (2) you care about it, hence the potential client will care also."

An editor at a financial magazine added, "On a resume, I look for copy editing accuracy and consistency (if you can't copy edit your own resume, how can I count on you to copy edit my magazine?)."

I know you're sending out tons of materials to many contacts. To avoid this problem, try to spend one day organizing and preparing your material, and another day to do the actual mailing.

I've found that most errors occur when you try to do everything in one day. Breaking marketing down into parts helps to simplify the process, thereby cutting down on the chance of mistakes.

So, there you have it. Although no one method can guarantee success, focusing on these areas will boost your chance of landing more clients.

A Writers Inner Battle

2008-05-04T00:32:00.009-07:00

There is a psychological nuisance so powerful that can deflate the drive, self-esteem, and human spirit of many aspiring Writers of any age. These Writers are faced with an obstacle that make them stop, think twice and question their right to be a part of a respected community. This even leads them to doubt their ambition of pursuing their literary or journalistic calling.

It is that inner voice echoing: "Huh! Who do you think you are, a J. K. Rowling in the making?" or "Oh my God, stop pretending you have a literary mind!" and more similar lines of thinking. Some may call it a fiend while others may describe it as the self-defeating aspect of a person.

If you have been afflicted as I have been, do not worry, the voice speaks only in behalf of detractors, real or imagined. It is not the embodiment of the authentic gift of creativity you and I were born with.

When you know you have a great idea brewing in your head that you could almost see it completed in your mind, strike the keys; When the voice blows its cacophony horn, resist the urge to stop.

Mind and Behavior

How your thinking becomes your staunch enemy at times has reasons of its own.

While confidence takes a respite, this occupational hazard of qualm attacks during your journey as a blossoming writer haunts even the best of Writers.

"I have written practically nothing yet, and now again the time is getting short. There is nothing done. I am no nearer my achievement than I was two months ago, and I keep half doubting my will to perform anything. Each time I make a move my demon says at almost the same moment:" Oh, yes, we've heard that before!" Katherine Mansfield (1888-1923), British short story Writer.

Just as how old manipulative thinking habits have repeatedly, slowly, and unconsciously crept into your subconscious, so shall you replace them with new ones consciously.

"Whatever action we take is first of all determined by our thoughts, so if we change our thoughts, we can change the way we behave." Cherith Powell and Greg Forde

Decision is your first step. Redeem your faith in your ability to write by making up your mind of wanting to do so. Ignore unwanted mental murmurs right away. Refuse to dwell on them.

"Anytime you can be aware of and witness your own thoughts, instead of becoming lost or absorbed in them, you're in a position to grow from your experience rather than being immobilized by it," Richard Carlson, Ph.D., famous author and Expert on happiness and stress.

Act on this decision by writing always until the habit has been embedded in your system. Stick to it. The discipline will condition your mind to an 'I can' attitude and will provide you with proofs of your writing skill, slowly but surely.

Search for the inner voice responsible for getting you on board this vessel of courage to have ever wanted to write or written a few pieces in the first place. Relive it. Delight in it.

However, more than positive self-talk, you will need something tangible to corroborate your long buried positive belief. Produce the written piece. It will bear out the reality of your skill as a writer and will sustain the writer's spirit running in your vein.

"We are what we repeatedly do. Excellence, then, is not an act, but a habit." Aristotle.

In addition, submitting your work often and getting published even in small publications (print or online) immerse you more in the world of writing and defines further what you really want, what you can achieve and what you will ultimately become. It validates you further as a writer in your eyes and in the eyes of others.

A published work further nullifies that damaging inner voice and even the real detractors (in contrast to professional, constructive and objective Literary Critics) existing beyond your writing comfort zone.

"Do you want to know who you are? Don't ask Act. Action will delineate and define you. You will find out from your actions." Witold Gombrowicz (1904-1969), Polish Novelist, Playwright, Essayist.

Beating the Beast Within

Make it a habit to study the lives of people who started out with wobbling knees in careers totally different from the degree they have earned in college, dreaming dreams that no one thought they could reach. Count the number of times they were told they were misfits but went on to succeed in fields seemingly incompatible to their personality and intellect.

Read Writers' biographies and unearth their struggles, look around you and be inspired. Shift your focus from the mockery of your thoughts to real quiet people who never bragged but wrote nonetheless with profundity.

As a late blooming writer myself I employ these pointers. In my own pace, I have learned to fight back. The automatic reaction casts out the ugly feeling of inefficiency and helps me to proceed.

It may not guarantee a life free of backslidings to negative self-talks but these mental approaches serve as buffers that strengthen the mental defenses overtime until the bad voices are subdued.

The advice of other writers that says write, write, and write is a gold mine. It sharpens and stimulates your writing mind. Best of all it brings you closer to your vision and away from your psychological beasts.

So unless you do exactly the opposite of what your demon says you cannot do, your inner battle will not be silenced.

Pursue your dream. Write!

Its All About YOU!

2008-05-04T00:32:00.007-07:00

The Hottest Word on the Web

Did you know marketing people and copywriters are developing a science about writing for readers in this new medium called the Web? In fact, they use carefully selected words to catch a reader's attention. Here are a few:

New
True
Authority
Sexual
Guaranteed
Bonus
First
Quick
Now
Catch
Fast
Personal
Spiritual
Success
Free

These words are not in any order of importance or frequency. If you have been surfing the Web for any length of time you will see these words a lot. I have intentionally omitted the BIG word on the Web until now. Most web usability experts, agree the word with the strongest appeal is...YOU! Yes, YOU is the hottest word on the Web.

Tune in to WIIFM

You probably don't write ad copy for a large advertising agency but you can still learn from what they know. It's agreed by many marketers that most people are listening to WIIFM in their heads. What's WIIFM? It means "What's In It For Me?" That's right; people want to know, "What will I get?" out of a large banner ad on a web site or even the little article you worked so hard to write.

People really don't care, and really don't want to know, you spent half the night writing your heart out. They only want to know what they will get out of your article. You need to tell them or you won't get their attention.

Write to Connect

Let's look at how you can write to connect with readers on the Web. Let's take a phrase and rewrite it.

"Writing for the Web is easy once a few things about readers are recognized."

This is not a bad sentence; it just lacks a hook to pull the reader in. The hook is only one word; YOU. Let's rewrite it.

"You can write for the Web! It's easy when you recognize a few things about your readers."

Okay, this may not be the greatest sentence in the world. But the question is, "Did you feel pulled into the sentence?" You probably did because of that one word, YOU. Writing to connect with your readers on the Web means using one word, YOU, repeatedly and without apology.

Remember YOU is, and always will be, important to your reader. Write for YOU and you will connect with your readers. It's all about YOU! Write to connect with YOU and you will write to inspire sales and your writing career!

How to Write Words Worth a Thousand Pictures

2008-05-04T00:32:00.005-07:00

Our Image-Driven Society

We live in a new image-driven society. It can be hard on writers unless they learn to connect with today's readers. Writing that connects is easy when you keep a few basic writing principles in mind. Let's face it, as a writer, you are competing with the greatest influence in our image-driven society, the film and television industry. So, let's take three well-known words in film making as cues for effective writing. Ready? Lights! Camera! Action!

Lights!

Catch the reader's attention. You catch your reader's attention when you know who they are and what holds their interest. Yes, write what you know but also write for who you know. For example, avoid using abstract words and concepts when writing for children. Kids won't understand and you won't grab their attention.

The effective writer writes about what interests the reader using words the reader relates to and understands. When you write fiction or even creative non-fiction; develop catchy titles, contemporary themes, strong heroes, good plots, intense conflict, and create interesting characters. When you do, lights go on for your reader.

Camera!

Describe, describe, describe! Use specific, concrete, and concise words. Write to describe but avoid using too many adjectives. Mark Twain said: "When you catch an adjective, kill it." Strong words from Mr. Twain but when you cut out adjectives and use descriptive nouns, your writing comes to life. Instead of writing "big, beautiful house," try writing "mansion," "villa," "castle," "palace," or "chateau." Use a thesaurus and find image-driven nouns to replace superfluous adjectives. Sorry, I couldn't find a noun to replace "superfluous adjectives." But you get the idea.

The contemporary writing advice, "show don't tell," echoes in the ears of most writers. And for good reasons. The writer must "show" readers rather than "tell" to grab their image-driven attention. For example, use vivid detail instead of vague generalizations when describing emotions. Write, "sweat dripped from his forehead," not "he was nervous." Let the images come alive in your story.

Action!

Use action verbs, avoid "to be" verbs. Put your reader in the middle of the action in your story. Describe the action with the senses of sight, sound, smell, taste, and feel by using action verbs. Use moving images and carry your reader along, don't let your story become a study in still-life. Don't sprinkle your story on your readers; dunk 'em in over their heads! Go ahead, get 'em soaking wet with the action in your story. They will love you for it.

Lights! Camera! Action! will connect your story with your readers. Go ahead, give 'em pictures they'll never forget!

Writing Good Dialogue.

2008-05-04T00:32:00.003-07:00

There's nothing that kills a scene like hackneyed dialogue. Just stop and think about the average B-Grade Hollywood Movie. Sure, at times the plot is bad and the characterisation woeful but most of the time, what stops it from being a good movie is the dialogue. Cringe-worthy dialogue.

So, how do you write good dialogue? There are a number of factors and the most important one is: don't try too hard. Not every thing out of a character's mouth has to be scintilating. Sometimes, the best dialogue comes about because it's so simple and normal. So relax.

You need to let your characters speak. If they are highly educated, they will probably speak with great grammar and have a high vocabulary. If they left school at fourteen and have worked for five years in the local abottoir, their language is likely to be more colourful. If your character is a chatterbox, let them ramble. If they are the strong and silent type, let them be silent. Don't force words into their mouths and don't try to make them conform to your own views of good communication.

Good dialogue flows. The characters react to what another character has said. For example:

"I went to the show the other day."

"Really? Was it any good?"

"Not bad. The dogs were cute but the cows were too noisy."

"I was talking to George the other day."

Huh? How did talk about the show bring George into the conversation? To make it flow, it needs something more like:

"I went to the show the other day."

"Really? Was it any good?"

"Not bad. The dogs were cute but the cows were too noisy."

"Speaking of dogs, I was talking to George the other day..."

If you aren't sure if your dialogue flows, the classic way to test it is to read it aloud. You'll hear any problems, just like you do in the bad Hollywood movies. Better still, get your family and friends to act it out for you. It gets them involved in your writing and you can stand back and really observe and listen to what is going on.

The other thing dialogue needs is connection to the action of the story. Stop and think about the conversations you have. They are always related somehow to the action of your day, whether it's a conversation you're having as you catch the bus to work or a conversation with a work colleague or catching up with your partner at the end of the day.

Keep the dialogue connected to the characters, the setting and the plot by surrounding it with action. The example above is quite bland. But surround it with action and it comes alive.

Carrie sat down, opened the sugar packet and sprinkled it in her tea and then stirred it. "I went to the show the other day."

"Really?" Sophie took a long sip of her coffee. "Was it any good?"

Carrie shrugged. "Not bad. The dogs were cute but the cows were too noisy." She poured milk into her tea.

Sophie put her coffee cup down and leant forward, eyes sparkling. "Speaking of dogs, I was talking to George the other day..."

Now the dialogue seems real, because we can picture the characters and their setting. We also get an idea of how they're feeling. Carrie's shrug tells us the show didn't really thrill her. Sophie's sparkling eyes tell us she's got something exciting to say.

So spend a bit of time developing your dialogue, and your stories will be much more successful.

How To Write for the Web

2008-05-04T00:32:00.001-07:00

The Scanning Reader

Writing for the Web is different than writing for print. The differences are slight but significant. First, people don't really read online; they scan because of what is called the "flicker rate" of a computer monitor. This means people read 25% slower online than in print publications. What does this mean for you as a writer? It means you have to write differently to connect with readers.

Begin at the End

Writing for the Web is like good journalism. Use the old, "Who, What, Where, When, Why, and How" journalistic formula when you write for the web. This is called the inverted pyramid. Put your conclusion at the beginning and then write the details. The Web is a no-nonsense, grab-it-and-go, and give-it-to-me-now medium. You must connect with a reader immediately or you lose them.

Write Chunky

Since the reader is scanning rather than reading you must break your text down into bite size portions. You'll notice this article has short, chunky segments. Each segment only needs 75 words or less. This opens up the white space surrounding the text and provides comfortable reading. Chunky writing takes some practice but it is quite easy. When you write chunky, create strong headlines and subheadings. Make your main points and move the reader along. Also, use short bulleted or numbered lists like this:

* Bullets

Numbers

More numbers

Still more numbers

See how the text opens up and moves along?

Sail the High Cs

There are four C words you need to know when writing for the Web.

* Concise

Write tight. Keep it short. Eliminate unnecessary words.

* Clear

Use precise words. Get specific and avoid generalizations.

* Clean

Avoid excessive clutter in your writing. Pick up the litter of too many -ly words and put them in the wastebasket. Empty "that" into the dumpster unless you have to keep it. Then keep only what you need.

* Credible

Write with honesty and integrity. Nothing is wrong with marketing but readers recognize slick, manipulative tactics. Write from your heart, even in advertising, and you will reach readers.

K.I.S.S.

Keep It Simple Sweetheart! The last "S" was changed intentionally to a term ala Humphrey Bogart. Because you should never, ever insult your readers' intelligence. But at the same time, write in easy-to-understand terms and your readers will love you for it. And they will keep reading what you write. Every writer needs a good vocabulary but that doesn't mean it should be used to make readers feel unlearned or uneducated.

The bottom line? Keep it simple, encourage and inform your readers with short, clear, crisp writing. Then you will enjoy success as a great web writer!

Vital Verbs

2008-05-03T07:41:00.011-07:00

Remember back in the dark days of your school years when you had to learn the parts of speech? A noun is the name of a person, place, or thing. When asked what a verb was, you smugly answered, A verb is a word that indicates action, or some such definition. Fine. You got that straight. Since then, you've uttered or written verbs in the hundreds of thousands.

Verbs are great words. They enable us to describe actions or states of being or feelings we'd be hard pressed to convey without them. "John outside the house. John inside the house. John in bed." Primitive, to say the least. With the help of verbs, we can say, "John came home and went directly to bed." Still, if verbs are indispensable in our speech and in our writing, why do we neglect them so?

Yes, we neglect them terribly. There are countless verbs just sitting in our dictionaries that are rarely taken out and used, seldom get to feel themselves flowing out of our mouths or proudly sitting on the paper on which we write. You have to feel sorry for them.

Why are they neglected? You can blame it on the nouns and adjectives. They're the real culprits. We can't express a worthwhile thought without a noun. Without a noun (or pronoun), how do we indicate the very subject we are talking/writing about? In the example above, without nouns, you'd have, "outside the," "inside the," and "in ." It wouldn't make any sense.

Adjectives we can sometimes live without, but for the most part we have been brainwashed since those same school days to use adjectives. As writers, we use them extensively, carefully choosing, then eliminating, then choosing again, until we feel we have the perfect adjectives to describe our protagonist, our settings, our emotions. I suspect much of your time as a writer is devoted to being so very particular in the adjectives you use. That's great. That's important.

To get back to the poor, neglected verbs. Oh, we use them all right. We use the few hundred (if that many) in our vocabulary. We use what we need, we use the ones we're comfortable with, we use the same old, tired, hackneyed verbs day in and day out. What are those verbs? They're the dead verbs. The ones which may tell others that something happened, but never tell anything more than that, never give the reader an image of a special kind of action.

Let's go back to the example above. I used two verbs, "came" and "went." All those two verbs tell you is that John was no longer outside his house, and is now in his bed. What if I had said, "John flew though the front door and dashed upstairs to his bed."? You get a picture: for whatever reason, John was in a hurry. How about this: "John staggered through the front door and crawled up the stairs to his bed." Do you get the impression John is intoxicated or sick or injured?

Let's try a few other simple examples. "Mary entered the room" vs. "Mary glided into the room" or "Mary stumbled into the room" or "Mary inched her way into the room." Each of these paints a picture of more than mere transference of locale.

It's cruel for your heroes and villains to be limited to listless verbs. These characters are the very essence of your action. They should barge into, seldom just come into; they may sometimes snarl, snap, snicker, smirk, or shout, instead of just say; they're also able to punch, plunder, pillage, plow under, or pelt, but seldom merely touch. Even your minor characters should be as colorful in their actions. Just because they are not the stars of your masterpiece doesn't mean they don't play important and exciting parts. Charles Dickens knew that probably better than any other writer. His most minor characters are sometimes as unforgettable as his major players.

A suggestion: On the following list of dead verbs, notice the alternatives:

action: walk
alternatives: stroll, amble, jog, dash, sprint, stagger,
action: lie (down)
alternatives: sprawl, lounge, curl up, stretch out
action: say
alternatives: mumble, stutter, spew, shout, protest
action: look
alternatives: scan, squint, glare, study
You get the idea.

Now, try this. Go to something you've written recently. Scan through and pick out a number of dead verbs. You know the kind, the ones which just sit there and don't tell you much of anything about the action. Try replacing them with verbs which tell the reader precisely what just happened. Reread, and you'll see how your writing comes out of its coma, and begins to take on a new, interesting life.

Finally, keep in mind that in writing as in all of life, moderation and common sense should prevail. Don't have your work look like a thesaurus, using every verb ever conceived. This is especially true in sentences where you use other descriptive words. Don't let your heroine always float into a room, squeal with delight, or wither others with her sarcasm. The villains should not always bluster, rampage, or bulldoze. Remember, there are plenty of times when it's preferable for your characters to merely say, just come or go, or quietly nod, but use enough real action verbs to add color to your writing, and use them when appropriate. Those poor, listless verbs do, after all, serve a purpose, and that purpose is to vitalize your other verbs.

Conditions of use: Editor: The following article is offered for free use in your ezine, print publication, or on your web site, as long as the content is not altered, and the copyright and author credit box at the end are also included. Notification of use would be appreciated.

Writing Without Style

2008-05-03T07:41:00.009-07:00

Style manuals are all well and good, and in fact, highly desirable for newspapers. The average reading level of newspaper readers is the sixth grade. Over the years it became imperative that newspaper writing be simple, consistent, and use basic punctuation, even when that violated some elementary rules. The end result has been that borderline idiots may now understand today's papers.

I feel that these manuals should not be taken as carved in stone for fiction writers. Imagine, if you will, someone dictating to Picasso, Dali, or the French impressionists which colors of paint they may use, which strokes, which perspective, etc. Unthinkable, yet there are many people who insist that fiction writers must abide by the (sometimes) arbitrary grammar and style rules in the popular style manuals.

There are certain rudimentary dictates we must all follow, otherwise our writing would be chaotic. However, fiction writers should, more than any other writers, be allowed enough freedom of expression to create a style that is special to them. In other words, a style that is peculiar (in the correct meaning of that word.) In the editing process of my book, TALES FROM THE WRECKTORY, I had an incident with the editor (He won, I lost.) over the use of the word, "tenebraephobic." (Tenebrae is the service used during Christian Holy Week, and the Latin word, "tenebrae" means shadows, hence darkness.) I wanted to use it to convey a particular kind of fear of the dark. Now, there is more than one word for this condition: nyctophobia and lygophobia, to name two. The individual I was writing about was afraid to be alone in an old, multistory, rambling house in the dead of night. I ask you, which word conveys the impression I wanted to create: one of the two clinical names I mention, or the one which speaks of fear of shadows?

The editor objected to my "tenebraephobic" because he said there was no such word, that I had made it up, and, of course, he was right. There wasn't and I had. Damn it all, if a fiction writer is not allowed to coin a word, who is? Political speech writers? Computer nerds? Or, as we see happen every day, the intelligentsia who, through ignorance or sloppiness, take a perfectly good word or phrase, misuse it, and give it a whole new meaning. Others follow the bad example and it suddenly jumps up the ranks in today's parlance. "Impact" is a perfect example of that.

The same editor then pointed out that most people would not know the meaning of the word, "tenebrae." My answer to that was: "Then, let them look it up. If they want simple words that won't strain their poor brains, they should stick to newspapers (or television) for their entertainment. Fiction should do more than entertain; it should also broaden the mind."

Another editor (I quickly changed this one) tried to correct my grammar and spelling in dialogues. Now, to me, dialogue is sacrosanct. Apart from obvious typos, no one fools around with it. Words in dialogue are, after all, not my words, not the editor's words. They belong to the character speaking. You wouldn't say, "Just between you and I" but one of your characters certainly would. You'd die rather than say, "Me and my friend did..." Would one of your characters? You betcha.

Years ago, I was responsible for training several would-be writers for an international corporation. It was hoped that what they wrote would convince those who read it to buy our products and services. These young writers soon became sick of hearing me say, "We don't write the way we speak, any more than we speak the way we write. Writing is a visual medium; speaking is an audible medium." I convinced them (I think) to throw away the style manuals (or at least leave them on the shelf most of the time), and concentrate on what was important: getting a message across, a message that was brief, succinct, and easy to read.

When it comes to the final showdown, who wins, editors or you, the writer? That's an easy one. Editors. Certainly you have the right to take your work elsewhere. My rule on this is quite simple. If I have any doubt whatsoever of the suitability of what I wrote, I don't mind giving in, especially to an editor who is usually cooperative. Such an editor deserves my cooperation. On the other hand, if I believe I could not go on living with myself by abandoning my precious words, I'll insist it stay as written and accept the consequences. Quod scripsi, scripsi.

The test of fiction writing is not whether it conforms to any style manual, but whether or not it works for you, the writer. Unless your words move you to laugh or cry (preferably both), it isn't likely to affect anyone else. How do you make your words work? The formula is simple, although not easy. You must make your words flow as though they were about to run off the page. The nonfiction writer must be careful that all facts are correct, make sure the writing conforms to the publication for which it is written, and for the intended audience. You, as a fiction writer must do the very same, but only as a starting point. You must go on become a poet, a word-painter, a strummer on people's emotions. The person who originally said one picture is worth a thousand words had it all backwards. A thousand words can conjure up as many pictures, as many emotions as there are people who read them.

As a writer of fiction, you need only keep one eye on your style, and only an occasional eye on the rules set down, but you must at all times keep both eyes wide open and directed towards that which you hope to pursue, and by that I mean pursue that noblest of trades: the writer who leads others to far-off lands in this world and in other worlds; the trade of Dickens or Tolstoy; of Bradbury or Poe, of Cartland or Hemingway; and above all, the trade of ________(please insert your name here.)

Write Your Life

2008-05-03T07:41:00.007-07:00

Take out a white piece of paper and place it on your kitchen table. You now have two choices. You can write or draw on it, or you can leave it there.

If you write or draw, you control the paper's destiny, the words or images it will express, the character it will display, the very meaning of its existence.

If you choose to leave it on your kitchen table, it will remain white. Over time, if left undisturbed, it will slowly turn yellow, old and weary, with no character and no meaning.

But wait.

It will not be left undisturbed. Surely something will spill on it. If your kitchen table sees the kind of abuse ours does, it won't take a day before there's a strawberry stain on it, perhaps a few drops of milk or syrup, or maybe some stray mashed potatoes.

That paper is your life.

We can let fate take its course, splashing the splendor of life's stray mashed potatoes across our lives, or we can define our own meaning.

It's up to each of us.

What's your choice?

Isn't this a great little exercise to pass along to your friends?

New York Code Orange Jaisini New Art Series

2008-05-03T07:41:00.005-07:00

The creativity of Jaisini is not designed to be preaching or too critical. Paul Jaisini reached his level of mastership to know exactly that life is worth living to look in the future having no regrets about the past.

In the aftermath of sept 11 there was a motto for New Yorkers to go on living and conducting business as usual in order to fight the very concept of terrorism, fear. And being cosmopolitan as Londoners or people of world greatest cities New Yorkers prove to be hard to scare.

The spirit of a great city is reflected in the cutting edge works of Jaisini. There is a given subject and a special atmosphere but to Jaisini it would not fulfil his artistic ambition to simply record the rubble and destruction.

Every picture dedicated to NYC in code orange is a mini scenario for a performance with different characters, roles, subtexts and screenplays. Every character in Jaisini's visual rendition of NYC in code orange is usually a typical New Yorker conducting daily life and encountering an unusual situation as viewed by the art director who came up with his own vision of what life could be like in a city that is no longer troubled.

To create such visual scenarios technically, Jaisini had to work with photos as he would with oil paintings or watercolors i.e. manually and without any automatic options, as this would reduce the degree of realism he aimed to achieve through the control of light and pictorial depth.

Perhaps what has been created in the New York series is a glimpse of what New York streets could look like in a futuristic utopia with perpetually developing scenarios of human life.

Jaisini shows that unlimited potential exists in a snap shot of contemporary life. That is why Jaisini's art works are highly demanded and anticipated.

Learn to Write Like a Pro

2008-05-03T07:41:00.003-07:00

Many writers write for the experience. Others dream of having a number one best seller. Both are wonderful reasons for writing. What many fail to realize is that these two do not have to be mutually exclusive. With a little research, you can enjoy writing incredible stories and see to it that they generate a profit.

The first thing that is needed is a business like attitude toward the process. From day one you must:

1) Know your niche.

Research which books are popular in your genre. Go to bookstores and start reading popular authors in your field. Also pick up writing magazines and see what publishers are looking for today.

2) Know your audience. If you are writing for children, for example, know the developmental stage that a child reading your book needs to be and cater to them.

Ex. A five year old would not be a good candidate for a chapter book.

You can also talk to your future readers and find out what really sparks their interest.

Ex. If you are a sci-fi writer, you can go into sci-fi chat rooms and ask what books are the most popular and why. Also ask what they feel is missing in this field. Do they want a return to some of the earlier styles of sci-fi books are an even more futuristic approach?

3) Write from this knowledge.

Once you know what your audience wants, create your story and characters around that theme. Give them what they want, what they crave and you have a better chance of creating a book that they and publishers will love.

4) Pre - market. If you are self-publishing, you can give away a free chapter of your book on hundreds of sites to spark an interest and get feedback. You can also send out press releases right before your book is about to be releases. Prweb.com is a great place to send out free press releases.

Those are just a few examples of pre - marketing. There are hundreds, if not thousands, of other free ways to gather interest and get feed back.

The more information that you have before you write, before you market and before you go to press, will determine your chances of creating an enjoyable and profitable book. Remember you can be creative and profitable. Just start from a place of knowledge and the rest will follow.

Nobody Likes A Rambler

2008-05-03T07:41:00.001-07:00

We all know people who ramble. They include every boring and insignificant detail, speak in five-minute-long sentences and take forever to get to the point. When they finally reach the end of their story, most people have either walked away or lost interest.

If you were reading their words, would you read right to the end? Or would you find something more informative, less boring and shorter to read?

We all have a tendency to ramble. It's natural. And the more excited we are about a subject, the more likely we are to ramble.

Unfortunately, if we ramble in writing, our readers may not get to the "good stuff." And if that "good stuff" is your website, your byline or a product you wish to promote, your rambling has just cost you money.

Now, I certainly don't want to curb your excitement, and I don't even want to thwart your tendency to ramble.

Instead, I want you to get wildly excited about your topic. I want you to ramble as much as you like. Then I want you to edit.

When you edit, try to cut as many words from your article as possible. The number of words cut depends on the length of your first draft and the desired length of your finished article. That said, you should usually try to cut your word count by at least 20 percent - and the more words cut, the better. If that leaves your article too short, try rambling on for even longer before you get to the editing stage.

I don't have the room here to list everything that helps cut down the words in your article, but I will share some key points:

Identify your points and sub-points. When we ramble we tend to go from one point, to another point, then back to the first point, then to an unrelated sub-point. You get the picture. By identifying points and sub-points you can structure your article and ensure each point and sub-point is only addressed once.

Indicate the importance of each point and sub-point. I like to use a highlighter for this. Pink for very important, yellow for fairly important, and so on. When you run out of colors, ask yourself if the material left is important enough to be included, or whether it can be cut.

Get to the point. Ramblers take forever to get to the point. First, they will tell you what they were wearing, what the weather was like and why Cousin Sue happened to be there at the time. If you're taking a lot time to get to the point, cut the beginning from your article. This goes for paragraphs, too.

Say what you want in the shortest possible way. You all know the sentence about the quick brown fox. This sentence not only uses every letter in the alphabet, but it says what it needs to with as few words as possible. A rambler would write "The fox, who was very quick, and happened to be brown, ran up to and jumped over the very lazy dog." I'm sure you'll agree that the original is much better.

These items won't cover everything you need to look at when reducing your word count, but they do provide a good starting base. If you want to remember them, just think of the biggest rambler you know and the things you would like to say to him: "You already said that." "Is the weather important?" "Get to the point." "I have to go soon. Can we hurry this up?"

Readers won't wish they could say these things to you. They'll just find something else to read. Keep your word count low and you'll keep your readers with you right to the end.

Dialogue Tags - A Study in Common Errors

2008-05-02T01:46:00.009-07:00

Verb and Subject

Incorrect:

"I bet you two had a fine time," said Ben.

When using tags, it's unusual to have the verb before the subject. The general rule of thumb is to use this construction sparingly, as a rare change in pace or flow. In addition, many editors are asking this construction not appear at all in a manuscript.

Correct:

"I bet you two had a fine time," Ben said.

The Comma and As

Incorrect:

"Do you kiss toads often? Or are you just a little weird?" Betty asked, wrinkling her nose in distaste.

"I often find the little green guys cute. You should try it sometime," Bertha said as she giggled.

In both instances, the comma after asked, and the 'as' after said, indicate the dialogue tag isn't necessary. Each is greatly improved by removing the tag and allowing the following sentence to stand on its own.

Correct:

"Do you kiss toads often? Or are you just a little weird?" Betty wrinkled her nose in distaste.

"I often find the little green guys cute. You should try it sometime." Bertha giggled.

Unnecessary Tags

Incorrect:

Mary scoffed at the idea. "I don't think you want me at your party," she replied.

Since we are firmly in Mary's head at the point of her dialogue, it can be assumed it is her reply. If you use a tag like this, ask yourself if it's really necessary. Is it obvious this is her reply? Then you don't need it. New writer's struggle with the idea that every bit of dialogue needs to be accredited to a character, otherwise the reader will be confused. The idea is to write so well from one character's perspective, that the reader will immediately tell who's dialogue it is.

Correct:

Mary scoffed at the idea. "I don't think you want me at your party."

Over Explaining the Tag

Incorrect:

"I don't care if you kiss all the frogs in the world, you aren't bringing that toad to my party," Shelly warned, her voice rising.

Ask yourself these questions when you find yourself hunting for words to explain the dialogue in the tag:

Is Shelly's dialogue showing her warning?

Is it clear from what Shelly says that her voice is rising?

What am I trying to show Shelly feeling with this tag?

You won't need to ask yourself these questions as you discover your own style more, but in the meantime, it's a good idea to look through your tags to see if any of them could be replaced, or simply deleted. Her outrage could have been shown much better by this sentence:

Correct:

"I don't care if you kiss all the frogs in the world, you aren't bringing that toad to my party." Shelly glared, hands on hips.

Conjunction Tags

Incorrect:

"You look lovely in that dress," Biff said, "and I think you're going to be the belle of the ball."

Although this break is all right occasionally, it should be used with extreme caution. A better approach is to lend depth to the moment at the break.

Correct:

"You look lovely in that dress." Biff leaned closer, his words a whisper against her flesh. "I think you're going to be the belle of the ball."

Showing Impact

Incorrect:

She wanted to scream, to run for help, but she remained frozen, like a trapped animal. "You killed him for money?"

"Exactly," he said.

"How could you?" She asked as adrenalin rushed movement back into her limbs and she backed away.

Obviously this is an excerpt from a larger scene. By the time the reader finds this exchange, they'll be familiar with all the players. To add impact to a statement, it's sometimes best to leave a tag off entirely, especially with a two-character exchange.

Correct:

She wanted to scream, to run for help, but she remained frozen, like a trapped animal. "You killed him for money?"

"Exactly."

"How could you?" Adrenalin flooded her limbs and she backed away.

Multiple Tags

Incorrect:

"You have to understand," Sean said as he clenched her wrists tighter. His eyes darkened with a menacing plea as he stated, "He was evil, I had to do it."

In this paragraph, we are firmly in Sean's head by the action described in the middle, there is no need to explain he is still speaking.

Correct:

"You have to understand." Sean clenched her wrists tighter. His eyes darkened with a menacing plea. "He was evil, I had to do it."

As with any rules in writing, there are always exceptions. However, once you've changed any of the problematic tags in your work to these more active and exciting tags, you'll find the pace of your work becomes faster and the work overall is much cleaner.

Writing Made Them Rich #4: Paulo Coelho

2008-05-02T01:46:00.007-07:00

Paulo Coelho was born on August 24th 1947 in Rio de Janeiro, Brazil.

At age 17 he announced his intention to be a writer. It was a decision bitterly opposed by his parents, partly because Brazil at that time was under a military junta that persecuted writers and intellectuals.

Coelho's rebellious behaviour led his parents to have him confined to a mental hospital in Rio de Janeiro where he received shock treatment. He escaped - and was returned - three times.

With the arrival of the 1960's Coelho threw himself energetically into the counterculture of drugs and rock-and-roll.

In his 20's he fulfilled his ambition to be a writer and worked as a playwright, a theatre director, a journalist, and a song-writer for Brazilian pop music stars such as Elis Regina and Raul Seixas.

In 1974, says Coelho "my life collapsed".

That year he was arrested three times, the first time as an innocent bystander at a bank robbery, the second time for speaking out against the establishment at a pop concert. After being released by the police he was arrested a third time by paramilitaries who tortured him for a week.

In the late 1970's his life was back on track again and he became artistic director for CBS in Brazil.

But in 1979 he was suddenly sacked without explanation and he spent the next 2 years knocking on doors trying to get back into the music industry.

In 1981 he decided to try his luck in Europe and there met a member of an obscure Catholic Sect that studies the language of symbols: RAM or Regnus Agnus Mundi. He progressed within the sect and eventually became a Magus.

In 1986, on instructions from his mentor within RAM, Coelho undertook the pilgrimage to Santiago di Compostella in Spain.

The following year he published The Pilgrimage, an account of his experiences on the 'Road of Santiago'.

In 1988 he wrote the book that would make him an international celebrity, The Alchemist, a story about following one's destiny and being open to the universe of signs and symbols.

The Alchemist became an instant best-seller and has since sold over 11 million copies worldwide.

Coelho's eight novels have sold over 37 million copies in 56 languages and have been published in 140 countries.

In 1998 the French magazine 'Lire' listed Coelho as the second best-selling author worldwide.

Paulo Coelho has won over 15 international awards for his writing including the prized French award, the Insignia of Arts and Letters (1996). Critics have praised his writing for its "symbolic language that does not speak to our brains, but to our hearts".

In 1998 Paulo Coelho was received by the Pope in the Vatican.

He has been appointed to the United Nations as Special Advisor for Spiritual Convergences and International Dialogues.

Coelho's view on happiness: "The most mediocre thing in the world. I'd rather go by the idea of joy."

Dont Get Burned: Evaluating Script Writing Contests

2008-05-02T01:46:00.005-07:00

Hundreds of writing contests tempt screenwriters with the lure of prize money, instant film industry contacts and personal feedback from film professionals. But contests can be costly, screenwriters should choose intelligently.

Before you write that check, research and evaluate the contests that interest you. Narrow down your choices to the best contests for you personally and the best ones for your scripts. These guidelines might help:

TIPS FOR RESEARCHING CONTESTS

> Check out their website >

Nearly all contests have an online page with guidelines and other vital details. I know it's tempting to salivate over the prize list and ignore the other features available on the site. Don't let the promised goodies distract you --> $10,000 and a trip to Hollywood to meet the film industry movers and shakers you dream of impressing. You're on a mission. You need to find out if the contest has preferences regarding the subject matter of the script, the ethnicity/gender of the author or the area where the writer resides.

Shortcut: At the very least read the FAQ page and note the submission deadline.

> Rely on peer reports >

If you belong to any online screenwriting discussion lists (and you should!), post a query about the contests you're considering. Learn from the experiences of others. Movie Bytes offers a very useful feature to help you: Contest Report Card. Writers evaluate contests they've entered and post their comments. Take advantage of this wonderful resource:

> Feedback, feedback, feedback >

Unproduced writers need professional feedback. Some contests offer feedback on your script as part of the package. Even if you don't win, you've received some extra value for your money. If the source of the 'professional feedback' is not listed on the site, send an email requesting this information. It's important -- pin them down!

> Script readings >

Some contests offer a staged reading of the winning script (or the scripts of all the finalists) as part of the prize. Script readings can be a great tool to help you polish your script as well as good industry exposure. Insider tip: Film festival script competitions in particular seem to offer script-reading opportunities to their finalists.

TIPS FOR EVALUATING CONTESTS

> Sponsors >

The people or companies sponsoring the contest should identify themselves and they should have film industry credentials. Some contests feature a well-known director, actor or producer as a nominal sponsor, implying that this person will read the final scripts or at least the winning one. If that is so, it should be stated in their guidelines or on their website - don't just assume it's true.

> Judges >

Some contests post their judges' names and credentials. I find this reassuring; however many legitimate contests don't make this information available for various reasons, not necessarily because they're hiding something shady. A general guideline: The less information the contest makes available, the more aggressively you should query the contest contacts before your write them a check.

> Press releases >

You want to win a contest that makes an effort to publicize their winners. When you come across the press releases of contests that tout their finalists or winners, resist pitching a rant at your agent; instead swallow your envy and jot down the contest details so you can enter the next time around.

> Paid ads announcing winners >

The most helpful form of publicity for contest winners are paid ads in the film industry trade papers. This species is rare; but when you come across it, make a note to at least research the contests that promote their winners in Variety, Hollywood Reporter and the major film magazines.

> Industry contact >

Many contests promise the winners and/or finalists will be exposed to important film industry contacts. Vague promises or inuendoes don't count. The legitimate contests get specific about what they mean by exposure. Exposure could mean a phone conversation with an agent, a script submission to a studio slushpile, a professional pitching session or an all-expense-paid trip to Hollywood or New York City. Find out.

> Production promises >

Some contests promise that the winning script or scripts will be produced. Yipee! But do they back up this promise with results? Find out - call their bluff. Tip for cynics: Request a contact email for a previous winner or finalist.

IN SHORT: BE CHOOSY!

I hope these guidelines help you find a contest that works for you and your script. Be choosy - it's your money, your script, and your career.

A New Way To Self Publish

2008-05-02T01:46:00.003-07:00

More and more good authors are turning to the Internet to self publish. There are several reasons for that. All of them are probably well known to every writer by now, so we'll not go into them here. What we'll talk about here is a new way to self publish.

Everyone has, by now, heard of ebooks. This is a wonderful way to publish on the net, but it requires special programs to empliment it. And there are web sites that will do all that for you for a fee. But what if you simply can't afford it or you don't want to pay anyone?

This idea I've come up with may be out there in left field, but out in left field is where you usually find some great ideas. Here is what I found.

Create a credit card account somewhere first. Pick any company you are comfortable with and doesn't cost a great deal. After that is all set, put your novel on your web site, create its own page, and use the ariel font. Use size 10 for the main text. Your title and chapter headings can be larger.

Write an intro page for your novel and create a separate page for it. Here is where you'll put any illustrations you may have. So people will have an example of your writing, copy and paste the first chapter of your novel and put it here, too. Also on this page will be the link to your credit card payment company.

The next step is to set up your credit card account to connect with the novel page after your customers have paid for it and then they can simply print out the novel or copy and paste it to their Word or Works program that is already on their computers.

This is a simple and yet effective way to self publish and it does not cost you anything, either. Out in left field, I know, but hey. Anything to survive, huh?

How to Come Up with Fresh Story Ideas

2008-05-02T01:46:00.001-07:00

How to Come Up with Fresh Story Ideas When Your Well has Been Tapped Dry

When I face the desolate impossibility of writing 500 pages, a sick sense of failure falls on me, and I know I can never do it. Then gradually, I write one page and then another. One day's works is all I can permit myself to contemplate.

-John Steinbeck

I know that it seems easier to make that extra pot of coffee, read that good book, that you have had in storage for the last ten years, and suddenly decide to make the kids that Halloween costume by hand, than it can be to make yourself sit down and write. Believe me, I have been there.

Here are some brainstorming techniques to get your brain pumping again and churning out ideas.

1) If you are having trouble coming up with characters or even a story line, try developing an action scene. One good scene to kick off your book can get the rest flowing. Develop the characters and story line around that scene.

2) Come up with a problem to solve. Is your main character the class clown or the brainiest kid in school. What type of problem would your character face in his or her normal life? Write your story around the problem and a unique way of solving it.

3)For character development use common sense. Use what is in front of you.

Look at your family and friends and see if they remind you of anything. My first Shakespearean teacher reminded me of a caveman or a husky walrus because of his whiskers. Does your Uncle Arthur have whiskers, wear glasses, and walk with a little bit of a waddle? Turn him into a know it all beaver or a store clerk, at a bookstore that sells books that you can actually climb into and live out an adventure.

Does your sister have a talent for jumping rope and blowing bubbles, with purple bubble gum? Maybe the heroine for your next book could do the same.Is their a kid in your neighborhood that is always getting into trouble? Hmm, do you think that the creator of Dennis the Mennis might have known one?

You can use your family and friend's talents and their physical characteristics to come up with tons of characters. One hint though- if you choose to make Uncle Charlie a slug or Aunt Emma a rhinoceros, keep it to yourself. They may not be thrilled with their induction into literary history.

Inspiration is all around you, waiting for you to reach out and grab for your next storyline or character. Use stories from the news, jokes that your neighbors tell you, the quirky things that your dog Buster does in the morning.

One final word - stop criticizing what you have written down. In these first stages, no one cares if you have misspelled words or if your grammar isn't perfect. Just write. The rest will follow, after your story is done.

To Tell If You Are A Literary Snob

2008-05-01T02:58:00.004-07:00

"I don't know if I should put 'writer' on my business card," I murmured.

"Then don't," my wife said in her infinite wisdom. "Put 'author' on it."

"But if I put 'author' on, none of those big companies with overflowing coffers will want to hire me as a writer," I said, wondering if George Bush needed a speechwriter or if General Motors wanted someone to write the owner's manual for next year's Oldsmobile.

"Fine. Put 'writer' on your card then, and all those fancy people you give it to will know you can write for them."

"But writer looks so small," I pointed out. "I also want Fortune 500 companies to hire me as a speaker, and nobody important hires a writer to speak. They hire authors."

"OK, why don't you put both?" she offered.

"Ho, right. That'll impress them. A writer who can't even write his own business card with duplicating his redundancies," I said. "I might as well shoot myself with my own sword."

In the end, I put "author", figuring I would get most writing jobs over the Internet, but when I speak live I would have to hand out cards to lots of people. An author's autograph would make those people giddy as strawberry Jell-O on the Amtrak Express. Those same people would search nervously for a graceful retreat from the company of a mere writer.

What is it about being an author.? You can author an article or a report or just about anything. And you can be the author of just about anything (including "your own misfortunes"). But you can't be "an author - period" unless you've published a book.

Big warning: writing a book does not count. I have a friend who wrote a book. That makes him a writer, not an author. When he publishes it, only THEN will he be a real author and only THEN will he be entitled to learn the authors' secret handshake. Don't try sneaking into the clubhouse on the scant pretext that your wrote a book. Anybody can write a book. Even a writer. You have to publish the book to get through these gates of glory.

But if my friend does publish, and he does become an author, and he does learn the secret hand shake, then he'll be ready to cross that threshold of pride when a reader he's never met before tells him, "I just couldn't put your book down."

Well, not quite. In fact, his book is about humorous anecdotes from many years in his particular profession. Hmm. That wouldn't qualify him as an author, even if he publishes. It would put him in that blurry purgatory between "writer" "and" "author" in the company of so many silver medal winners who almost made it and whose names we almost remember .

Why? Because he doesn't qualify for that crucial qualifying praise, "I just couldn't put your book down." That comment is reserved for novels, "serious" non-fiction like biographies and history, and how-to books on topics that require wads of glue. Other lowly books just don't count.

But what if a lowly book could attract an " I just couldn't put your book down?" Would that make the writer an author, or would the author remain just a writer?

My book is a self-help book. Climb your Stairway to Heaven: the 9 habits of maximum happiness. Self-help books are certainly not considered second-class books by the literary elite. They wouldn't even let self-help books into fourth class. In other words, mine is not a title any self-respecting New York Times book reviewer would allow to qualify for "I just couldn't put your book down."

At least, not in theory. But several people have said exactly that. (Too bad they said it to me and not to the New York Times.)

One lady even apologized for not calling me back one morning because she had stayed up into the wee hours of the morning reading my book. Now that's the kind of feedback that makes an author smile. What the heck, that kind of feedback would make even a writer smile.

Call me a writer. Call me an author. I couldn't care less. As long as you tell me "I just couldn't put your book down," I'm happy as a pig in ? uh ? Jell-O.

Create A Dream Diary

2008-05-01T02:58:00.003-07:00

How many times have you forced yourself to sit in front of a computer and waited for inspiration to strike?Most of us at some point, whether just starting out or even an experienced published writer, have suffered from the proverbial writers block or have struggled to kick-start their creativity.

Sometimes ideas just flow and writing our article or story is easy. Inspiration flows over us like waves and the subsequent finished piece is almost word perfect and requires very little editing. But for those times when inspiration is on holiday or worse, on strike, help yourself to master those off days by creating a dream diary.

If you are one of those unfortunate people who believe that they rarely dream or at least have trouble remembering them, a dream diary is obviously going to be a problem.But you can train yourself to remember your dreams in the mornings, but this may take time and practise.

Try leaving a notepad by your bed or invest in a Dictaphone, at least if you do wake up during or after your dream, you can leave instant notes for yourself. Just in case on falling asleep, you eliminate all memory of this wonderful plot.

Even nightmares can be a useful aid to creating a masterpiece, so next time you experience one, look to the positive, and tell yourself that this is going to help you get work published. For those interested in the meaning of dreams, invest in a good book, and not only can you create a great story but you can also work out what made you dream this particular scenario in the first place. It may well provide answers to questions in your everyday life.

As a child, I had the same recurring dream where I was in my back garden and a dinosaur type large red bird, chased me from one length of the garden right up to my back door, which I managed to slam shut and lock with only seconds to spare. Scary? Of course?but the experience helped me to be able to pace my stories and to link tension into the right places of my plot.

I have often wondered what psychologists would make of my numerous and often odd, dream sequences and it is probably just as well that they have never been analysed by anyone other than myself.Although your dream may be vivid and almost overwhelming in its clarity, in the cold reality of daylight, many flaws can be present with that creative enlightenment. But remember, your dream is there to prompt you with a possible story line, it is not set in stone and you do not have to copy it, stage by stage.

Use it to express yourself in a new and different way. It may also be useful to close your eyes and try to re-live your dream in your minds eye. Remember what you felt, sights, sounds, familiar scents, allow yourself to forget the present and immerse yourself back in your dream.

You will be amazed at how much you find you can remember and new scenarios may well fall into place as you practise this gentle meditation.I once dreamed a whole episode of Star Trek, complete with regular cast, a few new characters thrown in and of course, I took the lead role in the drama. I have never attempted to write an episode for television and one for a program, which relies on much technical input, would probably not be for my first attempt, however, the plot (if I say so myself) was exceptional and it is recorded in my dream diary for future use.

Whilst there would be very few changes to the initial plot, I was very surprised by the amount of technical knowledge sustained which proved to me just how much information our subconscious thought process retains and then subsequently uses in the course of our nightly shenanigans.If you are lucky and your creative tact needs no prompting, you will not need to refer to your dream diary all that often, however, it can be interesting to read back over your entries over a period of time and ascertain just how far your imagination has taken you.

Just remember, in your dreams you are not restricted by earthly ties and you can let your imagination loose in the knowledge that inspiration is guiding you.Using a dream diary allows you to access your creative zone deep in the dark recesses of your mind and to harness that creative power. Do not waste this opportunity to provide original thought provoking ideas, just remember to record them carefully.

Ideas are gold dust and could, one day earn you a great deal of money as well as providing an insight into a side of your personality very rarely seen.

Writing for Local Veterinary Hospitals

2008-05-01T02:58:00.002-07:00

Freelance writer STANLEY BURKHARDT has a passion for animals. He loves animals so much, he crafted himself a new career. For the last eight years, Stanley has made a career out of writing for local veterinary hospitals -- and getting paid for it.

Burkhardt admits, "I am probably the first writer you have met who has written for veterinary hospitals. My opinion is that many writers don't see the profit or work potential in writing for vet hospitals, and don't attempt to secure work from this industry. The other reason is that writers try many approaches to secure work in this industry and fail."

Burkhardt has overcome these obstacles, and many more. Now he's ready to spill his secrets. He has penned an ebook, "Profiting on Puppy Love & Cat Care: A Freelance Writer's Guide to Writing for Local Veterinary Hospitals & Practices," in which he shows writers how they can craft a career out of writing for local veterinary hospitals, just like he has done.

Burkhardt says, "I think it's important to know that I had no experience or knowledge writing for the vet industry, when I first started out." If you harbor a deep love for animals and enjoy writing and researching, Burkhardt says you are already "halfway there to breaking into this industry."

The other skill is selling. "Selling is considered by many beginning freelance writers to be the 'curse' of commercial writing because it usually requires you to spend more than half of your time selling yourself to prospective clients - and swallowing many rejections - than spending time writing." In time, selling becomes easier. "Most of my work now comes from referrals and word-of-mouth," says Burkhardt.

Burkhardt has perfected the way he secures first-time clients in this industry; he advises to "use locality in your favor." He says, "Take a trip to your local hospital and see if it presently uses any types of print materials. If not, what kinds of print materials do you think this hospital can benefit from? If it has print materials, how can you improve these existing print materials, or what types of print materials would work better in place of these existing print materials?"

Burkhardt always attempts to arrange a meeting with the owner of the hospital. "I tell the prospective owner I'd like to meet with him for 20 to 30 minutes to discuss, in detail, how I'd be able to boost his profits and productivity, and how he and his clients will both benefit. I've never met an owner who'd refused to spend some time to find out how I'd be able to boost his profits."

After the first meeting, Burkhardt gives himself a few days to work on a proposal in which he outlines how he is going to meet the owner's needs -- whether it's solving a problem, boosting sales, or increasing productivity -- through various writing projects. Burkhardt will either mail his proposal to the owner or arrange a second meeting. Nine times out of ten, Burkhardt's proposal usually nabs him a first assignment from a first-time client. "I always pitch a newsletter as the first project. Once the owner sees how a newsletter contributes to the success of his hospital, I am usually given more writing assignments."

As a writer for five local veterinary hospitals -- two small in size and three big in size -- Burkhardt prefers to sell his services to the larger veterinary hospitals. "Larger veterinary hospitals have more needs to be fulfilled and more problems for you to solve...They're more likely to need internal and external materials that will help boost their sales and increase their productivity."

Burkhardt writes all sorts of copy for vet hospitals, but his favorite and most lucrative is writing newsletters. "Every vet hospital needs them. A newsletter can increase the hospital's sales by pushing products and services, create rapport and build trustworthiness with pet owners by showcasing the exceptional pet care and treatment the hospital offers, and constantly remind pet owners of the hospital's existence by writing information that is so useful and timely that pet owners take the newsletter home with them." Burkhardt charges between $300 and $1,500 per newsletter, depending on its complexity and size.

Burkhardt admits that writing for veterinary hospitals is not a top-paying industry, compared to writing for other industries. But he was never in it for the money. "I often wonder if copywriters who write for tar manufacturers, bottling companies, packaging plants, chip manufacturers, cancer-causing cigarette companies, or shady politicians have any interest in the stuff they write or they do it just for the money. I can't find interest in any of those things and have stayed away from such manufacturers and industries. I think the same is true if one is to write for vet hospitals. You must have an interest - at least to write for the long term. If you love animals, have a curiosity as to how hospitals treat and care for pets, and a sensitive spot to help people, then you can break into this industry and make a good living."

Get An Attitude About Your Writing

2008-05-01T02:58:00.001-07:00

(This excerpt is taken from my new writing workshop Writing To Sell In the Internet Age.)

Writer John Clausen, in his excellent book about freelance writing: Too Lazy To Work, Too Nervous To Steal, recommends that you get an attitude about your work. And he's right.

Many writers are submissive. This attitude brings out the worst in others. It leads to people in a position to pay you for your work taking massive advantage of you, because they figure that you're not going to do anything about it.

Heck, it leads to business people --- editors, publishers and anyone who hires writers --- taking advantage of writers in general. So, while you're standing up for yourself, tell yourself that you're standing up for writers everywhere. Because you are.

Getting an attitude doesn't mean that you are rude or aggressive. You should be completely polite and professional at all times. However, you do need to be assertive. And to believe in yourself.

As Clausen rightly points out, whenever someone hires you to write something, or buys from you, they want to believe that they're hiring and buying the best they can afford. Who will believe that you're good if you don't?

If you're overly grateful for each job you get, too thrilled with the idea that the potential buyer is being so nice to consider your work, you'll get ripped off with every job that you do.

It took me a long time to learn this.

This doesn't mean that you should get a massively inflated ego. You should have enough perspective to see where your work needs improvement. If you're prepared to learn, and to practise, your work will improve each year.

Let's get down to basics. If I don't mean be aggressive about your work, what do I mean by "get an attitude"?

What I mean is this: know what the kind of writing you're doing is worth, and what you're worth. And then don't write for less. This means that you're willing to do some research and thinking before you accept a writing job.

For example, let's say that a glossy magazine wants you to write a thousand words on the different kinds of plastic surgery which are popular at the moment.

The magazine has lots of advertising. By calling the advertising department, and having their advertising rates faxed to you, you see that they're charging $10,000 for a full page ad. You've read that their usual contributor rates are around fifty cents a word.

You're offered 40 cents a word. You haggle, and you and the editor establish that this is 40 cents for the complete 1000 words, even if the magazine cuts the piece right down. Why did you agree?

Firstly, you want to break into this magazine. Secondly, you've done a lot of the research, and the article will be easy to write. Thirdly, you need the money, and you've heard that this magazine pays within fourteen days of receiving the invoice.

On the other hand, let's say that you've written for this magazine before. You've written three features which were well received. You've been getting a dollar a word. For this plastic surgery story, the editor tells you they've had budget cuts, and she can only afford to give you 50 cents a word.

You thank her for her time, and tell her that although you can't afford to do the story for that rate, you look forward to working with her again.

So getting an attitude means being armed with knowledge. You know how long and how much effort it will take you to do the work, and what the client can pay. You know what kind of deal you're happy with, and what you'll walk away from.

Want another example?

Let's say you're a sub-contractor occasionally working with a graphics design business. They send you an eight page brochure, and ask for a quote to copyedit it.

You read the copy-heavy brochure, and it's a mess. You estimate it will take you eight hours to do the work.

They get back to you --- eight hours seems too long. Are you sure it will take you eight hours?

You reply that it will, but if you finish in seven hours, you will only charge them for seven hours. On the other hand, if it takes you nine hours, you'll only charge them for eight.

You get the job.

Get an attitude about your work. Know your markets, and stand up for yourself. Not only will you be happier, but you'll also make more money from your writing.

Pairs/Groups Of Words Often Confused - Part 5 of 6

2008-05-01T02:58:00.000-07:00

PASSED, PAST

Passed is the past tense of pass. Past means a time that has gone.

"Time passed and we all forgot the incident."

"In times past it was the custom for women to wear hats in church."

PEACE, PIECE

Peace means the absence of war (or even noise); piece is a portion of something.

PEAK, PEEK, PIQUE

Pique means to excite or irritate; peek means to peep or snoop; peak as a noun means the summit or tip, and as a verb means to climax. So, you pique someone's curiosity; you don't peek or peak it. If someone annoys you, you become piqued rather than peeked or peaked.

PLAIN, PLANE

Plain means obvious, also unadorned or lacking in good looks; plane is a carpenter's tool or an abbreviation of aeroplane.

PATIENCE, PATIENTS

Patience means forbearance; patients are people under medical care.

POUR, PORE

You pour sauces, gravies, etc, over your dinner, while pore means to study something--so, "pore over the book", not "pour over the book", which reads as though you might be damaging the book with an unnamed liquid substance!

PRESENCE, PRESENTS

Presence means being near at hand; presents are gifts.

PRINCIPAL, PRINCIPLE

Principal means chief or main, also the amount borrowed in a loan; principle means regulations or ideals.

"The principal reason for the company's failure was lack of money." (or)

"The new principal is making a real difference to our school."

"We are paying both principal and interest each month on our mortgage."

"She is completely without principles and would steal from her own mother."

"The principle of a clause like this in your employment contract is to protect you against unfair dismissal."

QUIET, QUITE

Quiet means without noise; quite when used in fiction usually means moderately, but can also mean totally or entirely. Use of the wrong word here could, of course, simply be a typing error that went unnoticed in the proof-reading stages!

RAIN, REIGN, REIN

Rain is the water that comes down from clouds; reign means to rule; rein is a strap, usually leather, for controlling an animal, especially a horse.

RAISE, RAZE

These two are exact opposites. Raise means to lift or build up and raze means to pull down:

"We will raise the reputation of our village to new heights."

"He instructed his army to raze the village to the ground."

REALITY, REALTY

Reality is real life; realty is real estate.

REFERENCE, REVERENCE

I don't know if this confusion is common. I didn't even realise the words COULD be confused until I saw one wrongly used in something written by ... a writer! Maybe it was just a typing error. Reference is something referred to, reverence means respect.

RESIDENCE, RESIDENTS

Residence is a house; residents are the people who live there.

RESPECTFULLY, RESPECTIVELY

Respectfully means politely; respectively means in the order stated.

"The containers stood in a row and were numbered 1, 3, 2, 5 and 4 respectively" means they were standing in this order rather than numerical order.

RIGHT, RITE, WRITE

Right means correct; rite is a ceremony, usually religious; write means to make words.

ROAD, RODE

Road is a long surface for cars and other vehicles; rode is the past tense of ride.

6 Ways to Toot Your Own Writing Horn

2008-04-29T11:30:00.010-07:00

You know you've got writing talent. Others enjoy your work and you've even sold a few things. You'd like to turn that writing talent into full-time freelancing but you don't enough clients yet. You need to toot your own horn!

The problem is that we writers often aren't very good at telling others how wonderful we are and how well we write. We'd much rather be writing than marketing ourselves, but market we must.

These six actions are relatively painless, and they work:

1. Get a business card that says you're a writer. You can get 250 premium quality, color business cards FREE from VistaPrint. Try some titles like this:

Anne Wayman

Freelance Writer or

John Smith

Technical Writer

or even:

Anne Wayman

Writer/Coach/Ghostwriter

Make sure your phone number, email address and website are also on the card.

2. Use your business card! They do no good sitting in a box on the shelf or tucked away in your wallet.

Make sure you have some every time you leave the house, and don't hesitate to hand them out.

Leave them with your tip at restaurants. Hand out one or two when someone asks you what you do. Give them to the bank teller and when you pay for purchases at a store.

You can also stick them in invoices, when you're paying your bills and even to post on likely bulletin boards around town. If your day job requires the use of a card, hand out both. You simply never know who needs a writer or knows someone who needs a writer.

3. Make sure your email signature either links to your website and/or says you're a writer. It doesn't have to be fancy. In fact it's better if you keep it to three or four lines, but make sure it's on every single email. I've gotten good paying jobs because of my email signature.

4. Get your own website with your own domain name! See Do You Need a Web Site? for more details.

5. Your business account checks should say that you're a writer - usually under your name. Every time you pay a bill, you're also sending out a mini-ad.

6. Speak up! When someone asks you what you do, tell them you're a writer, even if writing isn't yet your main source of income. The more comfortable you are saying "I'm a writer," the more likely you are to stumble into some business, so practice.

Although there is a great deal more you can do to market yourself, these basics will accomplish at least two important things:

* You'll get used to thinking of yourself as a writer, and,

* The world will begin to think of you as a writer

So get out there, and toot your own horn, again and again. It's magic.

Write well and often!

7 Secrets For Beating Writers Block

2008-04-29T11:30:00.009-07:00

Most people can easily identify with the dreaded "writer's block". It is a well-known phenomenon that just about everyone has faced at one point in their lives.

I used to suffer from writer's block, big time! Thus, I know through personal anguish and suffering, that it is definitely not a pleasant experience.

Especially when the due date for one's project or paper is getting closer by the day, and the boss asks you "how's that project going" every time you don't manage to avoid him/her when you're sneaking down the corridor.

WRITER'S BLOCK IS FEAR-BASED

Writer's block is a fear-based feeling. For whatever reason, many of us have this incredible fear of committing ourselves in writing whenever we are faced with a blank page or computer screen.

Fear no longer! I'm here to tell you that writer's block can be beaten!

Just realizing that writer's block is really an irrational fear that keeps us from putting pen to paper is half the battle. It's actually a fear of the unknown, often coupled with a fear of failure.

We secretly wonder just what exactly is going to come out of this pen/keyboard, and when it does, will we be revealing some kind of incompetent idiot who doesn't know what they're talking about?

On the other hand, if we have done the proper preparation, our rational mind knows that we can do it just like we did it all of those other times before.

Unfortunately, fear often wins the day when it comes to writing.

As I stated above, I suffered from writer's block for many years and it was not the most enjoyable of experiences.

THE 7 SECRETS

Fortunately, somewhere along the way I did manage to develop a few tricks to overcome writers block. Some are obvious, others are not.

Here are my personal hard-earned secrets for overcoming writer's block:

1. Don't Write Too Soon

Before trying to write, it is important to prepare mentally for a few hours or days (depending on the size of the task) by mulling the writing project over in the back of your mind. (Just as athletes don't like to peak too soon, writers shouldn't write too soon either!).

2. Do The Preparation

Read over whatever background material you have so that it is fresh in your mind. I read through all background material carefully marking important points with a yellow hi-liter and then review it all before I start to write.

3. Develop A Simple Outline

Before sitting down to write, put together a simple point form list of all of the key points you want to cover, and then organize them in the order in which you are going to cover them. (I know, I know... your Grade 6 teacher told you the same thing... but it actually does work).

4. Keep research Documents Close By

When you sit down to write, make sure that all of your key background materials are spread out close at hand. This will allow you to quickly refer to them without interrupting the writing flow once you get going. I keep as many of the source documents as possible wide open, and within eyesight for quick and easy reference.

5. Just Start Writing

Yes, that's exactly what you do. Once you have prepared mentally and done your homework you are ready to write, even if your writer's block is saying "no". Just start writing any old thing that comes to mind. Go with the natural flow. In no time at all you will get into a rhythm, and the words will just keep on flowing.

6. Don't Worry About The First Draft

Once the words start to flow, don't worry about making it perfect the first time. Remember, it's your first draft. You will be able to revise it later. The critical thing at the outset is to write those thoughts down as your mind dictates them to you.

7. Work From An Example

Get an actual sample of the type of document that you need to write. It could be something that you wrote previously, or it could be something from an old working file, or a clipping from a magazine article, or a sales brochure you picked up. As long as it is the same type of document that you are writing. Whatever it is, just post it up in your line-of-sight while you are working. You'll be amazed at how it helps the words and ideas flow. The main thing is to have an example to act as a sort of visual template.

In my experience this last one is the ultimate secret for overcoming writer's block.

To help with this, be on the lookout for good examples of writing that you may see in newspapers and magazines, and clip out the useful ones for future reference.

7 Essential Letter Writing Strategies

2008-04-29T11:30:00.007-07:00

Based on the feedback that I have been getting from visitors to my writinghelp-central.com Web site, letter writing is definitely the area where most people are looking for help or guidance when it comes to day-to-day writing.

Over 55% of the visitors to my site are seeking some sort of letter writing information or assistance. The following lists the Top Ten letters that people request information on, in order of popularity:

* recommendation letter

* resignation letter

* thank you letter

* reference letter

* business letter

* complaint letter

* cover letter

* sales letter

* introduction letter

* apology letter

The 7 Strategies

Here are a few practical letter-writing tips and strategies to help you when writing that next letter:

1. Keep It Short And To The Point

Letters involving business (personal or corporate) should be concise, factual, and focused. Try to never exceed one page or you will be at risk of losing your reader. A typical letter page will hold 350 to 450 words. If you can't get your point across with that many words you probably haven't done enough preparatory work. If necessary, call the recipient on the phone to clarify any fuzzy points and then use the letter just to summarize the overall situation.

2. Make It Clear, Concise, And Logical

Before sitting down to write, make a brief point-form outline of the matters you need to cover in the letter. Organize those points into a logical progression that you can use as your guide as you write the letter. The logical blocks of the letter should be: 1. introduction/purpose, background/explanation, summary/conclusion, action required statement. Use this outline process to organize your approach and your thoughts, and to eliminate any unnecessary repetition or redundancy.

3. Focus On The Recipient's Needs

While writing the letter, focus on the information requirements of your audience, the intended addressee. If you can, in your "mind's eye", imagine the intended recipient seated across a desk or boardroom table from you while you are explaining the subject of the letter. What essential information does that person need to know through this communication? What will be their expectations when they open the letter? Have you addressed all these issues?

4. Use Simple And Appropriate Language

Your letter should use simple straightforward language, for clarity and precision. Use short sentences and don't let paragraphs exceed three or four sentences. As much as possible, use language and terminology familiar to the intended recipient. Do not use technical terms and acronyms without explaining them, unless you are certain that the addressee is familiar with them.

5. Use Short Sentences And Paragraphs

Keep your sentences as short as possible, and break the text up into brief paragraphs. Ideally, a paragraph should not exceed two to three sentences. This will make the letter more easily readable, which will entice the recipient to read it sooner, rather than later.

6. Review And Revise It

Do a first draft, and then carefully review and revise it. Put yourself in the place of the addressee. Imagine yourself receiving the letter. How would you react to it? Would it answer all of your questions? Does it deal with all of the key issues? Are the language and tone appropriate? Sometimes reading it out loud to one's self can help. When you actually "hear" the words it is easy to tell if it "sounds" right or not.

7. Double Check Spelling And Grammar

A letter is a direct reflection of the person sending it, and by extension, the organization that person works for. When the final content of the letter is settled, make sure that you run it through a spelling and grammar checker. To send a letter with obvious spelling and grammatical errors is sloppy and unprofessional. In such cases, the recipient can't really be blamed for seeing this as an indication as to how you (and/or your organization) probably do most other things.

The foregoing basic letter writing strategies and tips are mostly common sense. Nevertheless, you would be amazed how often these very basic "rules of thumb" are not employed when people write letters.