Though most schools weight the numbers a little more; your LSAT score and GPA have a big impact, law school essays are definitely taken into account. Moreover, your law school essay will make or break your application if you're a borderline applicant, and it can even make up for a weak showing in the numbers department.
If you're applying to law school, your law school essay, along with your LSAT score and your undergraduate GPA, is going to be the most important factor in both what schools will accept you and how much scholarship money they're going to offer you.
Even if you're a huge long shot for a particular school the admissions staff will read at least the first paragraph of your law school essay, just to see what you have to offer. On the flipside, if you're a strong applicant to a particular school a bad law school essay can knock you out of the running if you're too flippant or stuck-up.
Though some law schools will give a required topic for your law school essay, most will offer up a few suggestions but allow you write on anything your heart desires. When writing your law school essay, avoid repeating any information that can be found on other parts of your application.
The admissions staff can read; they know what your GPA is and what activities you've taken part in. Instead, fill them in on what isn't on your application. Write on something that both defines who you are and why you stand out from the crowd.
Avoid over-used topics; writing about the most inspirational person you know or what difficulties you've overcome are tired topics and won't get you much attention unless it's something truly fresh or earth-shattering.
If the most inspirational person you know is the Unabomber or you were born without legs and can run a ten second fifty yard dash the admissions staff has probably heard it before.
The admissions staff has gone through thousands of applications, so tell them something about yourself that makes you stand out in their minds. Have you hiked the entire Appalachian Trail? Gone skydiving in a kayak? Raised your baby brother for a summer? Helped a poor family get a house?
Your activities don't necessarily have to be related to the law (though sometimes it helps), the topic you write about just needs to have been important to you. You should also have something to say about the topic, whatever it may be. Say it, and think of the law school essay as a way for the admissions staff to get to know you better.
woensdag 29 juli 2009
dinsdag 28 juli 2009
Brain Freeze? Hire A Ghost Writer
Does this sound familiar? You have a newsletter that needs to go out in a few days, but you just can’t come up with a good article to write. You have a serious case of writer’s block. Or, you know you should be adding more content to your site on a regular basis to keep the search engines (and of course your visitors) happy, but you just can’t find the time to sit down and write articles every week. There’s an easy solution to both problems. Hire a ghostwriter to write the articles for you.
Basically, a ghostwriter is someone that writes articles for you that you get to claim as your own and publish under your own name. No one other than yourself and the ghostwriter has to know that you didn’t write the article yourself. Once you pay for the article, you hold all rights to it and can publish it wherever and however you see fit.
Now let’s talk about the hard part. How do you find a good ghostwriter? You can start by posting a small project on elance or guru.com. Anyone interested in writing for you can bid on the project and you will get to choose your writer from the bidders. I mentioned posting a small project because you just don’t know exactly what you are going to get until you receive the finished articles. A small project in elance or guru terms would be about 15 to 20 short articles on a subject that’s either common knowledge, or easily researched. You want to make it worth the bidders (to attract good writers) without having to spend too much per article.
Other great ways to find a ghostwriter is to network with others in your field, ask friends and post on message boards related to the topic you want the articles written about. Just ask if there is someone interested in writing for you. There are also quite a few freelance writers that offer ghostwriting as well. Search for ghost writing in your favorite search engine to find sites like momva.com .
Pricing for ghostwritten articles can range anywhere from $2.00 to $65 per article. Most writers will charge about $5.00 to $12.00. Keep in mind that you will pay less for shorter articles than long ones. The average article size is from 300 – 1200 words. Shop around, but don’t shop by price along. Like anywhere else you will get what you pay for. Articles in the $2 to $6 range tend to be pretty simple and to be honest quite boring. To get any decent hourly rate, the writer has to crank out 4 – 5 articles per hour and it will show in the quality of the article. You can however find some great articles in the $8 to $12 price range.
When choosing a writer, start by asking for sample articles. Find a few writers who’s style you like and ask them to write a few articles each. You should be able to tell who will work out and who doesn’t. If you have done a good bit of writing yourself, you may want to provide the writers with some of your own articles before they start, so they can get a feel for your style and personality. Pick one or two writers to write for you on a regular basis. It may also be worth staying in touch with the runner-ups in case a writer doesn’t work out, or doesn’t have time for additional projects down the road.
So, will it be worth paying someone to write your articles? It sure does for me. Submitting article and adding them to your own site is one of the fastest and cheapest ways to get traffic to your site. When you add the articles written by your ghostwriter to your site, optimize them by a particular keyword, or key phrase to get more search engine traffic. Then submit the un-optimized version to the various article directories. As your article is used on other sites and in newsletter the traffic will start coming in.
How much are you paying right now to advertise on various websites and in newsletters? $25 per ad or more? For $25 you can easily get 2 to 5 quality articles from a ghostwriter. These articles can then appear in countless publications and websites over and over again. Don’t forget, your resource box, with a link to your site will be included each time the article is published. Your articles may appear in larger newsletters or even print papers and magazines that you could never afford to place an ad in. If you ask me, hiring a ghostwriter and getting more articles with my resource box out there is a great investment.
Basically, a ghostwriter is someone that writes articles for you that you get to claim as your own and publish under your own name. No one other than yourself and the ghostwriter has to know that you didn’t write the article yourself. Once you pay for the article, you hold all rights to it and can publish it wherever and however you see fit.
Now let’s talk about the hard part. How do you find a good ghostwriter? You can start by posting a small project on elance or guru.com. Anyone interested in writing for you can bid on the project and you will get to choose your writer from the bidders. I mentioned posting a small project because you just don’t know exactly what you are going to get until you receive the finished articles. A small project in elance or guru terms would be about 15 to 20 short articles on a subject that’s either common knowledge, or easily researched. You want to make it worth the bidders (to attract good writers) without having to spend too much per article.
Other great ways to find a ghostwriter is to network with others in your field, ask friends and post on message boards related to the topic you want the articles written about. Just ask if there is someone interested in writing for you. There are also quite a few freelance writers that offer ghostwriting as well. Search for ghost writing in your favorite search engine to find sites like momva.com .
Pricing for ghostwritten articles can range anywhere from $2.00 to $65 per article. Most writers will charge about $5.00 to $12.00. Keep in mind that you will pay less for shorter articles than long ones. The average article size is from 300 – 1200 words. Shop around, but don’t shop by price along. Like anywhere else you will get what you pay for. Articles in the $2 to $6 range tend to be pretty simple and to be honest quite boring. To get any decent hourly rate, the writer has to crank out 4 – 5 articles per hour and it will show in the quality of the article. You can however find some great articles in the $8 to $12 price range.
When choosing a writer, start by asking for sample articles. Find a few writers who’s style you like and ask them to write a few articles each. You should be able to tell who will work out and who doesn’t. If you have done a good bit of writing yourself, you may want to provide the writers with some of your own articles before they start, so they can get a feel for your style and personality. Pick one or two writers to write for you on a regular basis. It may also be worth staying in touch with the runner-ups in case a writer doesn’t work out, or doesn’t have time for additional projects down the road.
So, will it be worth paying someone to write your articles? It sure does for me. Submitting article and adding them to your own site is one of the fastest and cheapest ways to get traffic to your site. When you add the articles written by your ghostwriter to your site, optimize them by a particular keyword, or key phrase to get more search engine traffic. Then submit the un-optimized version to the various article directories. As your article is used on other sites and in newsletter the traffic will start coming in.
How much are you paying right now to advertise on various websites and in newsletters? $25 per ad or more? For $25 you can easily get 2 to 5 quality articles from a ghostwriter. These articles can then appear in countless publications and websites over and over again. Don’t forget, your resource box, with a link to your site will be included each time the article is published. Your articles may appear in larger newsletters or even print papers and magazines that you could never afford to place an ad in. If you ask me, hiring a ghostwriter and getting more articles with my resource box out there is a great investment.
maandag 27 juli 2009
Book Report Basics
A book report is defined as a short summary of a book, the reader’s interpretation of it and their reaction. While every book report does include details, it is most often customized to it’s audience with an emphasis on related aspects studied in a classroom or educational group.
From an educators viewpoint, the goal of a book report is to test the student’s reading comprehension, their ability to relay their thoughts in a clear manner and their writing ability. Educators commonly assign book reports to students in order to help them to build or acquire additional knowledge about a particular subject and to help them better understand how to interpret a book and it’s meaning.
From a writer’s standpoint, book reports are often used to entice readers to buy a specific book that has recently been released. This is commonly called a book review, which usually includes the columnist’s viewpoint, opinion and criticism (if any) of the book. Much similar to the structure of a movie review, a journalist is often employed to critique book’s and their storyline. This provides potential readers with insight and often persuades or deters another from buying a particular book.
The structure of a book report will depend solely on the age group that it is being tailored for. An example would be that of an elementary class and how their book report would greatly differ from that written by a college student. In general, however, every book report will be similar in it’s layout. Commonly consisting of a title, brief introduction, the main body of the report including a plot or summary and several concluding paragraphs at the end. The final paragraphs would offer the individual’s personal viewpoint or interpretation of the book and a conclusion as to how that particular book is relative to the subject area being studied.
The actual length of a book report will again vary depending on the age group for which it is intended. Most book report assignments will range from one to three pages. Higher learning students are often asked to further examine details of the book and offer a more in-depth interpretation of the book’s characters, the plot, etc.
Writing a book report can require extensive reading, planning and finally writing. The actual length of time that it may take to complete a book report will depend on the length of the book and the requested length of the book report itself. Generally, a book report assignment is requested within one or two weeks. In certain circumstances, additional time may be granted.
From an educators viewpoint, the goal of a book report is to test the student’s reading comprehension, their ability to relay their thoughts in a clear manner and their writing ability. Educators commonly assign book reports to students in order to help them to build or acquire additional knowledge about a particular subject and to help them better understand how to interpret a book and it’s meaning.
From a writer’s standpoint, book reports are often used to entice readers to buy a specific book that has recently been released. This is commonly called a book review, which usually includes the columnist’s viewpoint, opinion and criticism (if any) of the book. Much similar to the structure of a movie review, a journalist is often employed to critique book’s and their storyline. This provides potential readers with insight and often persuades or deters another from buying a particular book.
The structure of a book report will depend solely on the age group that it is being tailored for. An example would be that of an elementary class and how their book report would greatly differ from that written by a college student. In general, however, every book report will be similar in it’s layout. Commonly consisting of a title, brief introduction, the main body of the report including a plot or summary and several concluding paragraphs at the end. The final paragraphs would offer the individual’s personal viewpoint or interpretation of the book and a conclusion as to how that particular book is relative to the subject area being studied.
The actual length of a book report will again vary depending on the age group for which it is intended. Most book report assignments will range from one to three pages. Higher learning students are often asked to further examine details of the book and offer a more in-depth interpretation of the book’s characters, the plot, etc.
Writing a book report can require extensive reading, planning and finally writing. The actual length of time that it may take to complete a book report will depend on the length of the book and the requested length of the book report itself. Generally, a book report assignment is requested within one or two weeks. In certain circumstances, additional time may be granted.
zondag 26 juli 2009
13 Resume Mistakes That Can Cost You The Interview
1. A BLAND OR GENERIC OBJECTIVE: If your objective could be applied to a marketing resume as easily as a resume for an accounting position, then your objective says nothing and will get you nowhere. An objective is NOT some required paragraph at the top of the page that is an exercise in 5 lines of job speak. It's an actual and real description of your skills as they're related to who you are and what you want. It should vary with the type of job for which you are applying.
2. BLAND JOB DETAILS: "Responsibilities included overseeing construction of 4 Hilton Hotels in Tri-City Metro Area, each 50 floors in height." Yeah? So what? That doesn't say if they went up on schedule or if you brought the projects in under budget. It doesn't say if you took all four from site work up or if the guy handling two of the four hotels was fired and you were promoted to overseeing all four. Differentiate yourself from the others coming in to interview. If you don't tell the hiring company how you will be an asset to them, how will they know?
3. WHO'S THE MYSTERY COMPANY?: Don't assume the name and purpose of your company is common knowledge. If it's a competitor, it might be, and if it's in the same industry and located nearby, it might be. To be on the safe side, provide a sentence or two about the focus of your company's products or services.
4. ANOTHER JOB, ANOTHER PARAGRAPH: Don't keep adding on to your resume job after job, year after year. By the time you're in your 40s, you need to have weeded out some of the earlier stuff. You don't need all the college activities, just your degree. You don't need ALL 5 bullets for each of your first two jobs.
5. REFERENCES: Shouldn't be listed on your resume. "References available on request" is the proper phrase. You present them separately when they're requested. This isn't about protocol. This is about protecting your references so they aren't called until you and the company are serious about each other.
6. IT'S NOT A STORY!: Don't - whatever you do, DON'T - write your resume in the third person!
7. SKIP THE PERSONAL INFO: You might think your weekend baseball coaching or your church choir participation shows you're an interesting and well-rounded person, but they're irrelevant. If the interviewer wants to know who you are as a person, aside from the job interview and your qualifications, he'll ask.
8. DEGREE DATE: No matter how old you are, don't leave the date of when you were graduated off your resume. It looks like you're hiding something (well, you are, aren't you?), and then everyone counts the years backwards and tries to figure out how old you are. Sometimes you can be ruled out - just for leaving the date off. If you're trying to hide your age by not stating the date, what else might you not be forthcoming about?
9. SPELL CHECK, SPELL CHECK, SPELL CHECK: Spell checking visually by you AND someone else, any fewer than three times, isn't enough. And don't forget to check your punctuation.
10. GETTING YOUR RESUME OUT THERE - part one: Don't use one of those resume blaster things. Half those sites aren't even valid. You don't know how it will come out on the other end. You don't even know where it's going or if the landing targets are employment related. It's bad form and just....NOT the way to find your perfect job. Finding your perfect job takes focus, attention, detail, individuality, tailoring, specifics. Resume blasting is about as far from that as you can get.
11. GETTING YOUR RESUME OUT THERE - part two: If it's an ad, you probably have instructions as to how to send it. If it says email, cut and paste it in the form, AND attach it. You never know what it can look like on the other end because of the variety of settings available to each user. Quite frankly, you're better off not emailing it at all, because it usually just goes into cyber space, and then it's all about the hiring company - but unfortunately, besides not sending it at all, sometimes that's your only choice. Emailing your resume takes any option for further participation right out of your hands, because often there's not even a name given for a follow up contact. You've no other option than to wait and wonder. (And half the time it's going to HR or an admin department to be scanned into an electronic database.)
12. GETTING YOUR RESUME OUT THERE - part three: If you know the company, call and ask if they prefer email, fax, or snail mail. I know a recruiter who never even opened his email. Because he was listed in The Kennedy Guide to Executive Recruiters, he received so many resumes emailed to him cold (so NOT pro-active) that he just did a mass delete every morning. Candidates contacted for a specific search were requested to snail mail their resume to him. How about that? I'll bet less than 10% of those who emailed their resumes even bothered to follow up to see if it was received (this isn't a numbers game).
13. RESUME VISUALS: Ivory paper. Black ink. Individual pages. No plastic, 7th grade, science report cover with the plastic slider or metal push down tabs. Your name centered at the top, not on a cover page that says "Introducing Clifton Lewis Montgomery III". No exceptions. Your resume is a professional document, not a school book report or an art project. Until every resume is done this way, yours will still stand out in the crowd.
You are the product, and your resume is the marketing piece. To find your perfect job you must differentiate yourself from the other people who will be interviewed.
Your resume must be specific, individualized, easy to skim so it invites a closer reading, and focused on the differences you've made with your previous companies, as well as the accomplishments you've achieved with - and for - them. This tells the hiring company what you can do for them - and it IS about the hiring company, not you.
Of course this assumes you meet the requirements for the job - otherwise it doesn't matter how good your resume is! The resume is what gets you in the door. If your resume is poorly written, looks sloppy, is difficult to read, is cryptic in any way, or necessitates being slogged through to learn your information (they won't bother), you won't even get in the door. And how can you decide whether you like the company, if they've already decided they don't like you?
2. BLAND JOB DETAILS: "Responsibilities included overseeing construction of 4 Hilton Hotels in Tri-City Metro Area, each 50 floors in height." Yeah? So what? That doesn't say if they went up on schedule or if you brought the projects in under budget. It doesn't say if you took all four from site work up or if the guy handling two of the four hotels was fired and you were promoted to overseeing all four. Differentiate yourself from the others coming in to interview. If you don't tell the hiring company how you will be an asset to them, how will they know?
3. WHO'S THE MYSTERY COMPANY?: Don't assume the name and purpose of your company is common knowledge. If it's a competitor, it might be, and if it's in the same industry and located nearby, it might be. To be on the safe side, provide a sentence or two about the focus of your company's products or services.
4. ANOTHER JOB, ANOTHER PARAGRAPH: Don't keep adding on to your resume job after job, year after year. By the time you're in your 40s, you need to have weeded out some of the earlier stuff. You don't need all the college activities, just your degree. You don't need ALL 5 bullets for each of your first two jobs.
5. REFERENCES: Shouldn't be listed on your resume. "References available on request" is the proper phrase. You present them separately when they're requested. This isn't about protocol. This is about protecting your references so they aren't called until you and the company are serious about each other.
6. IT'S NOT A STORY!: Don't - whatever you do, DON'T - write your resume in the third person!
7. SKIP THE PERSONAL INFO: You might think your weekend baseball coaching or your church choir participation shows you're an interesting and well-rounded person, but they're irrelevant. If the interviewer wants to know who you are as a person, aside from the job interview and your qualifications, he'll ask.
8. DEGREE DATE: No matter how old you are, don't leave the date of when you were graduated off your resume. It looks like you're hiding something (well, you are, aren't you?), and then everyone counts the years backwards and tries to figure out how old you are. Sometimes you can be ruled out - just for leaving the date off. If you're trying to hide your age by not stating the date, what else might you not be forthcoming about?
9. SPELL CHECK, SPELL CHECK, SPELL CHECK: Spell checking visually by you AND someone else, any fewer than three times, isn't enough. And don't forget to check your punctuation.
10. GETTING YOUR RESUME OUT THERE - part one: Don't use one of those resume blaster things. Half those sites aren't even valid. You don't know how it will come out on the other end. You don't even know where it's going or if the landing targets are employment related. It's bad form and just....NOT the way to find your perfect job. Finding your perfect job takes focus, attention, detail, individuality, tailoring, specifics. Resume blasting is about as far from that as you can get.
11. GETTING YOUR RESUME OUT THERE - part two: If it's an ad, you probably have instructions as to how to send it. If it says email, cut and paste it in the form, AND attach it. You never know what it can look like on the other end because of the variety of settings available to each user. Quite frankly, you're better off not emailing it at all, because it usually just goes into cyber space, and then it's all about the hiring company - but unfortunately, besides not sending it at all, sometimes that's your only choice. Emailing your resume takes any option for further participation right out of your hands, because often there's not even a name given for a follow up contact. You've no other option than to wait and wonder. (And half the time it's going to HR or an admin department to be scanned into an electronic database.)
12. GETTING YOUR RESUME OUT THERE - part three: If you know the company, call and ask if they prefer email, fax, or snail mail. I know a recruiter who never even opened his email. Because he was listed in The Kennedy Guide to Executive Recruiters, he received so many resumes emailed to him cold (so NOT pro-active) that he just did a mass delete every morning. Candidates contacted for a specific search were requested to snail mail their resume to him. How about that? I'll bet less than 10% of those who emailed their resumes even bothered to follow up to see if it was received (this isn't a numbers game).
13. RESUME VISUALS: Ivory paper. Black ink. Individual pages. No plastic, 7th grade, science report cover with the plastic slider or metal push down tabs. Your name centered at the top, not on a cover page that says "Introducing Clifton Lewis Montgomery III". No exceptions. Your resume is a professional document, not a school book report or an art project. Until every resume is done this way, yours will still stand out in the crowd.
You are the product, and your resume is the marketing piece. To find your perfect job you must differentiate yourself from the other people who will be interviewed.
Your resume must be specific, individualized, easy to skim so it invites a closer reading, and focused on the differences you've made with your previous companies, as well as the accomplishments you've achieved with - and for - them. This tells the hiring company what you can do for them - and it IS about the hiring company, not you.
Of course this assumes you meet the requirements for the job - otherwise it doesn't matter how good your resume is! The resume is what gets you in the door. If your resume is poorly written, looks sloppy, is difficult to read, is cryptic in any way, or necessitates being slogged through to learn your information (they won't bother), you won't even get in the door. And how can you decide whether you like the company, if they've already decided they don't like you?
zaterdag 25 juli 2009
5 Ways To Make Money With One Article
Would you like to know a winning formula on how to make money on the Web from writing articles? Here's how I do it: I write an article, create 4-5 versions of it, and sell it for use by others in my same profession. In fact, just that one part of my business generates enough income to fully support myself comfortably. Just about anyone in any profession or business can copy this formula.
I write articles for executive coaches and business consultants. They use different versions of my articles in their own newsletters, with their own names in the byline. When they purchase an article, they get reprint rights, but not exclusivity. But since they are in all parts of the country, and the world, they don't bump into others using the same article. They are also free to change the article.
This formula can be used in any industry. Let's say you are a veterinarian. You know a lot about pets, and about your vet clinic clients. You can easily write articles that appeal to your customers who are pet owners. You may already write and publish a regular newsletter with articles that appeal to your clients and potential clients.
What's to stop you from writing your article to suit the needs of other vets who need to send out a newsletter? You post a brief synopsis of this article on your website for vets, offering it to them for a fee. They buy the reprint rights, and it gets used by hundreds of other vets who want to save themselves time and energy on their own newsletters.
That is one way of making money by writing articles on the Web, but here are four more ways, all from the same article.
This same article is revised several times in several lengths. It can be sold in three different lengths, for example, 2000 words to form a 4-page newsletter, 1000 words for a 2-page newsletter, and 600-700 words for electronic email ezines. That makes three more ways to sell the same article.
You also take that same article, change the title, make it more personal adding your own experiences, including your personal details and website links. You submit it to article directories on the web.
This version of your article with your name on it gets picked up - this time for free - by other websites looking for content. Each time another website publishes your article on their site, they link back to your site. The more incoming links you have to your website, the higher value the search engines give you.
This means you will start coming up higher in the search engine rankings when people type in key words in Google or one of the other search directories. That is a fifth way to make money from the same article. This technique is more indirect. Your article is being used for free, but the linking power will drive new customers to your site.
Finally, you can use this same article, or another altered version of it on your own website and blogs, to attract new clients to you. Having quality content on your site and on your blogs will ensure that readers appreciate your expertise and use your services, or buy your products.
Here's a bonus idea for making money from your articles: compile a group of articles about the same topic, format them into a PDF e-book, and sell it on your site.
You probably have knowledge and expertise in your own field that others would pay for, in order to have quality content for their own newsletters. This method requires good writing skills, or you can hire a professional editor to help you. It also requires you master the art of marketing on the web in order to reach potential buyers of your articles. To market successfully, you can submit your articles to the many article directories on the Web, and quickly build traffic to your websites and blogs.
I write articles for executive coaches and business consultants. They use different versions of my articles in their own newsletters, with their own names in the byline. When they purchase an article, they get reprint rights, but not exclusivity. But since they are in all parts of the country, and the world, they don't bump into others using the same article. They are also free to change the article.
This formula can be used in any industry. Let's say you are a veterinarian. You know a lot about pets, and about your vet clinic clients. You can easily write articles that appeal to your customers who are pet owners. You may already write and publish a regular newsletter with articles that appeal to your clients and potential clients.
What's to stop you from writing your article to suit the needs of other vets who need to send out a newsletter? You post a brief synopsis of this article on your website for vets, offering it to them for a fee. They buy the reprint rights, and it gets used by hundreds of other vets who want to save themselves time and energy on their own newsletters.
That is one way of making money by writing articles on the Web, but here are four more ways, all from the same article.
This same article is revised several times in several lengths. It can be sold in three different lengths, for example, 2000 words to form a 4-page newsletter, 1000 words for a 2-page newsletter, and 600-700 words for electronic email ezines. That makes three more ways to sell the same article.
You also take that same article, change the title, make it more personal adding your own experiences, including your personal details and website links. You submit it to article directories on the web.
This version of your article with your name on it gets picked up - this time for free - by other websites looking for content. Each time another website publishes your article on their site, they link back to your site. The more incoming links you have to your website, the higher value the search engines give you.
This means you will start coming up higher in the search engine rankings when people type in key words in Google or one of the other search directories. That is a fifth way to make money from the same article. This technique is more indirect. Your article is being used for free, but the linking power will drive new customers to your site.
Finally, you can use this same article, or another altered version of it on your own website and blogs, to attract new clients to you. Having quality content on your site and on your blogs will ensure that readers appreciate your expertise and use your services, or buy your products.
Here's a bonus idea for making money from your articles: compile a group of articles about the same topic, format them into a PDF e-book, and sell it on your site.
You probably have knowledge and expertise in your own field that others would pay for, in order to have quality content for their own newsletters. This method requires good writing skills, or you can hire a professional editor to help you. It also requires you master the art of marketing on the web in order to reach potential buyers of your articles. To market successfully, you can submit your articles to the many article directories on the Web, and quickly build traffic to your websites and blogs.
vrijdag 24 juli 2009
Are Readers Important To Authors?
Bestselling authors speak of their fans in almost reverential tones, as well they should. A loyal readership that comes back for more, book after book, is the real key to long-term publishing success. Savvy authors work diligently to produce great work that will continue to please their audience, but many of them also communicate directly to their fans. Author’s web sites are all the rage, some of them quite elaborately produced.
Fauzia Burke is the founder and President of FSB Associates, http://www.fsbassciates.com. Her company specializes in publicity utilizing the Internet and author websites.
We asked Fauzia: What is the most unusual publicity program you've developed? “We’re proud of our ability to harness all the power of the Web in the service of authors and their books, and we’re especially committed to making the online presence fit the project.
Here are some examples: “Our site for Doug Stanton’s In Harm’s Way goes beyond words and pictures to include audio interviews with survivors of the 1945 sinking of the USS Indianapolis, video clips of the actual rescue at sea, and a discussion board. Our campaign introduced the book to many audiences, from World War II vets and history buffs, to college and high school students.
“For Christopher Rice’s supernatural thriller A Density Of Souls, we used animation and graphics to create an online gathering place that echoes the eerie atmosphere of the book, and added exclusive material like a virtual yearbook from the New Orleans high school of the story, and back-story on the characters. We even helped promote Chris's appearance on MTV's Real World.
“We used cutting-edge animated maps in our site for Rick Atkinson’s Pulitzer Prize winner An Army At Dawn, to illustrate critical points in the Allied assault on German-held North Africa in 1942-43. Animation helps bring alive our site for Tony Horwitz’s Blue Latitudes, combining a sea chart that traces the voyages of Captain Cook with excerpts from corresponding passages in the book.
“But we don’t use bells and whistles for their own sake. Our site for Mitch Albom’s novel The Five People You Meet In Heaven called for a simpler approach that lets the warm story and the wonderful writing take center stage. Because this is the kind of book people love to share, there’s an e-postcard that fans can send to their friends. There are teaching guides, and reading group materials, and a Q&A with Mitch. And for the Spanish edition of the book, we’ve created a Spanish-language site that will help broaden the audience even more.
“For all these books, we also waged word-of-mouth campaigns designed to attract attention, site traffic and media coverage. In the end, these coordinated efforts produced the most satisfying of all results – sales.”
Quite a few author websites are just storefronts whose major purpose is to sell books. Others have a much more intimate feel, inviting visitors to: “Come on in and meet me. Stay and chat.” With all the other pressures on their time, why do bestselling authors go to the trouble of answering fan e-mail, or posting responses to message boards on their web sites, and continually upgrading them with information about their new project or where they will be appearing?
Nicholas Sparks, www.nicholassparks.com, whose first book, The Notebook set a new standard for romance, answers the question: You interact with your fans more that many authors do. Your web site is particularly interactive, with message boards and an e-mail address for fans to reach you. Why did you take this approach? “People have so many questions about my novels or want to know about me, and there's a lot of misinformation out there. I wanted to have the correct answers put up where readers could easily access them. The web site is a way to make sure the truth is getting out there. For instance, the question, Where did I get the idea for The Notebook? If I say it was inspired by my wife's grandparents, this is very much the truth, but not much information. Readers want to know more: How was it inspired? In what way? How did that whole thought process work? So I explained the whole situation so the readers understand.”
Does that interaction encourage the word of mouth buzz about your books? “Maybe a little. But not everyone cares about what an author's life is like. They just want to read a good book.”
Anna Jacobs, http://www.annajacobs.com, has written 29 novels, mostly historical sagas and romances. She resides in Australia, her primary publisher is in the United Kingdom and her books are sold worldwide including the United States.
We asked Anna: Romance authors seem to have a more personal relationship with their fans, interacting with them on web sites, message boards, Internet chats, book readings. Why is that? What does an author learn from this interaction that assists her with her work? “I'm not sure it's just romance authors. I think it's a woman's approach. I happen to believe that if you put something back into the universe it will bring good karma. Or as my daughter puts it: What goes around, comes around. But I also keep in touch with readers because if you can 'attach' readers as well as writing good books (the latter is the prime pre-requisite) they go out and talk about your books to others.
“I learn a lot from readers' emails about what has particularly pleased them. That doesn't hurt. Also writing is a very solitary activity, so it's nice to be in touch with others. And we all need feedback and praise. I'm as human as any other. I love to hear that someone has enjoyed my books. It's much more fun than sales figures.”
Susan Elizabeth Phillips, www.susanelizabethphillips.com, is the only five-time winner of the Romance Writers of America Favorite Book of the Year Award; inducted into the Romance Writers Hall of Fame, 2001— pioneered, and some say, perfected the “romantic comedy” school of fiction. writes with a touch of humor. We asked Susan: You seem to interact quite a bit with your readers through your web site. You even mentioned there were several categories of fans you have, those who enjoy the humor in your books and those who are more attuned to what happens to the characters. How does the fan interaction shape your writing? “I love my readers, but I do my best not to let their comments shape my writing in any way. About ten years ago, the light finally went off in my brain and I truly understood that every book I wrote would be somebody's favorite and somebody’s least favorite, that everybody in the world (gasp) wasn't going to like my books. This was intensely liberating. It told me that to do my best work I concentrate only on pleasing myself. Truly the biggest ‘Aha Moment’ of my career.”
It’s not only romance authors that have their own website, Stuart Woods, http://www.stuartwoods.com, writes hard hitting mysteries and has been on the New York Times Bestseller list many times.
Stuart answers the question: You are one of the bestselling authors who regularly corresponds with readers via e-mail, why? “It gives me a direct kind of feedback. I get a sense that what I’m doing is the right thing to do. I’ve never made any changes in what I do because of what I’ve heard from readers. The vast preponderance of people love the books and write to tell me so.”
And it’s not just the household name authors who value their readers.
Lydia Joyce’s, www.lydiajoyce.com, most recent book is “The Veil of Night” an intense, sensual remaking of the Gothic genre, with a mysterious Duke, a crumbling manor, and an older heroine with her own secrets to hide.
Lydia told us: “To be absolutely crass, if I didn't have fans, I couldn't make money. And if I couldn't make money, writing would be a hobby, not a job!
“But fans are important to me for far more than financial reasons. My desire to become a writer started with the ghost stories I used to tell around Girl Scouts campfires. I loved how I could affect other people, how I could thrill them, excite them, and make them care about the people in my tales. The pleasure that other people get from my storytelling is a major motivator for me. If it weren't for that, I could be perfectly happy to leave my stories in my head where they started.”
Lynne Connolly is the author of the Richard and Rose series of books, romantic suspense novels set in the mid eighteenth century. Her latest book, "Harley Street" came out in March, and pits the new Lord and Lady Strang against their deadly enemies, Julia and Steven Drury in a tale of old transgressions come to test new found love.
We asked Lynne: Why are your fans important to you as an author? “They validate my work, tell me that I'm on the right track. Fans aren't unthinking admirers, and can often give you information you never had before. Their encouragement keeps me going, and presenting my work to publishers and agents with confidence. Economically, they buy the books, making it possible for me to write more and for my publisher to continue having confidence in me. I sit at home all day on my own with a keyboard for company. Fans connect me, help me to keep on target. And a fan is a reader. They complete the link, the communication between writer and reader.
Marjorie Jones’s, www.majoriejones.com, “The Jewel and the Sword” was just released by Medallion Press. She tells us fans are important to her because “For me, fans are the end-all-be-all of the writing experience. Finishing a book is a terrific feeling. Selling that book to a publisher is an amazing feeling. Having that book accepted by the reading public is better than both! Why are they important? Because without them, my stories would float indefinitely inside the walls of my hard-drive. No purpose. No reason for being. Fans give the stories life.”
Take a few minutes this summer and find out a little bit more about your favorite author. If you really enjoyed their last book, let them know. They would like to hear from you.
Fauzia Burke is the founder and President of FSB Associates, http://www.fsbassciates.com. Her company specializes in publicity utilizing the Internet and author websites.
We asked Fauzia: What is the most unusual publicity program you've developed? “We’re proud of our ability to harness all the power of the Web in the service of authors and their books, and we’re especially committed to making the online presence fit the project.
Here are some examples: “Our site for Doug Stanton’s In Harm’s Way goes beyond words and pictures to include audio interviews with survivors of the 1945 sinking of the USS Indianapolis, video clips of the actual rescue at sea, and a discussion board. Our campaign introduced the book to many audiences, from World War II vets and history buffs, to college and high school students.
“For Christopher Rice’s supernatural thriller A Density Of Souls, we used animation and graphics to create an online gathering place that echoes the eerie atmosphere of the book, and added exclusive material like a virtual yearbook from the New Orleans high school of the story, and back-story on the characters. We even helped promote Chris's appearance on MTV's Real World.
“We used cutting-edge animated maps in our site for Rick Atkinson’s Pulitzer Prize winner An Army At Dawn, to illustrate critical points in the Allied assault on German-held North Africa in 1942-43. Animation helps bring alive our site for Tony Horwitz’s Blue Latitudes, combining a sea chart that traces the voyages of Captain Cook with excerpts from corresponding passages in the book.
“But we don’t use bells and whistles for their own sake. Our site for Mitch Albom’s novel The Five People You Meet In Heaven called for a simpler approach that lets the warm story and the wonderful writing take center stage. Because this is the kind of book people love to share, there’s an e-postcard that fans can send to their friends. There are teaching guides, and reading group materials, and a Q&A with Mitch. And for the Spanish edition of the book, we’ve created a Spanish-language site that will help broaden the audience even more.
“For all these books, we also waged word-of-mouth campaigns designed to attract attention, site traffic and media coverage. In the end, these coordinated efforts produced the most satisfying of all results – sales.”
Quite a few author websites are just storefronts whose major purpose is to sell books. Others have a much more intimate feel, inviting visitors to: “Come on in and meet me. Stay and chat.” With all the other pressures on their time, why do bestselling authors go to the trouble of answering fan e-mail, or posting responses to message boards on their web sites, and continually upgrading them with information about their new project or where they will be appearing?
Nicholas Sparks, www.nicholassparks.com, whose first book, The Notebook set a new standard for romance, answers the question: You interact with your fans more that many authors do. Your web site is particularly interactive, with message boards and an e-mail address for fans to reach you. Why did you take this approach? “People have so many questions about my novels or want to know about me, and there's a lot of misinformation out there. I wanted to have the correct answers put up where readers could easily access them. The web site is a way to make sure the truth is getting out there. For instance, the question, Where did I get the idea for The Notebook? If I say it was inspired by my wife's grandparents, this is very much the truth, but not much information. Readers want to know more: How was it inspired? In what way? How did that whole thought process work? So I explained the whole situation so the readers understand.”
Does that interaction encourage the word of mouth buzz about your books? “Maybe a little. But not everyone cares about what an author's life is like. They just want to read a good book.”
Anna Jacobs, http://www.annajacobs.com, has written 29 novels, mostly historical sagas and romances. She resides in Australia, her primary publisher is in the United Kingdom and her books are sold worldwide including the United States.
We asked Anna: Romance authors seem to have a more personal relationship with their fans, interacting with them on web sites, message boards, Internet chats, book readings. Why is that? What does an author learn from this interaction that assists her with her work? “I'm not sure it's just romance authors. I think it's a woman's approach. I happen to believe that if you put something back into the universe it will bring good karma. Or as my daughter puts it: What goes around, comes around. But I also keep in touch with readers because if you can 'attach' readers as well as writing good books (the latter is the prime pre-requisite) they go out and talk about your books to others.
“I learn a lot from readers' emails about what has particularly pleased them. That doesn't hurt. Also writing is a very solitary activity, so it's nice to be in touch with others. And we all need feedback and praise. I'm as human as any other. I love to hear that someone has enjoyed my books. It's much more fun than sales figures.”
Susan Elizabeth Phillips, www.susanelizabethphillips.com, is the only five-time winner of the Romance Writers of America Favorite Book of the Year Award; inducted into the Romance Writers Hall of Fame, 2001— pioneered, and some say, perfected the “romantic comedy” school of fiction. writes with a touch of humor. We asked Susan: You seem to interact quite a bit with your readers through your web site. You even mentioned there were several categories of fans you have, those who enjoy the humor in your books and those who are more attuned to what happens to the characters. How does the fan interaction shape your writing? “I love my readers, but I do my best not to let their comments shape my writing in any way. About ten years ago, the light finally went off in my brain and I truly understood that every book I wrote would be somebody's favorite and somebody’s least favorite, that everybody in the world (gasp) wasn't going to like my books. This was intensely liberating. It told me that to do my best work I concentrate only on pleasing myself. Truly the biggest ‘Aha Moment’ of my career.”
It’s not only romance authors that have their own website, Stuart Woods, http://www.stuartwoods.com, writes hard hitting mysteries and has been on the New York Times Bestseller list many times.
Stuart answers the question: You are one of the bestselling authors who regularly corresponds with readers via e-mail, why? “It gives me a direct kind of feedback. I get a sense that what I’m doing is the right thing to do. I’ve never made any changes in what I do because of what I’ve heard from readers. The vast preponderance of people love the books and write to tell me so.”
And it’s not just the household name authors who value their readers.
Lydia Joyce’s, www.lydiajoyce.com, most recent book is “The Veil of Night” an intense, sensual remaking of the Gothic genre, with a mysterious Duke, a crumbling manor, and an older heroine with her own secrets to hide.
Lydia told us: “To be absolutely crass, if I didn't have fans, I couldn't make money. And if I couldn't make money, writing would be a hobby, not a job!
“But fans are important to me for far more than financial reasons. My desire to become a writer started with the ghost stories I used to tell around Girl Scouts campfires. I loved how I could affect other people, how I could thrill them, excite them, and make them care about the people in my tales. The pleasure that other people get from my storytelling is a major motivator for me. If it weren't for that, I could be perfectly happy to leave my stories in my head where they started.”
Lynne Connolly is the author of the Richard and Rose series of books, romantic suspense novels set in the mid eighteenth century. Her latest book, "Harley Street" came out in March, and pits the new Lord and Lady Strang against their deadly enemies, Julia and Steven Drury in a tale of old transgressions come to test new found love.
We asked Lynne: Why are your fans important to you as an author? “They validate my work, tell me that I'm on the right track. Fans aren't unthinking admirers, and can often give you information you never had before. Their encouragement keeps me going, and presenting my work to publishers and agents with confidence. Economically, they buy the books, making it possible for me to write more and for my publisher to continue having confidence in me. I sit at home all day on my own with a keyboard for company. Fans connect me, help me to keep on target. And a fan is a reader. They complete the link, the communication between writer and reader.
Marjorie Jones’s, www.majoriejones.com, “The Jewel and the Sword” was just released by Medallion Press. She tells us fans are important to her because “For me, fans are the end-all-be-all of the writing experience. Finishing a book is a terrific feeling. Selling that book to a publisher is an amazing feeling. Having that book accepted by the reading public is better than both! Why are they important? Because without them, my stories would float indefinitely inside the walls of my hard-drive. No purpose. No reason for being. Fans give the stories life.”
Take a few minutes this summer and find out a little bit more about your favorite author. If you really enjoyed their last book, let them know. They would like to hear from you.
donderdag 23 juli 2009
Resume Writing For A Highly Competitive Job Market
Most job hunters already know that a resume is a must when it comes to applying for jobs and getting potential employers to take notice, but unfortunately, most resumes are just not up to par. People actively seeking employment often fail to create an effective resume that will impress hiring managers and land interviews.
And yet, in today’s vigorous job market, at a time when layoffs are the norm and competition for jobs is cutthroat, it’s more important than ever that your resume catch the eyes of the recruiter or resume screener, who may spend no more than 30 seconds on each resume during the initial selection process. This is why your resume has to be more than a document listing your various accomplishments and achievements – it must be a successful marketing tool.
A poorly constructed resume merely lists the applicant’s job history, using bullets to state past responsibilities, and entirely neglects to take advantage of marketing techniques that make a resume stand out from the crowd. You might be the hardest-working, most responsible individual around, but if your resume doesn’t make that clear, what will distinguish you from everyone else applying for the job, in the eyes of the hiring manager?
To avoid turning in a resume that blandly lists your qualities and work history, you must transform it into an accomplishment-driven piece of writing that clearly emphasizes the importance and relevance of each accomplishment.
It may not be easy to do this, but if you approach the process step-by-step, and use the basic sections of the resume to market your abilities, experience, and potential value to the employer, reworking your resume into a marketing machine is an attainable feat.
Starting From the Top
Arguably the most important part of the resume is the first three quarters of the page. Recruiters and screeners have to wade through stacks of resumes, so they tend to scan the first part of the first page to pare down the pile, initially. If you want to survive the preliminary cut, this section of your resume should be full of accomplishments that market your particular skills and capabilities to the specific employer and position.
Of course, your name and contact information appear in this section as well, but you should also include a professional summary in addition to, as mentioned above, the list of accomplishments.
Professional Summary
A professional summary is considered by many resume experts to be more effective than a stated “objective,” in today’s job market. It works as a sturdy introduction to a strong resume, and proves more powerful in the face of the 30-second scan because it offers the recruiter a snapshot of your most important attributes.
Use the summary as a short ad all about you. Include information in the first sentence or two regarding the type of position you’re looking for, and make it clear why you are different or better than the other applicants vying for the same position.
The final three or four sentences should identify your expertise and abilities that apply to the job in question. Make it clear why you can be an asset to the company! Acting as an introduction to the rest of your resume, the statements made in the professional summary need to be reinforced in the sections of the resume that follow.
Accomplishments
The accomplishments you decide to highlight in this section are important because past performance is a good indicator of what you can do for the company, if hired. Mentioning successes you have scored in the past is your best bet to landing an interview.
Just be sure to select 3-6 accomplishments that relate directly to the position you seek and make them quantifiable and measurable – provide answers to questions such as how many/much? Which one? What kind? This will add substance to the facts you have stated.
The best way to determine what accomplishments to list here is to think from the perspective of the employer. Recruiters want to know why you could be an asset to the company – perhaps you will save them time and money, or provide another favorable result? Highlight accomplishments that draw attention to your past successes in applicable areas of expertise.
The Body
This section of the resume profiles your professional experience. Here you make note of the companies you have worked for in the past, along with your title/position and the dates of employment (in years).
But be wary of falling into the trap of simply listing off your work experience. Even in this section of the resume, it’s extremely important to avoid compiling an inventory of job duties. Companies are interested in much more than surface achievements or responsibilities – they are looking for people who can translate success achieved in past jobs to a future position. Make it clear what you can contribute to the employer.
For instance, if your past role was that of “manager,” make it clear that this involved leading a team of people and successfully motivating them to complete tasks on budget and on time. If you worked as a cashier or bank teller, note that you were trusted with money and worked well in a customer service capacity. Any awards you won can also be stated in this section – just remember to quantify every statement you make!
Education
The final section of the resume lists educational information, as well as anything else that might be considered professional experience, such as continuing education, seminars, and other classes you have taken that are applicable to the job. Here you can also draw attention to any professional organizations and affiliations you belong to, as well as civic duties you perform and volunteer experience you have accumulated over the years, as long as it relates to the position you are attempting to win.
Always list the last degree completed first, without mentioning dates. For those with a college degree, there is no need to mention high school, as this will be assumed.
No one said job hunting was simple, so it’s important to do as much as possible to get your foot in the door. By using your resume as a powerful marketing tool, it will be much easier to successfully launch your career and snag the dream job you’ve always wanted.
And yet, in today’s vigorous job market, at a time when layoffs are the norm and competition for jobs is cutthroat, it’s more important than ever that your resume catch the eyes of the recruiter or resume screener, who may spend no more than 30 seconds on each resume during the initial selection process. This is why your resume has to be more than a document listing your various accomplishments and achievements – it must be a successful marketing tool.
A poorly constructed resume merely lists the applicant’s job history, using bullets to state past responsibilities, and entirely neglects to take advantage of marketing techniques that make a resume stand out from the crowd. You might be the hardest-working, most responsible individual around, but if your resume doesn’t make that clear, what will distinguish you from everyone else applying for the job, in the eyes of the hiring manager?
To avoid turning in a resume that blandly lists your qualities and work history, you must transform it into an accomplishment-driven piece of writing that clearly emphasizes the importance and relevance of each accomplishment.
It may not be easy to do this, but if you approach the process step-by-step, and use the basic sections of the resume to market your abilities, experience, and potential value to the employer, reworking your resume into a marketing machine is an attainable feat.
Starting From the Top
Arguably the most important part of the resume is the first three quarters of the page. Recruiters and screeners have to wade through stacks of resumes, so they tend to scan the first part of the first page to pare down the pile, initially. If you want to survive the preliminary cut, this section of your resume should be full of accomplishments that market your particular skills and capabilities to the specific employer and position.
Of course, your name and contact information appear in this section as well, but you should also include a professional summary in addition to, as mentioned above, the list of accomplishments.
Professional Summary
A professional summary is considered by many resume experts to be more effective than a stated “objective,” in today’s job market. It works as a sturdy introduction to a strong resume, and proves more powerful in the face of the 30-second scan because it offers the recruiter a snapshot of your most important attributes.
Use the summary as a short ad all about you. Include information in the first sentence or two regarding the type of position you’re looking for, and make it clear why you are different or better than the other applicants vying for the same position.
The final three or four sentences should identify your expertise and abilities that apply to the job in question. Make it clear why you can be an asset to the company! Acting as an introduction to the rest of your resume, the statements made in the professional summary need to be reinforced in the sections of the resume that follow.
Accomplishments
The accomplishments you decide to highlight in this section are important because past performance is a good indicator of what you can do for the company, if hired. Mentioning successes you have scored in the past is your best bet to landing an interview.
Just be sure to select 3-6 accomplishments that relate directly to the position you seek and make them quantifiable and measurable – provide answers to questions such as how many/much? Which one? What kind? This will add substance to the facts you have stated.
The best way to determine what accomplishments to list here is to think from the perspective of the employer. Recruiters want to know why you could be an asset to the company – perhaps you will save them time and money, or provide another favorable result? Highlight accomplishments that draw attention to your past successes in applicable areas of expertise.
The Body
This section of the resume profiles your professional experience. Here you make note of the companies you have worked for in the past, along with your title/position and the dates of employment (in years).
But be wary of falling into the trap of simply listing off your work experience. Even in this section of the resume, it’s extremely important to avoid compiling an inventory of job duties. Companies are interested in much more than surface achievements or responsibilities – they are looking for people who can translate success achieved in past jobs to a future position. Make it clear what you can contribute to the employer.
For instance, if your past role was that of “manager,” make it clear that this involved leading a team of people and successfully motivating them to complete tasks on budget and on time. If you worked as a cashier or bank teller, note that you were trusted with money and worked well in a customer service capacity. Any awards you won can also be stated in this section – just remember to quantify every statement you make!
Education
The final section of the resume lists educational information, as well as anything else that might be considered professional experience, such as continuing education, seminars, and other classes you have taken that are applicable to the job. Here you can also draw attention to any professional organizations and affiliations you belong to, as well as civic duties you perform and volunteer experience you have accumulated over the years, as long as it relates to the position you are attempting to win.
Always list the last degree completed first, without mentioning dates. For those with a college degree, there is no need to mention high school, as this will be assumed.
No one said job hunting was simple, so it’s important to do as much as possible to get your foot in the door. By using your resume as a powerful marketing tool, it will be much easier to successfully launch your career and snag the dream job you’ve always wanted.
woensdag 22 juli 2009
Turn Writer's Blocks Into Stepping Stones!
Years ago at a presentation at the UCLA Extension Writer’s Program, I promised an audience to teach them to conquer this beast once and for all. Later, another instructor approached me and said “why did you say that to those people? It’s not possible.”
Poor woman. All she was saying is that SHE cannot break writer’s block, which told me all I need to know about her career. In all likelihood a promising beginning, perhaps an award-winning poem or book…and then pain.
It is not only possible to end writer’s block forever, but you can actually use it to your advantage!
First, let us define it in some useful way: Writer’s block is the inability to
1) Produce new text.
2) Edit and polish existing text
3) Finish projects on a reasonable schedule
4) Send those projects out for editorial judgment.
5) Continue sending them out until they are sold.
Accepting the above, I’m going to give you a definition of the root cause of Writer’s Block that will actually help you in every arena of your life.
“Writer’s Block is nothing more than a confusion of two different states of mind: the Flow state, where you produce new text, and the Editing state, where you evaluate and polish what you have written.”
WB is such a killer because most of us have done far more reading than we have writing, and spend far more time in critical analysis of finished, polished work of the masters than in experiencing our own early drafts. So when we try to create text, we measure our first draft efforts against the polished work of the world’s great writers. Immediately, that “this is garbage!” voice goes off in your head, and you have a block.
It is said that novice writers must work through a million words of garbage before reaching their true voice. How in the world will you ever get through it if you constantly judge every word? If you will learn to turn that voice off, you will learn a massive and important lesson about the structure of the human psyche.
But what exactly is “Flow”? It is the psychological state where time seems to vanish, where you “fall into the page”, where the rest of the world floats away as you concentrate. This is similar to the “hypnogogic” state experienced just prior to sleep, and the first thing in the morning. It is experienced in distance running, dancing (remember the lyrics to “Flashdance”? “She’s moved into the danger zone, where the dancer becomes the dance”) and, to be perfectly frank, it is experienced during sexual relations in the moments just prior to orgasm. It is the dissolution of the subject-object relationship sought by numerous schools of meditation.
1) Alternate days (or work sessions) between flow and editing. If necessary, wear different hats, or sit in different chairs for each. NEVER DO BOTH IN THE SAME SESSION
2) Set yourself a daily output that will get you to your goal of one million words in less than 5 years. 1000 words a day will do it in three years. That’s roughly comparable to earning an AA degree. Not too shabby!
3) Explore and specifically study “Flow State” as a discipline. Do your internet searches and find a physical or mental activity (running, dancing, meditation, Tai chi, yoga, etc.) that opens a doorway to this inner world.
4) Listen to largo rhythm, sixty-beat per minute string music. Vivaldi is perfect for this, and induces “Alpha” (flow) state rapidly and effectively. Stay away from music with lyrics, but soft jazz is also terrific.
5) Practice making pictures in your mind, and then writing down what you see WITHOUT judging the quality of your descriptions. You want to enhance the connection between your deep consciousness and your typing or writing.
6) If you can’t find a good meditation technique, just sit and “listen” to your own heartbeat for 15-30 minutes a day.
There are many other ideas, but these will get you started. The most valuable thing you will learn is to “turn off” or ignore the negative voices in your head. And an artist who learns to do this on demand is on the way to integration of the deep levels of the unconscious…and greater joy in the act of creation.
Poor woman. All she was saying is that SHE cannot break writer’s block, which told me all I need to know about her career. In all likelihood a promising beginning, perhaps an award-winning poem or book…and then pain.
It is not only possible to end writer’s block forever, but you can actually use it to your advantage!
First, let us define it in some useful way: Writer’s block is the inability to
1) Produce new text.
2) Edit and polish existing text
3) Finish projects on a reasonable schedule
4) Send those projects out for editorial judgment.
5) Continue sending them out until they are sold.
Accepting the above, I’m going to give you a definition of the root cause of Writer’s Block that will actually help you in every arena of your life.
“Writer’s Block is nothing more than a confusion of two different states of mind: the Flow state, where you produce new text, and the Editing state, where you evaluate and polish what you have written.”
WB is such a killer because most of us have done far more reading than we have writing, and spend far more time in critical analysis of finished, polished work of the masters than in experiencing our own early drafts. So when we try to create text, we measure our first draft efforts against the polished work of the world’s great writers. Immediately, that “this is garbage!” voice goes off in your head, and you have a block.
It is said that novice writers must work through a million words of garbage before reaching their true voice. How in the world will you ever get through it if you constantly judge every word? If you will learn to turn that voice off, you will learn a massive and important lesson about the structure of the human psyche.
But what exactly is “Flow”? It is the psychological state where time seems to vanish, where you “fall into the page”, where the rest of the world floats away as you concentrate. This is similar to the “hypnogogic” state experienced just prior to sleep, and the first thing in the morning. It is experienced in distance running, dancing (remember the lyrics to “Flashdance”? “She’s moved into the danger zone, where the dancer becomes the dance”) and, to be perfectly frank, it is experienced during sexual relations in the moments just prior to orgasm. It is the dissolution of the subject-object relationship sought by numerous schools of meditation.
1) Alternate days (or work sessions) between flow and editing. If necessary, wear different hats, or sit in different chairs for each. NEVER DO BOTH IN THE SAME SESSION
2) Set yourself a daily output that will get you to your goal of one million words in less than 5 years. 1000 words a day will do it in three years. That’s roughly comparable to earning an AA degree. Not too shabby!
3) Explore and specifically study “Flow State” as a discipline. Do your internet searches and find a physical or mental activity (running, dancing, meditation, Tai chi, yoga, etc.) that opens a doorway to this inner world.
4) Listen to largo rhythm, sixty-beat per minute string music. Vivaldi is perfect for this, and induces “Alpha” (flow) state rapidly and effectively. Stay away from music with lyrics, but soft jazz is also terrific.
5) Practice making pictures in your mind, and then writing down what you see WITHOUT judging the quality of your descriptions. You want to enhance the connection between your deep consciousness and your typing or writing.
6) If you can’t find a good meditation technique, just sit and “listen” to your own heartbeat for 15-30 minutes a day.
There are many other ideas, but these will get you started. The most valuable thing you will learn is to “turn off” or ignore the negative voices in your head. And an artist who learns to do this on demand is on the way to integration of the deep levels of the unconscious…and greater joy in the act of creation.
dinsdag 21 juli 2009
Reading & Writing English: Words Ending In "D"
The different sounds that the letter"d" takes at the end of a verb in the past tense
An extract from the book: Word Power by the author of this article.
The English language indicates that the action of the verb is in the past by having some form of the "d" or "t" sound end the word. We say some kind of "d" or "t" sound although the word is almost always written with a "d".
Many people who learn English are so confused by the irregular forms of the verbs that they give up and invent their own ways of referring to the past. Some say: "Yesterday I walk to work" or other ways to avoid using the past tense that they have never learned.
Sure, there are irregular words in English. The past of teach is taught; the past of buy is bought; the past of think is thought. But even these irregular words end in some kind of a "t" sound to indicate that the verb refers to the past. Luckily, there aren't too many of these irregular verbs. You just have to learn them. The good thing is that they behave more or less the same way.
But let's look at the regular verbs. Most English verbs are regular. To indicate the past, they put some kind of a sound made with the tongue touching the back of the upper teeth. Almost always it is the sound of a "d" or of a "t".
The ending of the verb “love” in the past: “I loved the movie” is very different from the ending of the verb “walk”: "I walked to work.” When it sounds like the letter “d”, it is a voiced sound, that is the vocal cords vibrate. When it sounds like a “t”, it is a voiceless or an unvoiced sound.
But how do you know when it should end with a voiced "d" sound and when with a voiceless "t" sound? Although you may not believe it, there is a "rule" that will help you to form the past of most English verbs. You may still make some mistakes but little by little you will feel the mistakes and will correct them. The structure of your mouth will force you to make the right sound.
The "rule" for the formation of the past is similar to the "rule" for the "s" at the end of plural nouns and verbs in the third person singlular of the present tense.
The rule of the "d" in three parts:
There is a one simple "rule" that covers the pronunciation of the "d" and "t" sounds.
The sound that indicates the past of the verb is the voiceless "t" sound when the verb ends in a voiceless consonant. On the other hand, the indication of the past is the voiced "d" sound when the verb ends in a voiced consonant.
The three parts of the rule are:
1. the voiceless "t" sound,
2. the voiced "d" sound,
3. the added syllable.
1. The voiceless (unvoiced) "t":
The "rule" tells us when the last sound of a verb is is like that of the words talk, cap, mess, etc (that is, a voiceless sound), the past of the verb ends with a voiceless (or unvoiced) sound like that of the word walked. The past of these verbs is talked, capped, messed and the "d" is unvoiced.
For example the letter "d" that represents the past in the written word is pronounced like the "t" of Tom (a voiceless sound) when the verb ends in a voiceless sound. So when the verb ends in voiceless sounds such as the letters k in the word looked, p in the word stopped, f in the word cuffed (or gh in the word laughed) the past is indicated by the voiceless "t" sound. This always happens so don't be fooled by the written letter "d".
The past tense of the verb is also indicated by a voiceless sound when the verb ends in any "hissing" sound such as the words: face, wash, crunch. All these sounds are voiceless so the verbs that end with them will always have the "d" of their past form sounded voicelessly and therefore become the forms faced, washed, crunched.
It is important to note that although the voiceless "d" is written "ed", you do NOT add a syllable to the original word.
2. The voiced "d":
The "d" is voiced in two situations:
a. when the word ends in a vowel sound such as, played, teed, owed, cued.
The "strange" vowels are also followed by a voiced "d" such as in the words: furred, papered, pawed. The past of verbs ending in a diphthong sound also end in a voiced "d" sound, for example in the words: plowed, paid, toyed .
b. when the word ends in a voiced consonant.
Some examples of the second case are: b as in the word robbed, n in the word drowned, l in the word mailed, g in the word logged, v in the word heaved, m n the word farmed, n as in the word panned, thesoundof the letters ng as in the word ring, r as in the word cars, v as in the word stoves, and thin the word bathed.
Remember that that the voiced "d" sound forms the past of verbs that end in a voiced consonant, for example, burned is the past of the verb burn and lovedis the past of love.
It is important to note that although the voiced "d" in these words is written with "ed", you do NOT add an extra syllable.
3. The added syllable
In both cases, when the verb ends in either the sound of the voiced "d" or the sound of the voiceless "t", the English language adds a syllable to the verb.
For example, the verbs in the present tense visit, vote, side, need, plant, adopt, add "ed" to make the past tense and become visited, voted, sided, needed, planted, adopted.
The "ed" is pronounced with a special vowel followed by a voiced "d". The special vowel is the "short i" which has the IPA symbol of the small capital “i”. We treat this sound in the book in the chapter on the short vowels. Remember a ship is not a sheep. You have to be able to hear the difference to be able to use this vowel in the added syllable.
It is only in this special case that you pronounce the second syllable of the past of a verb. Not all verbs have two syllables in the past. It is important that you realize that most common English verbs have only one syllable. Do not think that you have to pronounce the "ed" of the words such as walked, talked, played, tuned, tooled. Do not read these words as they were written in your language.
Although many verbs have "ed" in their past, it is just a strange note of English spelling. You often only pronounce one syllable with the past indicated by a voiced "d" or an unvoiced "t" according to which sound preceded the ending.
You only pronounce the "ed" when the root form of the verb ends with your tongue touching the back of your teeth, either with a voiced "d" sound or with an unvoiced "t" sound. For example, "Today, I heat the coffee but yesterday I heated it" (2 syllables because the last consonant is a "t"). But, "Today I talk to my friend but yesterday I talked on the phone." (one syllable because the last consonant is not a "t" or a "d")
The extra syllable: Listen to this as often as necessary for you to be able to distinguish the unvoiced "t" from the voiced "d".
An extract from the book: Word Power by the author of this article.
The English language indicates that the action of the verb is in the past by having some form of the "d" or "t" sound end the word. We say some kind of "d" or "t" sound although the word is almost always written with a "d".
Many people who learn English are so confused by the irregular forms of the verbs that they give up and invent their own ways of referring to the past. Some say: "Yesterday I walk to work" or other ways to avoid using the past tense that they have never learned.
Sure, there are irregular words in English. The past of teach is taught; the past of buy is bought; the past of think is thought. But even these irregular words end in some kind of a "t" sound to indicate that the verb refers to the past. Luckily, there aren't too many of these irregular verbs. You just have to learn them. The good thing is that they behave more or less the same way.
But let's look at the regular verbs. Most English verbs are regular. To indicate the past, they put some kind of a sound made with the tongue touching the back of the upper teeth. Almost always it is the sound of a "d" or of a "t".
The ending of the verb “love” in the past: “I loved the movie” is very different from the ending of the verb “walk”: "I walked to work.” When it sounds like the letter “d”, it is a voiced sound, that is the vocal cords vibrate. When it sounds like a “t”, it is a voiceless or an unvoiced sound.
But how do you know when it should end with a voiced "d" sound and when with a voiceless "t" sound? Although you may not believe it, there is a "rule" that will help you to form the past of most English verbs. You may still make some mistakes but little by little you will feel the mistakes and will correct them. The structure of your mouth will force you to make the right sound.
The "rule" for the formation of the past is similar to the "rule" for the "s" at the end of plural nouns and verbs in the third person singlular of the present tense.
The rule of the "d" in three parts:
There is a one simple "rule" that covers the pronunciation of the "d" and "t" sounds.
The sound that indicates the past of the verb is the voiceless "t" sound when the verb ends in a voiceless consonant. On the other hand, the indication of the past is the voiced "d" sound when the verb ends in a voiced consonant.
The three parts of the rule are:
1. the voiceless "t" sound,
2. the voiced "d" sound,
3. the added syllable.
1. The voiceless (unvoiced) "t":
The "rule" tells us when the last sound of a verb is is like that of the words talk, cap, mess, etc (that is, a voiceless sound), the past of the verb ends with a voiceless (or unvoiced) sound like that of the word walked. The past of these verbs is talked, capped, messed and the "d" is unvoiced.
For example the letter "d" that represents the past in the written word is pronounced like the "t" of Tom (a voiceless sound) when the verb ends in a voiceless sound. So when the verb ends in voiceless sounds such as the letters k in the word looked, p in the word stopped, f in the word cuffed (or gh in the word laughed) the past is indicated by the voiceless "t" sound. This always happens so don't be fooled by the written letter "d".
The past tense of the verb is also indicated by a voiceless sound when the verb ends in any "hissing" sound such as the words: face, wash, crunch. All these sounds are voiceless so the verbs that end with them will always have the "d" of their past form sounded voicelessly and therefore become the forms faced, washed, crunched.
It is important to note that although the voiceless "d" is written "ed", you do NOT add a syllable to the original word.
2. The voiced "d":
The "d" is voiced in two situations:
a. when the word ends in a vowel sound such as, played, teed, owed, cued.
The "strange" vowels are also followed by a voiced "d" such as in the words: furred, papered, pawed. The past of verbs ending in a diphthong sound also end in a voiced "d" sound, for example in the words: plowed, paid, toyed .
b. when the word ends in a voiced consonant.
Some examples of the second case are: b as in the word robbed, n in the word drowned, l in the word mailed, g in the word logged, v in the word heaved, m n the word farmed, n as in the word panned, thesoundof the letters ng as in the word ring, r as in the word cars, v as in the word stoves, and thin the word bathed.
Remember that that the voiced "d" sound forms the past of verbs that end in a voiced consonant, for example, burned is the past of the verb burn and lovedis the past of love.
It is important to note that although the voiced "d" in these words is written with "ed", you do NOT add an extra syllable.
3. The added syllable
In both cases, when the verb ends in either the sound of the voiced "d" or the sound of the voiceless "t", the English language adds a syllable to the verb.
For example, the verbs in the present tense visit, vote, side, need, plant, adopt, add "ed" to make the past tense and become visited, voted, sided, needed, planted, adopted.
The "ed" is pronounced with a special vowel followed by a voiced "d". The special vowel is the "short i" which has the IPA symbol of the small capital “i”. We treat this sound in the book in the chapter on the short vowels. Remember a ship is not a sheep. You have to be able to hear the difference to be able to use this vowel in the added syllable.
It is only in this special case that you pronounce the second syllable of the past of a verb. Not all verbs have two syllables in the past. It is important that you realize that most common English verbs have only one syllable. Do not think that you have to pronounce the "ed" of the words such as walked, talked, played, tuned, tooled. Do not read these words as they were written in your language.
Although many verbs have "ed" in their past, it is just a strange note of English spelling. You often only pronounce one syllable with the past indicated by a voiced "d" or an unvoiced "t" according to which sound preceded the ending.
You only pronounce the "ed" when the root form of the verb ends with your tongue touching the back of your teeth, either with a voiced "d" sound or with an unvoiced "t" sound. For example, "Today, I heat the coffee but yesterday I heated it" (2 syllables because the last consonant is a "t"). But, "Today I talk to my friend but yesterday I talked on the phone." (one syllable because the last consonant is not a "t" or a "d")
The extra syllable: Listen to this as often as necessary for you to be able to distinguish the unvoiced "t" from the voiced "d".
maandag 20 juli 2009
How To Improve Your Lousy Writing Skills In The Workplace
If there’s one important reason why you need to write effectively in the workplace, it is this: the quality of your writing imprints a lasting impression on the reader. This reader may be your boss, a client, or a person who is ready to make a billion dollar business deal with you.
Have you ever read a poorly-written document that made you lose interest right away? It was so poorly-written that you lost trust in the author and asked yourself why the author was wasting your time? How about those junk e-mails that sneak into your junk box like annoying cockroaches? You know the ones I’m referring to: the ones pitching vitamins, software, and sex aids. These e-mails are the biggest showcase of writing blunders, stricken to death with grammar mistakes, misspellings, and sloppy sentences. I doubt these e-mails pull a sale because their poor writing style immediately alienates the reader.
What impression does your writing leave on your boss, clients, or co-workers? Does your writing alienate readers, cause you to lose sales or clients, or cost you job promotions? Or does your writing build streams of loyal readers, increase sales for the company, and help you earn six figures a year at your job?
Whatever type of writing you do in the workplace, always know this reality: readers believe the quality of your writing reflects your skills, work ethics, and integrity as a person. If you write eloquently, clearly, and lively, the reader trusts you and you are able to build rapport quickly. If your writing is sloppy, disorganized, and riddled with errors, the reader assumes the rest of your work is flawed, your work ethics are flawed, and perhaps as a person you are flawed. Why should this reader waste his time reading the rest of your junk or even do business with you?
This article provides fail-safe strategies to help refine your writing and help you to communicate with clarity, simplicity, and impact so you will never write junk again. You will learn five masterful steps to guide you in planning, writing, and refining an article; and you will learn how to avoid common writing mistakes.
AIM! FIRE! FIRE!
To become a superb writer, your first task is to establish your aim.
Yiddish novelist, dramatist and essayist, Sholem Asch, once said, “Writing comes more easily if you have something to say.”
What message do you want to convey with your writing?
To establish your aim, ask yourself:
1) “Why am I writing this document?”
2) “What do I want to communicate?”
3) “Do I want to inform, educate, report, persuade, challenge, or entertain?”
Developing your aim will help you to adopt the best writing style for your reader. For example, an educational document will likely be more formal than one written for entertaining.
CONNECT WITH YOUR READERS
To write effectively, you need to connect strongly with your readers. Ask yourself:
1) “For whom am I writing this? Will I be writing for colleagues, my supervisor, my team of employees, or our clients?”
2) “How much information do my readers need?”
3) “How familiar are my readers with the topic?”
4) “How much time do my readers have? Would my readers prefer a short, succinct presentation of facts and statistics, or more narration and exposition?”
Knowing your audience will allow you to write content in a way that appeals to your readers.
SHAPE YOUR DOCUMENT
You know your aim. You know the people who will likely read your document. Now plan your document. What information will it contain? What information will most likely grab the reader and hold their interests? What points do you need to get across? Start with a rough outline of ideas. Then go through the outline and add more information and more detail. An outline will create the structure for your document. Soon enough your writing will come more easily, quickly, and with greater clarity.
WRITE WHAT YOU KNOW BEST
At this stage, read over your outline and write the first draft. Establish the main idea of the document and support your argument throughout. If a blank white page glares back at you like headlights, just start writing on whatever topic you know best. According to American novelist Jack London, “You can’t wait for inspiration. You have to go after it with a club.” Don’t worry about the sequence if the ideas come to you out of order. You can cut and paste later.
WORDY WEIGHT LOSS
If you have time, step away from the document. Come back to it later with a fresh mind. Now add material where needed. Trim away unnecessary sections. Refine the text to communicate what you want to say. Remember: less is more. Try not to repeat ideas. Repetition, unless necessary, is tiresome for the reader. Keep the piece moving along. Use a lively pace. Progress through your points efficiently.
The following sections address some of the most common writing problems. Use these tips to write more clearly, effectively, and lively.
I.) PUNCTUATION
a) Apostrophes
Do not use an apostrophe in the possessive form of “it.”
Incorrect: Our department submitted it’s reports for 2005 last week.
Correct: Our department submitted its reports for 2005 last week.
Do not use apostrophes in the possessive forms “his,” “hers,” and “ours.”
Incorrect: The window office is her’s.
Correct: The window office is hers.
Do not use apostrophes in plural nouns.
Incorrect: How many new computer’s are we getting?
Correct: How many new computers are we getting?
b) Commas
Do not connect two complete sentences with a comma.
Incorrect: The meeting was cancelled, I finished my work early.
Correct: The meeting was cancelled, so I finished my work early.
Correct: Since the meeting was cancelled, I finished my work early.
II.) MECHANICS
a) Split Infinitives
Do not insert words between “to” and the infinitive form of a verb.
Incorrect: I was told we needed to slightly tighten the deadline.
Correct: I was told we needed to tighten the deadline slightly.
III.) SPELLING
a) “A lot” is always two words.
Incorrect: I have alot of work to do.
Correct: I have a lot of work to do.
b) “To” is a function word often used before the infinitive form of a verb (to go).
c) “Too” is an adverb that means “excessively” (too difficult).
d) “Two” denotes the number 2.
Incorrect: This file cabinet is to heavy for me to move.
Correct: This file cabinet is too heavy for me to move.
e) “There” is an adverb indicating a place (over there).
f) “Their” is a possessive word that shows ownership (their computers).
g) “They’re” is the contraction form of “they are.”
Incorrect: There results for this quarter were excellent.
Correct: Their results for this quarter were excellent.
Incorrect: Their working very hard today.
Correct: They’re working very hard today.
IV.) STYLE
a) Sentence Variety
To write more lively, vary sentence structure. Use alternate ways of beginning, and combine short sentences to create different sentence lengths.
Before:
I organized the files for all the new accounts this week. Then I created a more efficient labeling system. I color-coded everything. I made sure all paper files had been documented electronically. I put these files in the empty file cabinet.
After:
This week I organized the files for the new accounts and created a more efficient color-coded labeling system. After I documented all paper files electronically, I put these files in the empty file cabinet.
V.) ACTIVE VOICE vs. PASSIVE VOICE
The English language has two "voices": active voice (the subject performs an action); and passive voice (the subject is acted upon). In business communication, all good writers write in active voice. Lazy writers write in passive voice. Writing in active voice shortens your sentences and makes your writing sound more direct and formal.
Examples:
PASSIVE: The recipe book is read by her.
ACTIVE: She reads the recipe book.
PASSIVE: The radio announcement should be listened to by everyone.
ACTIVE: Everyone should listen to the radio announcement.
PASSIVE: The photo is being taken by the photographer.
ACTIVE: The photographer is taking the photo.
Have you ever read a poorly-written document that made you lose interest right away? It was so poorly-written that you lost trust in the author and asked yourself why the author was wasting your time? How about those junk e-mails that sneak into your junk box like annoying cockroaches? You know the ones I’m referring to: the ones pitching vitamins, software, and sex aids. These e-mails are the biggest showcase of writing blunders, stricken to death with grammar mistakes, misspellings, and sloppy sentences. I doubt these e-mails pull a sale because their poor writing style immediately alienates the reader.
What impression does your writing leave on your boss, clients, or co-workers? Does your writing alienate readers, cause you to lose sales or clients, or cost you job promotions? Or does your writing build streams of loyal readers, increase sales for the company, and help you earn six figures a year at your job?
Whatever type of writing you do in the workplace, always know this reality: readers believe the quality of your writing reflects your skills, work ethics, and integrity as a person. If you write eloquently, clearly, and lively, the reader trusts you and you are able to build rapport quickly. If your writing is sloppy, disorganized, and riddled with errors, the reader assumes the rest of your work is flawed, your work ethics are flawed, and perhaps as a person you are flawed. Why should this reader waste his time reading the rest of your junk or even do business with you?
This article provides fail-safe strategies to help refine your writing and help you to communicate with clarity, simplicity, and impact so you will never write junk again. You will learn five masterful steps to guide you in planning, writing, and refining an article; and you will learn how to avoid common writing mistakes.
AIM! FIRE! FIRE!
To become a superb writer, your first task is to establish your aim.
Yiddish novelist, dramatist and essayist, Sholem Asch, once said, “Writing comes more easily if you have something to say.”
What message do you want to convey with your writing?
To establish your aim, ask yourself:
1) “Why am I writing this document?”
2) “What do I want to communicate?”
3) “Do I want to inform, educate, report, persuade, challenge, or entertain?”
Developing your aim will help you to adopt the best writing style for your reader. For example, an educational document will likely be more formal than one written for entertaining.
CONNECT WITH YOUR READERS
To write effectively, you need to connect strongly with your readers. Ask yourself:
1) “For whom am I writing this? Will I be writing for colleagues, my supervisor, my team of employees, or our clients?”
2) “How much information do my readers need?”
3) “How familiar are my readers with the topic?”
4) “How much time do my readers have? Would my readers prefer a short, succinct presentation of facts and statistics, or more narration and exposition?”
Knowing your audience will allow you to write content in a way that appeals to your readers.
SHAPE YOUR DOCUMENT
You know your aim. You know the people who will likely read your document. Now plan your document. What information will it contain? What information will most likely grab the reader and hold their interests? What points do you need to get across? Start with a rough outline of ideas. Then go through the outline and add more information and more detail. An outline will create the structure for your document. Soon enough your writing will come more easily, quickly, and with greater clarity.
WRITE WHAT YOU KNOW BEST
At this stage, read over your outline and write the first draft. Establish the main idea of the document and support your argument throughout. If a blank white page glares back at you like headlights, just start writing on whatever topic you know best. According to American novelist Jack London, “You can’t wait for inspiration. You have to go after it with a club.” Don’t worry about the sequence if the ideas come to you out of order. You can cut and paste later.
WORDY WEIGHT LOSS
If you have time, step away from the document. Come back to it later with a fresh mind. Now add material where needed. Trim away unnecessary sections. Refine the text to communicate what you want to say. Remember: less is more. Try not to repeat ideas. Repetition, unless necessary, is tiresome for the reader. Keep the piece moving along. Use a lively pace. Progress through your points efficiently.
The following sections address some of the most common writing problems. Use these tips to write more clearly, effectively, and lively.
I.) PUNCTUATION
a) Apostrophes
Do not use an apostrophe in the possessive form of “it.”
Incorrect: Our department submitted it’s reports for 2005 last week.
Correct: Our department submitted its reports for 2005 last week.
Do not use apostrophes in the possessive forms “his,” “hers,” and “ours.”
Incorrect: The window office is her’s.
Correct: The window office is hers.
Do not use apostrophes in plural nouns.
Incorrect: How many new computer’s are we getting?
Correct: How many new computers are we getting?
b) Commas
Do not connect two complete sentences with a comma.
Incorrect: The meeting was cancelled, I finished my work early.
Correct: The meeting was cancelled, so I finished my work early.
Correct: Since the meeting was cancelled, I finished my work early.
II.) MECHANICS
a) Split Infinitives
Do not insert words between “to” and the infinitive form of a verb.
Incorrect: I was told we needed to slightly tighten the deadline.
Correct: I was told we needed to tighten the deadline slightly.
III.) SPELLING
a) “A lot” is always two words.
Incorrect: I have alot of work to do.
Correct: I have a lot of work to do.
b) “To” is a function word often used before the infinitive form of a verb (to go).
c) “Too” is an adverb that means “excessively” (too difficult).
d) “Two” denotes the number 2.
Incorrect: This file cabinet is to heavy for me to move.
Correct: This file cabinet is too heavy for me to move.
e) “There” is an adverb indicating a place (over there).
f) “Their” is a possessive word that shows ownership (their computers).
g) “They’re” is the contraction form of “they are.”
Incorrect: There results for this quarter were excellent.
Correct: Their results for this quarter were excellent.
Incorrect: Their working very hard today.
Correct: They’re working very hard today.
IV.) STYLE
a) Sentence Variety
To write more lively, vary sentence structure. Use alternate ways of beginning, and combine short sentences to create different sentence lengths.
Before:
I organized the files for all the new accounts this week. Then I created a more efficient labeling system. I color-coded everything. I made sure all paper files had been documented electronically. I put these files in the empty file cabinet.
After:
This week I organized the files for the new accounts and created a more efficient color-coded labeling system. After I documented all paper files electronically, I put these files in the empty file cabinet.
V.) ACTIVE VOICE vs. PASSIVE VOICE
The English language has two "voices": active voice (the subject performs an action); and passive voice (the subject is acted upon). In business communication, all good writers write in active voice. Lazy writers write in passive voice. Writing in active voice shortens your sentences and makes your writing sound more direct and formal.
Examples:
PASSIVE: The recipe book is read by her.
ACTIVE: She reads the recipe book.
PASSIVE: The radio announcement should be listened to by everyone.
ACTIVE: Everyone should listen to the radio announcement.
PASSIVE: The photo is being taken by the photographer.
ACTIVE: The photographer is taking the photo.
zondag 19 juli 2009
Writing Is An Art Form
Every day, I have to contemplate my lengthening career as a writer. I used to also be an artist, back before I became physically disabled in 1998, and regularly drew pictures in pen and ink. I was thinking of transferring over to some computer pad-style drawing technology so I could create graphics and artwork on the computer directly. But since becoming what they call “physically challenged,” I have a hard time with drawing. It’s easier just to type, edit or otherwise work with a keyboard. And I have an over twenty year long career as a writer and editor to draw from as I continue to write every day.
It fascinates me as a ghost writer and an editor the many subject areas that my clients are willing to create books about. One will want to write his or her life story, such as the author who approached me recently regarding his life story as a transgenderal person. He changed from female to male, and he is now married and a father of two children, not his own, as the surgery doesn’t yet allow transgenderal persons to procreate. Another will want to write a children’s fantasy chapter book, an adult science fiction dark fantasy warehouse party series of books, a how to book on beauty and fashion, a book about the Nazis and a Jewish uprising against them, a book by a former Nazi who wants to tell us about what it was like being forced into the party…etc., etc., etc. There is no limit to the types of subjects my authors, many of whom are putting out their very first books, will want to write about.
Some are the type of book which may or may not sell all that well, while others are almost a guaranteed best seller, having a crowd of buyers ready to purchase the books. I almost prefer working with the first group of authors, even though their books don’t pay as much money as my more lucrative authors’ books do. It warms my soul to support first timers who have an interesting and valuable story to put out before the reading public. I usually only charge $3000 for people like these to ghost write their books for them. But when it comes to a potentially lucrative book, I charge a percentage of what the author makes over time from the book sales. These types of books are the “coffee table” type you have heard of, such as a book by the gentleman who took the nude photos of the “other woman” in an infamous murder case. They sell well, but the material in them is often only timely or flashy, and immaterial over time as earnest literature. I much prefer working for people who have books in their souls that contain stories worth the telling, more so than the stories worth money to a flashy author with a coffee table book.
I make enough money at my regular writing projects to support my habit of preferring to work with the first time author crowd. Some of those people’s books do sell well over time, and it’s worth it to me to put the time and effort into ghost writing or editing them that it takes to really polish their work to a gleaming shine and make it productive and meaningful as timeless literature or educational material. This means more to me than a large check paid for the type of book I truly hate to see my name associated with, and I feel very proud to have more of the first timers’ works on my record than those. I guess in the end it’s a tradeoff: timeless creation of worthy literature versus timely production of flashy, self-gratifying stuff that may not make me feel good to write it. Not that I don’t regularly take on that kind of project. I need those books to get by and make money. But it always gladdens me when I can write something that really makes the author feel like he or she has produced a very fine book, and which is something that will truly lend credit and greater credence to my professional name and career as a writer.
I think it lends the greatest justice to my lengthening writing and editing career to help people get out the work that holds the most promise over time, not the most best selling work that is only timely and lucrative and which will soon gather only dust somewhere. Writing is an art form, not a mass market for producing coffee table books that sell.
It fascinates me as a ghost writer and an editor the many subject areas that my clients are willing to create books about. One will want to write his or her life story, such as the author who approached me recently regarding his life story as a transgenderal person. He changed from female to male, and he is now married and a father of two children, not his own, as the surgery doesn’t yet allow transgenderal persons to procreate. Another will want to write a children’s fantasy chapter book, an adult science fiction dark fantasy warehouse party series of books, a how to book on beauty and fashion, a book about the Nazis and a Jewish uprising against them, a book by a former Nazi who wants to tell us about what it was like being forced into the party…etc., etc., etc. There is no limit to the types of subjects my authors, many of whom are putting out their very first books, will want to write about.
Some are the type of book which may or may not sell all that well, while others are almost a guaranteed best seller, having a crowd of buyers ready to purchase the books. I almost prefer working with the first group of authors, even though their books don’t pay as much money as my more lucrative authors’ books do. It warms my soul to support first timers who have an interesting and valuable story to put out before the reading public. I usually only charge $3000 for people like these to ghost write their books for them. But when it comes to a potentially lucrative book, I charge a percentage of what the author makes over time from the book sales. These types of books are the “coffee table” type you have heard of, such as a book by the gentleman who took the nude photos of the “other woman” in an infamous murder case. They sell well, but the material in them is often only timely or flashy, and immaterial over time as earnest literature. I much prefer working for people who have books in their souls that contain stories worth the telling, more so than the stories worth money to a flashy author with a coffee table book.
I make enough money at my regular writing projects to support my habit of preferring to work with the first time author crowd. Some of those people’s books do sell well over time, and it’s worth it to me to put the time and effort into ghost writing or editing them that it takes to really polish their work to a gleaming shine and make it productive and meaningful as timeless literature or educational material. This means more to me than a large check paid for the type of book I truly hate to see my name associated with, and I feel very proud to have more of the first timers’ works on my record than those. I guess in the end it’s a tradeoff: timeless creation of worthy literature versus timely production of flashy, self-gratifying stuff that may not make me feel good to write it. Not that I don’t regularly take on that kind of project. I need those books to get by and make money. But it always gladdens me when I can write something that really makes the author feel like he or she has produced a very fine book, and which is something that will truly lend credit and greater credence to my professional name and career as a writer.
I think it lends the greatest justice to my lengthening writing and editing career to help people get out the work that holds the most promise over time, not the most best selling work that is only timely and lucrative and which will soon gather only dust somewhere. Writing is an art form, not a mass market for producing coffee table books that sell.
zaterdag 18 juli 2009
Speak. Stop. Start Speaking Again.
Early on, while working in radio stations, I learned that 'dead air' is a bad thing.
Dead air means silence, unintentional silence, that is. So, if I happened to be standing in the hall, for instance, and heard no music or voice for more than a couple of seconds, I would quickly check to see what had happened in the announcer's booth or the news booth.
Speakers and presenters, too, often think of silence as a bad thing. But, they should not. In fact, silence, as in a long pause, can be wonderfully powerful.
Pause for a moment before you start speaking, and you'll almost immediately have the attention and respect of everyone in the audience. Any whispering that had gone on will stop, as will the shuffling of feet and papers, and the opening and closing of briefcases and purses.
The same holds if you lose the attention of the audience part way through your speech or presentation. Pause, look systematically around the room at everyone in the audience, and you'll have them back with you again.
Pause for a long moment if you want to emphasize a point. When you pause, you not only get the attention of the audience, but you create a contrast between the silence and the sound of your voice.
You'll also find pauses helpful when you change from one subject to another within your presentation. In this case, the pause signals that something's about to change, especially if you foreshadowed the new subject as you wrapped up the preceding section.
Of course, you can also pause when you lose track of where you are in your presentation. Deliberately stop, look at the audience as if you had planned to stop at this point, collect your thoughts, and then start again.
In summary, don't be afraid of pauses or long moments of silence in a presentation or speech. They can get and hold attention better than almost anything you can say.
Dead air means silence, unintentional silence, that is. So, if I happened to be standing in the hall, for instance, and heard no music or voice for more than a couple of seconds, I would quickly check to see what had happened in the announcer's booth or the news booth.
Speakers and presenters, too, often think of silence as a bad thing. But, they should not. In fact, silence, as in a long pause, can be wonderfully powerful.
Pause for a moment before you start speaking, and you'll almost immediately have the attention and respect of everyone in the audience. Any whispering that had gone on will stop, as will the shuffling of feet and papers, and the opening and closing of briefcases and purses.
The same holds if you lose the attention of the audience part way through your speech or presentation. Pause, look systematically around the room at everyone in the audience, and you'll have them back with you again.
Pause for a long moment if you want to emphasize a point. When you pause, you not only get the attention of the audience, but you create a contrast between the silence and the sound of your voice.
You'll also find pauses helpful when you change from one subject to another within your presentation. In this case, the pause signals that something's about to change, especially if you foreshadowed the new subject as you wrapped up the preceding section.
Of course, you can also pause when you lose track of where you are in your presentation. Deliberately stop, look at the audience as if you had planned to stop at this point, collect your thoughts, and then start again.
In summary, don't be afraid of pauses or long moments of silence in a presentation or speech. They can get and hold attention better than almost anything you can say.
vrijdag 17 juli 2009
Art Theft: Most Famous Cases in History
Art theft is an ancient and complicated crime. When you look at the some of the most famous cases of art thefts in history, you see thoroughly planned operations that involve art dealers, art fakers, mobsters, ransoms, and millions of dollars. Here you can read about some of the most famous cases of art theft in the history.
The First Theft:The first documented case of art theft was in 1473, when two panels of altarpiece of the Last Judgment by the Dutch painter Hans Memling were stolen. While the triptych was being transported by ship from the Netherlands to Florence, the ship was attacked by pirates who took it to the Gdansk cathedral in Poland. Nowadays, the piece is shown at the National Museum in Gdansk where it was recently moved from the Basilica of the Assumption.
The Most Famous Theft:The most famous story of art theft involves one of the most famous paintings in the world and one of the most famous artists in history as a suspect. In the night of August 21, 1911, the Mona Lisa was stolen out of the Louver. Soon after, Pablo Picasso was arrested and questioned by the police, but was released quickly.
It took about two years until the mystery was solved by the Parisian police. It turned out that the 30×21 inch painting was taken by one of the museum employees by the name of Vincenzo Peruggia, who simply carried it hidden under his coat. Nevertheless, Peruggia did not work alone. The crime was carefully conducted by a notorious con man, Eduardo de Valfierno, who was sent by an art faker who intended to make copies and sell them as if they were the original painting.
While Yves Chaudron, the art faker, was busy creating copies for the famous masterpiece, Mona Lisa was still hidden at Peruggias apartment. After two years in which Peruggia did not hear from Chaudron, he tried to make the best out of his stolen good. Eventually, Peruggia was caught by the police while trying to sell the painting to an art dealer from Florence, Italy. The Mona Lisa was returned to the Louver in 1913.
The Biggest Theft in the USA:The biggest art theft in United States took place at the Isabella Stewart Gardner Museum. On the night of March 18, 1990, a group of thieves wearing police uniforms broke into the museum and took thirteen paintings whose collective value was estimated at around 300 million dollars. The thieves took two paintings and one print by Rembrandt, and works of Vermeer, Manet, Degas, Govaert Flinck, as well as a French and a Chinese artifact.
As of yet, none of the paintings have been found and the case is still unsolved. According to recent rumors, the FBI are investigating the possibility that the Boston Mob along with French art dealers are connected to the crime.
The Scream:The painting by Edvard Munchs, The Scream, is probably the most sought after painting by art thieves in history. It has been stolen twice and was only recently recovered. In 1994, during the Winter Olympics in Lillehammer, Norway, The Scream was stolen from an Oslo gallery by two thieves who broke through an open window, set off the alarm and left a note saying: thanks for the poor security.
Three months later, the holders of the painting approached the Norwegian Government with an offer: 1 million dollars ransom for Edvard Munchs The Scream. The Government turned down the offer, but the Norwegian police collaborated with the British Police and the Getty Museum to organize a sting operation that brought back the painting to where it belongs.
Ten years later, The Scream was stolen again from the Munch Museum. This time, the robbers used a gun and took another of Munchs painting with them. While Museum officials waiting for the thieves to request ransom money, rumors claimed that both paintings were burned to conceal evidence. Eventually, the Norwegian police discovered the two paintings on August 31, 2006 but the facts on how they were recovered are not known yet.
The First Theft:The first documented case of art theft was in 1473, when two panels of altarpiece of the Last Judgment by the Dutch painter Hans Memling were stolen. While the triptych was being transported by ship from the Netherlands to Florence, the ship was attacked by pirates who took it to the Gdansk cathedral in Poland. Nowadays, the piece is shown at the National Museum in Gdansk where it was recently moved from the Basilica of the Assumption.
The Most Famous Theft:The most famous story of art theft involves one of the most famous paintings in the world and one of the most famous artists in history as a suspect. In the night of August 21, 1911, the Mona Lisa was stolen out of the Louver. Soon after, Pablo Picasso was arrested and questioned by the police, but was released quickly.
It took about two years until the mystery was solved by the Parisian police. It turned out that the 30×21 inch painting was taken by one of the museum employees by the name of Vincenzo Peruggia, who simply carried it hidden under his coat. Nevertheless, Peruggia did not work alone. The crime was carefully conducted by a notorious con man, Eduardo de Valfierno, who was sent by an art faker who intended to make copies and sell them as if they were the original painting.
While Yves Chaudron, the art faker, was busy creating copies for the famous masterpiece, Mona Lisa was still hidden at Peruggias apartment. After two years in which Peruggia did not hear from Chaudron, he tried to make the best out of his stolen good. Eventually, Peruggia was caught by the police while trying to sell the painting to an art dealer from Florence, Italy. The Mona Lisa was returned to the Louver in 1913.
The Biggest Theft in the USA:The biggest art theft in United States took place at the Isabella Stewart Gardner Museum. On the night of March 18, 1990, a group of thieves wearing police uniforms broke into the museum and took thirteen paintings whose collective value was estimated at around 300 million dollars. The thieves took two paintings and one print by Rembrandt, and works of Vermeer, Manet, Degas, Govaert Flinck, as well as a French and a Chinese artifact.
As of yet, none of the paintings have been found and the case is still unsolved. According to recent rumors, the FBI are investigating the possibility that the Boston Mob along with French art dealers are connected to the crime.
The Scream:The painting by Edvard Munchs, The Scream, is probably the most sought after painting by art thieves in history. It has been stolen twice and was only recently recovered. In 1994, during the Winter Olympics in Lillehammer, Norway, The Scream was stolen from an Oslo gallery by two thieves who broke through an open window, set off the alarm and left a note saying: thanks for the poor security.
Three months later, the holders of the painting approached the Norwegian Government with an offer: 1 million dollars ransom for Edvard Munchs The Scream. The Government turned down the offer, but the Norwegian police collaborated with the British Police and the Getty Museum to organize a sting operation that brought back the painting to where it belongs.
Ten years later, The Scream was stolen again from the Munch Museum. This time, the robbers used a gun and took another of Munchs painting with them. While Museum officials waiting for the thieves to request ransom money, rumors claimed that both paintings were burned to conceal evidence. Eventually, the Norwegian police discovered the two paintings on August 31, 2006 but the facts on how they were recovered are not known yet.
donderdag 16 juli 2009
How Can You Become A Better Writer?
I have been writing professionally for more than two decades and teaching writing nearly that long. Every conference, every writing staff, and every class has always included some writer who asks: "How Can I Become A Better Writer?"
They don't usually like my answer. "Practice writing every day and read to study the writing of others every day."
They don't like the answer for one of two reasons usually. Some people are looking for some quick fix, magic formula that will make them a good writer in three easy steps. Although my suggestion involves only two steps it is pretty obvious that it is a long-term project. The other group of people will sneer at the first because they consider themselves "real writers" but they don't like the answer any more than the others. They believe they have a gift that simply needs to be unlocked by the magic key that published, successful writers possess.
The simple truth is that there is no way to improve your writing other than to continually practice your craft. Write every day. Experiment, plan, revise, and revisit. Make challenges, deadlines, and competitions. Push yourself and your writing will reward you. I promise. Write something inspired by a writer you admire and then write something completely your own.
However it is not enough to simply write in a vacuum -- or an ivory tower. You must also read the writing of others. Read far and wide. Read fiction, nonfiction, poetry and song lyrics. Read argument and persuasion, read informative and biographical, read science and fantasy. Read talented and skilled professionals and read those who are still finding their writing feet.
You are reading to gain inspiration and confidence. You are reading to build your vocabulary and your stockpile of writing tricks. You are reading to learn more about the rhythms and patterns of language. You are reading so that as you write you will be able to develop your own unique voice.
Learning to be a better writer is not the work of a weekend or even a semester. Learning to be a better writer is a life's work. If you really are a writer then you will never consider your work done. I don't know a professional writer who sits back and says "I'm done learning now, I'm as good as I'm going to get". Certainly it need not take a lifetime to reach professional status but you shouldn't make that your goal. Thinking in those terms can hold you back from becoming the best writer you can be.
For example, perhaps the reason your particular project was rejected had nothing at all to do with your writing but was in fact due to your topic, the particular needs of that publisher, or even the mood of the editor when your submission came across their desk. The truth is that you cannot control when you become a published, professional writer, but you can control your progress toward improving your writing. Believe me, the stronger your writing becomes then the easier it will be to achieve that other goal. When you reach the point that you regularly deliver quality writing then you will find a market. If you write it, the rest will come.
Going With "The Flow"
Flow state, that mysterious mental zone where time and the outside world seem to disappear, is one of the keys to peak performance. Frankly, your ability to harness the limits of your intelligence, creativity, education, or talents will be largely determined by your capacity to remain in flow while under stress.
Those who cannot suffer “stage fright,” “writer’s block” “flop sweat” and numerous other labels for the same phenomenon—inability to access the deepest wells of confidence and performance in the actual arena.
The key to unlocking this particular inner vault is to look at the phenomenon of flow itself, separate from any specific usage or application.
We all experience the “flow” phenomenon. The last moments before we fall asleep or the first after awakening (also known as the “hypnogogic state”) have this quality. Ever gotten on the freeway, lost yourself in thought, and only snapped out of it when your exit appeared? Flow. Gone running, dancing, or walking and found time dissolving, so that an hour felt like mere minutes? Flow. One exceptionally powerful “flow moment” would be the last few seconds leading up to orgasm, when it feels like the barriers between you and your lover are melting away.
All of these moments share something in common: they all deal with the dissolution of the subject-object relationship. The painter melts into the canvas. The writer disappears into the book, the reader into the magazine, the lover into the beloved, the martial artist into the flow of throw and punch. We stop being aware of “ourselves” and begin to sense a connection between all the disparate parts of the activity, as if we are simultaneously stepping back for a wider view, and sinking inwards to a place of almost impossible intimacy.
It is a path to genius. One might take the position that the ability to hold flow under stress is the single greatest key of all high-performing human beings in any arena of life. What is talent, separate from the focus required to manifest it?
There are many disciplines that address flow: meditation, yoga, Tai Chi, prayer, etc. And there are tools that work terrifically well for familiarizing you with this state: sixty beat per minute Largo rhythm string music (Vivaldi is great!), hot baths, incense, massage, etc. Distance running or rhythmic walking, dance, gardening or cooking (for some people), playing music, painting, and numerous other activities touch this space. Just look for the moments when time vanishes.
One core technique, used worldwide in thousands of disciplines, is breath control. This is key because breathing is the only physiological process both voluntary and autonomic, and is thus a key to the unconscious mind. Learning to breathe slowly and deeply even under stress will de-inhibit the flow response, allowing you to access your deeper wisdom and creativity even when a project is due by noon, or the baby is screaming in the next room.
To take advantage of this fact,
1) Learn to breathe deep in your belly. Lay on your back, and put a book on your tummy. As you inhale, it should rise. Exhale, it should fall. Your chest should move as little as possible.
2) Five times a day, at every hour divisible by three (9, 12, 3, 6, 9) concentrate on your breathing for sixty seconds. Learn to do this while driving, sitting in meetings, standing in elevators, or walking down the street.
3) Place (or catch) yourself under moderate stress, and practice this breathing. For instance, in the middle of an exercise class, while public speaking, in the middle of an argument, while caught in bad traffic, while experiencing an anxiety attack. Learn to breathe calmly and deeply in such situations, and you re-pattern your nervous system’s threat response, enabling you to calm yourself to enter flow.
There are certainly other methods, but this one, modification of breathing, has worked for thousands of year and hundreds of millions of people. It will work for you, as well.
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