A publisher s rant why i hate the body of your article

title:A Publisher’s Rant – Why I Hate The Body of Your Article

author:Halstatt Pires

source_url:http://www. essayabc. com/articles/writing/article_687.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

I’m a publisher for numerous sites. I HATE many of your articles. Here’s why I hate the body of your article and what you can do about it.

You’re Giving Me A Headache

Let’s cut to the chase on this issue. I really don’t care what you write about. As long as it isn’t an overt sales pitch, knock yourself out. I am more interested in the format of the article, not your view or take on the subject matter. The readers on my sites may not like what you write, but that is your problem.

I do care about the flow and format of the body of your article. I strongly encourage you to have a point and stick to it. If another idea comes to mind half way through writing an article, turn it into a separate article. Don’t try to cram it all into one article.

One Sentence Paragraphs

Don’t. For the love of God, just don’t write these. The only time you should write a one sentence paragraph is if it is a narrative. Occasionally, you can write one for dramatic impact, but try to stay away from these.

Loooonggg Sentences

Even in our capitalist society, punctuation is free. This “.” is a period. The period is your friend. For some of you, it is a long lost friend.

Sentences should be relatively short. If you write articles through the stream of consciousness method, good for you. When the masterpiece is done, read it out loud to yourself. How does it sound? Perhaps you should do something with the 10-line sentence?

Linking In The Body

Why, why, why do you do this? I absolutely refuse to publish any article with links in the body. In truth, I don’t have anything against such links. My bitch is that you’re making me take extra steps to hyperlink the damn things when I publish them on sites. If you think I am going to spend extra time on your article, you’re wrong. Chant with me, “I will put all links in the byline.”

Spelling

Contrary to popular opinion, I don’t care if you misspell words. I can’t spell worth a damn and assume you can’t either. I will run your article through spell check programs. In fact, I’ll run them through two spell check programs. Spelling is not a big issue with me.

Body Headlines

Using headlines in the body of your article is a very good idea. I love them and will view you in a more favorable light. The only thing I ask is that you CAPITALIZE the first letter of each word. Remember, I am lazy.

The Last Paragraph

The last paragraph should summarize the point you made in the article. The last paragraph is not a place to put links, hints about your site or your biography. I will not publish your article if you do such things. You can cover all of these items in your byline.

When it comes to the body of your article, knock yourself out. Just keep in mind these pet peeves.

Signs of infidelity 21 categories of cheating signs

title:Signs of Infidelity - 21 Categories of Cheating Signs

author:Ruth Houston

source_url:http://www. essayabc. com/articles/writing/article_154.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

With infidelity reaching epidemic proportions, every woman should learn how to recognize the telltale signs of infidelity. The future of her relationship could depend on her ability to spot the telltale signs in time. In view of the rapidly rising divorce rates, and current statistics showing that 50% to 70% of men cheat on their mates, a wife can no longer afford to be the "last one to know."

Every woman’s personal library should contain a reference book on how to recognize the warning signs of infidelity. "Is He Cheating On You? - 829 Telltale Signs" is a comprehensive guide which lists practically every known cheating sign. The 800+ signs of infidelity in this book are divided into 21 categories so a woman can easily locate the signs that apply to her mate. What’s unique about the warning signs listed here is that once a woman knows what to look for, any of these signs can be easily found using only her eyes and ears, her personal knowledge of her husband, and the information provided in the book. No special skills or equipment are required.

Each of the 21 categories is explained below along with the number of telltale signs listed under that category. While some women make it a point to check each of the 21 categories, others will only check the particular categories that seem to apply to their marriage or their mate. To insure that no one overlooks an important telltale sign, some of the signs (about a dozen) are listed under more than one category.

For example:

“He always calls a certain female to share the special events in his life.”

This sign is listed under Telephone Tip-Offs and again under His Behavior Around Other Women.

“He starts showering you with gifts or buying you flowers for no special reason”

This sign is listed under How He Relates to You and also under Gifts.

“You find deposit slips in his possession for someone else’s bank account.”

This sign is listed under Financial Affairs as well as under Physical Evidence.

Continue reading for details on the 21 major categories of telltale signs.

1. PHYSICAL APPEARANCE - 76 telltale signs

A man having an affair (or even thinking about having one) will want to make himself more attractive. He will begin to enhance his appearance in some way. Be alert for changes in his wardrobe, his grooming, his body, and his personal hygiene. These are usually the most visible signs of infidelity. If he embarks on a drastic self-induced makeover, it’s probably not for you. More than likely he’s trying to attract or impress someone else.

2. HOW HE RELATES TO YOU - 70 telltale signs

The way your husband relates to you can provide many telltale signs. His involvement with another woman will cause him to treat you differently -- even on a subconscious level. This is one of those areas where a wife can pick up signs of infidelity that a private investigator might otherwise overlook.

3. CONVERSATIONAL CLUES - 70 telltale signs

What your husband chooses or refuses to talk about can alert you to his involvement in an extramarital affair. He may mention new people, places and things, while the people, places and things he normally talks about are no longer a part of his conversation. Even his tone of voice can be an important telltale sign.

4. WORK HABITS - 39 telltale signs

Work is commonly used as an excuse to account for large blocks of time away from home. Men often use their jobs as a cover for their extramarital affairs. Your husband’s work habits will undoubtedly change as his affair unfolds. Be on the lookout work-related telltale signs.

5. DAY-TO-DAY BEHAVIOR - 92 telltale signs

We are all creatures of habit. We all have a routine that we usually follow each day. A man who is cheating will display changes of some kind in his normal patterns of behavior. Pay close attention to any deviations in your husband’s daily routine. These deviations are telltale signs.

6. FINANCIAL AFFAIRS - 52 telltale signs

Affairs cost money. If your husband has a lover, he’ll want to wine her, dine her, entertain her and buy her occasional gifts. No matter how carefully he tries to cover his tracks, sooner or later this will be reflected in the family finances. Stay alert for financial signs of infidelity.

7. TRAVEL - 27 telltale signs

Your husband may not always be traveling for legitimate reasons. Even if he is, he may decide to combine business with a little pleasure. Travel affords a cheating unfaithful husband a unique opportunity to cheat away from prying eyes.

8. PERSONALITY OR BEHAVIORAL CHANGES - 36 telltale signs

Be alert for changes in your husband’s attitude, personality or behavior. Whether they are drastic or subtle, changes of this type are often an indication of infidelity.

9. ABSENCES - 39 telltale signs

Affairs generally require a considerable amount of time. Since there are only 24 hours in a day, your husband’s absences will become increasingly more frequent as he tries to steal time from other activities so he can be with his lover.

10. TELEPHONE TIP-OFFS - 76 telltale signs

Illicit affairs depend on repeated contact; many of which take place by phone. These telltale signs of infidelity are relatively easy to find. Many men take the risk of calling their lovers from home or having their lovers call them at home. Many wives (like me) discover their husband’s infidelity either directly or indirectly by the telephone.

11. CAR CLUES - 40 telltale signs

Your husband’s (or the family) car can be a rich source of telltale signs. The glove compartment, car seats (underneath and between), the tire well, the underside of the visor, the ashtray, the side pockets or compartments, under the floor mats and other nooks and crannies can reveal a wealth of information.

12. SEX - 37 telltale signs

Be alert for any type of changes in the frequency or the quality of your sex life together. Most important of all: If you suspect your husband of having an affair, take steps to protect yourself. Do not put yourself at risk for HIV/AIDS, herpes or e other sexually transmitted diseases.

13. EATING HABITS - 31 telltale signs

This is an area that wives usually overlook when checking for telltale signs. But your husband’s eating habits can be influenced or affected by his lover. Without even realizing it, he may develop a preference for the type of food she eats, the way she likes her food prepared or the kind of restaurants in which she likes to eat. These are the types of telltale signs it would never occur to him to conceal.

14. SMELLS AND TASTES - 21 telltale signs

Each person has his or her own unique smell or taste. You may be oblivious to it until it becomes replaced with something else. Pay close attention if your husband smells or tastes “different,” or if something in your home or car just doesn’t smell “right.” It may warrant closer investigation.

15. INVASION OF YOUR HOME - 22 telltale signs

It's not uncommon for a man who's cheating to invite his lover to his home. When this happens, it’s not unheard of for lovers to leave personal items behind--sometimes deliberately, for an unsuspecting wife to find. You will usually find evidence in your bedroom or bathroom if another woman has been in your home while you were away. But telltale signs of infidelity may turn up in other areas of your home, as well.

16. GIFTS - 19 telltale signs

Be especially vigilant around the times of the year when gifts are usually exchanged. During the holidays and various other times throughout the year, you may find gifts or cards hidden around your home or in the car. Receipts or credit card bills for gifts may turn up shortly before or after Christmas and Valentine’s Day.

17. COMPUTER USE - 30 telltale signs

It’s common these days for a cheating husband to use e-mail to communicate with his lover. Some of the telltale signs in this category may also be an indication of his involvement in an online or cyber affair. Don’t take this lightly. These affairs can be as harmful to your marriage as the real thing. Though they may not involve sexual contact, the emotional attachment can be extremely strong, and can quickly progress from cyberspace to physical reality.

18. CELL PHONES AND PAGERS/BEEPERS - 28 telltale signs

Today’s technological advances make it easier for a husband to cheat on his wife. But it’s also easier for a husband to get caught while trying to make contact or stay in touch with his lover.

19. PHYSICAL EVIDENCE - 32 telltale signs

Many times there’s physical evidence just waiting to be found. Check your husband’s wallet, his pants or jacket pockets, his desk or dresser drawers, the wastepaper basket, his closet shelves, the floor in the back of his closet, the garage, his study, filing cabinets, his workshop, his toolbox or any place else you can think of. Keep your eyes open. You’ll be surprised at the kinds of physical evidence of infidelity you can find.

20. HIS BEHAVIOR AROUND OTHER WOMEN - 71 telltale signs

Studies show that a man is most likely to have an affair with someone he already knows—a woman he comes in contact with on a regular basis – a neighbor, a coworker, a family friend or business associate. If you’re observant, you may be able to determine the identity of your husband’s lover by the way he behaves in her presence, or by how she behaves around him.

21. ACCIDENTAL SLIPS-UPS OR DISCLOSURES - 57 telltale signs

Sometimes you get lucky and find out what your husband has been up to by accident, or through some strange quirk of fate. An accidental slip-up on his part or on the part of someone else can clue you in to what’s been happening behind your back.

As you can see, despite its title, "Is He Cheating On You? - 829 Telltale Signs" actually contains 950 telltale signs in all. Additional signs were added before the final version of this infidelity book was printed. Is He Cheating on You? is probably the most comprehensive collection of cheating signs ever compiled. It contains a multitude of little-known signs of infidelity not documented anywhere else.

In this age of rampant infidelity, no woman, married or single, can risk missing or misinterpreting the telltale signs of an affair. The survival of her relationship may one day depend on her ability to recognize the warning signs in time. Be sure to visit http://www. IsHeCheatingOnYou. com for more information on cheating husbands and signs of infidelity. Don’t be the last one to know.

Excerpts taken from "Is He Cheating on You? - 829 Telltale Signs"

For more information visit www. IsHeCheatingOnYou. com

© 2004 Ruth Houston All rights reserved.

Need a book coach ghost writer or editor part 2

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

author:Judy Cullins

source_url:http://www. essayabc. com/articles/writing/article_112.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

If you either want to write a book to help others create a better life and boost business or you already have your book nearly finished, you may need book coaching to answer all of your questions "What step to take next?"

Know Your Editing Choices

Line editing. Use this final professional edit after you have already revised your work three times. These three revisions include: excluding all redundancies, reworking all the words and sentences so they are your finest with few passive verb constructions (aim for 2-4%) and relatively short sentences. Finally, look at headings, paragraphs and transitions to make sure your message carries power through placement and is easy to read. These editors charge $50 an hour or more.

Developmental editing. While you put your writing, ideas and sentences forth, a developmental editor will not just polish your syntax, but fill in gaps you don't want to take time for. It's practically like ghost-writing and you need to choose a really professional editor who will not do this work on spec, but will charge you an hourly fee of $60 an hour plus or by the project.

Ghost writing. You give your topic, thesis and chapter focuses to a person you want to finish the research, put it together in chapter form, and write it to sell well. Again, you need to hire a real professional who specializes in ghost writing for your kind of book, whether it is a novel, memoir, how-to or history. These professionals also charge $60 plus an hour or by the project.

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

========

Benefits a Book Coach Brings

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

What's your book's purpose?

Where are you now with this project?

What chapters are finished?

Is your introduction and table of contents done?

Does your title convince your preferred audience to buy?

Do you know your audience inside and out? Prospective buyers will ask you, "Why should I buy your book?" Can you tell them in a few sentences?

is this topic your # one passion?

Are you willing to put in two-three years to get the word out with traditional promoting?

Or eight months to a year with internet marketing?

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

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

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

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

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

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

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

Knockout content-rich article techniques for writing must-read lead paragraphs

In article anatomy I like to teach that there are several key components. Of course these can be stretched varied and thrown out altogether, but not until you're an expert at writing content-rich articles. One key component of a clear article is, of course, the lead paragraph. Second in importance only to the headline itself, the lead graf (paragraph for short) has to be engaging, informative and lead the reader to believe you're the one with all of the great advice they've been looking for.

Write a good lead-in and your readers will be anxious to act on whatever advice you share in the article itself and if they do find value in your advice in the article – they'll be very hungry for me of your expertise. Hence, more sign-ups to your e-mail newsletter – or better yet, more sales of your products and services.

So here are a few ideas for writing engaging lead paragraphs for your target audience:

A problem: Try to identify with a huge challenge or issue your audience is facing. Most likely you're facing it too. So expose your experiences with this problem. You'll endear yourself to your audience, cementing your status as the authority in your industry. Here's an example of a problem lead:

Mistakes. We all make them and no one wants to admit to them. We're all faced with the question, how do we recover after we make the occasional slip-up? When it comes to e-mail marketing there's a huge debate over whether to 'fess up or to make like an ostrich and stick our heads in the sand. I'll offer my solution in four words: Own up to it.

A statistic: You'll have to check your specific industry publications for these stats. Even if you see something in the mainstream news, you can always put a twist on it that relates specifically to your industry. Here's an example of this kind of lead/identifier paragraph:

What's that sound? You know - that slipping sound you keep hearing. If you're still writing your marketing pieces in-house, you're hearing the sound of market share slowly slipping away from your business. Here's why: A recent survey shows 72% of your col leagues outsource so that they can focus on serving their customers and reducing costs.

The news: You can tailor national and even international news to meet your needs with your identifier paragraph. For instance, I just used the SARS epidemic to display the benefits of teleseminars. Too much of a stretch? You be the judge:

Picture this: The task of setting up a conference has fallen to two marketing managers in Beijing. One tests the market and discovers his company's client base is ready for teleseminars. Our other marketing manager decides to follow the same road as the many managers before her and sets up a live conference at a hotel in downtown Beijing. The story of the SARS epidemic breaks just days before their events. Which manager gets to keep his or her job?

Note: In the example above I also used another extremely effective writing technique called "painting the picture." This is used throughout writing whether it's commercial or creative. Setting a scene for your readers is a wonderful tool for persuasion. You're in control, you can paint the option most beneficial to you as the best option and the one that isn't so beneficial as the worst option.

Your readers will think you're great because you're not telling them what to do, you're just presenting them with information they can use. But in the end you've persuaded them to use your products or services - if you paint the picture correctly.

Write better and faster using the index card method

In this article I'm going to discuss the "index card method" of writing. If you haven't ever tried it, you should know that using index cards to write is a very good and useful way to get the job done. It's easy once you get the basic idea, and if you practice it regularly you'll be able to produce better results and faster results on a consistent basis.

For the purpose of this article, an "index card" is the little 3x5 or 4x6 lined paper card that you can purchase at your local office supply store. They provide just enough room to write some notes but not so much to let you go off on a tangent!

Now for the methodology...

You'll need quite a few index cards on hand. You'll need anywhere from 50 to 500 depending on the size of your book.

Step 1 is to get your notes onto the cards. Go through your sources, your thoughts, your notes, and write a little bit of text for each topic on each index card. The more detailed you are, the better... but you don't want to over-do it. If you find yourself needing to turn the card over and write on the back you're probably getting carried away.

Once you have moved all of your project-related notes onto the index cards, you sift through the cards and start categorizing and organizing them. Break them up into groups of related topics. It's easiest just to create a few stacks and sort through them on your kitchen table or a similar surface.

The next step is to start to organize each individual stack into an order that "works". This is the point where you need to consider the FLOW of your story, and how the order of events in your writing is going to affect your audience.

Finally, once you have ordered each individual stack, you need to sort them into order from beginning to end. I usually like to think of each stack as a chapter or section of the book. Depending on how you've worked up until this point, the precise divisions and the meaning of a group of cards might be different for you.

Now you have your complete project in a collection of ordered, organized index cards. This is the point at which you begin the traditional "writing" process, of actually typing the manuscript using your index cards as a guide. I would not sit down with the whole stack of cards at once, but would instead use "divide and conquer" to tackle one group at a time, and in each group take things one card at a time.

You'll probably find at this stage that the writing process itself becomes more of a process of copying from the cards, paraphrasing, and "gluing" things together. If you have followed these steps faithfully to this point, your project will probably start to seem like it's writing itself! The only thing left to do at this point is to focus on style and form, and making your writing flow together well.

To review, for this method to work, you need to take the following simple steps:

1. Transfer your thoughts and notes to index cards

2. Categorize the cards into stacks of cards that can be grouped together based on topic, etc.

3. Order the cards in each group into an order that makes sense

4. Order the groups themselves into an order that makes sense

5. Write your first draft straight from the cards, "gluing" things together here and there where necessary.

If you practice this method faithfully, you'll probably find that it takes the difficult parts of writing and simplifies them, and allows you to spend more time on the parts of writing that you enjoy.

A few keys to writing effective dialogue

title:A Few Keys to Writing Effective Dialogue

author:Karyn Follis Cheatham

source_url:http://www. essayabc. com/articles/writing/article_298.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

Every writer expends a great deal of creative energy developing a story line and limning well-balanced prose with evocative sentences. That's what writing is all about, after all. But fiction writers have an additional aspect to creation--effective dialogue. Very few stories, novellas or novels are without dialogue, and for some writers, this can be a stumbling block.

Listen to How People Talk

If you listen carefully to how people speak, you'll notice that people tend to use shorter sentences in times of high emotion: anger, surprise, awe. "I can't take this! Get out!" versus "I find this situation intolerable. I want you to leave right now." They ramble a bit when they're nervous or confused. "I know this isn't what you wanted, but I wasn't sure which way to make the diagram fit best on the page so I brought both copies with me. I hope you don't mind." Young children tend to get pronouns confused or leave out articles: "Me go to store with Gramma." You'll begin to recognize how different personalities have different word usage and diction. All of these observations can be incorporated in the dialogue you write.

The best grammar isn't always used, either. Even people who write well, don't always speak well. "I've got to get that new CD of Carlson's," takes precedence in speech over the more correct, "I have to buy Carlson's new CD." Word usage and contractions that you might avoid in narration become quite logical in dialogue: "There's no more to see, so let's get outta here."

Use Dialogue as Enhancement

To be most effective, use dialogue as an extension of your story line and character development. Let's say you have a character, Jane. She's late to the airport. She gets in a taxi and tells the driver she has to hurry to the airport. He agrees.

Well, those are the facts, and it could be left strictly to narration: Jane shoved her way into the cab and slammed the door as she told the driver to hurry to the airport. He agreed.

Or dialogue could be used. These examples show how different Jane characters could speak and how the energy of the scene is increased.

Plain Jane: "I have to get to the airport really fast. Can you do that?" Cabby: "You betcha."

Jane of the streets: "The airport, bro, and hit it!" Cabby: "I'm on it!"

Jane the executive: "Airport. A big tip if you make it quick." Cabby: "Yes, ma'am!"

Jane the professor: "To the airport, please, and I'm in a hurry." Cabby: "Certainly."

You notice the cabby's response was dictated by Jane's words, making the scene more believable. Inconsistencies between people's words and actions should be used for a reason and also noted. For instance, if Jane the professor had said "The airport, bro, and hit it!" The cabby might have jerked to look at her, or the narrator might have commented how Jane chuckled inside at her language--or, both.

Writing effective dialogue is an art all its own and one that should be honed with observation and rewriting. Truly knowing your characters is essential. Reading scenes aloud to yourself or others (writing groups are good for this) will increase your ability to hear the rhythms of sentences and recognize good (not necessarily proper) word usage. With diligent practice, this creative aspect of your writing will become second nature and flow evenly with your story and literary style.

(c)2004 by Karyn Follis Cheatham

A guide to creative writing that sells

title:A Guide to Creative Writing That Sells

author:Caterina Christakos

source_url:http://www. essayabc. com/articles/writing/article_536.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

It's unbelievable that with all the creative writing courses out there, that no one teaches the necessity of researching your market before you set pen to paper.

Yes, we all want to be creative and let our imagination go. At the same time, wouldn't it be great to have some of your work published? Even better wouldn't it be awesome to know that you have upped your chances of getting published by around 80% by simply doing a tiny bit of browsing in a library or bookstore?

Here is a way to make sure that there is an interest in your type of story before you pick up a pen or pull out your laptop:

1) Go to the local bookstore and read the writing magazines. Editors actually tell these magazines what they are interested in, in a fairly timely manner. Most of the guess work is taken out for you. You know which editors are looking for what type of stories.

2) Look at the current Writer's Guide. It is filled with editors and publishers looking for fresh material. And guess what? They also tell you what each editor wants and what they are sick to death of.

3) Check out the bookshelves to see which children's books are featured. Is there a trend or pattern? For example the last few years Harry Potter, Artemis Fowl and Charlie Bone have all been hot. It doesn't take a brain surgeon to figure out that magical characters have taken kids and editors by storm.

4) Ask kids what their favorite books are. Ask them why they like one over the other. Ask if their friends are into the same books. Model these themes.

There is no need to make over the wheel or hire a psychic to figure out what publishers, editors and your audience - kids, are looking for. Gather this information and apply it to your writing.

Watch the number of your submissions rise, while your rejection letters become few and far between.

Publishers are standing in line to publish you

title:Publishers Are Standing In Line To Publish You

author:Raymond Johnston Jr

source_url:http://www. essayabc. com/articles/writing/article_948.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

As a publisher, one of the hardest things

to find is fresh material for your ezine.

There is a lot of material out there and

it would make it very easy to just grab

something and call it good. In fact,

there are many ezines and newsletters

that do just that.

The number of ezines popping up is

staggering, yet quality material to fill

them is still quite limited. It's certainly

not a lack of quantity.

I spend hours each day reading to find good

information to pass on to my subscribers.

It's not an easy task.

Why? Well, most of the quality work gets

published in every decent publication

around.

The quantity of "good" material available

is very hard to find.

Too many people writing articles are trying

to write about subjects they are not

qualified to write about.

Everyone wants to act the part of an expert.

You don't need to be an expert to write

articles. Everyone has an opinion. Everyone

has experiences. Everyone can do a little

research and find a few facts. Heck, today

you don't even have to know how to spell.

Publishers like to give their subscribers

various views. Yours doesn't have to be

the same as everyone else's.

You want to improve your business? You

want to increase traffic to your website?

You want to brand your name?

Take the time and start writing some

articles. The first few may not even get

published but the more you write the

better those articles will get.

Please write. Publishers are standing in

line to publish you.

The art of persuasion in an essay

Introduction

"Rhetoric is the art of discovering, in a particular case, the available means of persuasion."

--Aristotle

Every single human requires the art of persuasion at some point in their lives. As a child, one might use persuasion for the attainment of a toy or as an adult for the acquiring of other objects. A person here might whine, throw tantrums, but this behavior never seems to attain what is wanted by the person and just makes things worst. What one needs here is persuasion as it is the only method that can be sued by one to achieve what he wants. According to definition, “Persuasion is a form of influence. It is the process of guiding people toward the adoption of an idea, attitude, or action by rational and symbolic (though not only logical) means. It is a problem-solving strategy and relies on "appeals" rather than force” (Persuasion, p.1).

Techniques

It is to be noted here that when writing an essay, a person needs to use persuasion so as to make people conform to the ideas that he or she presents in his essay. To write a persuasive essay, first of all the writer needs to have an argument. The argument has to be one-sided and the other side of the argument or the opposite answer is disregarded, but another fact is that a persuasive essay is never related to the pros and cons of the topic, but general facts related to its factuality. According to sources, “It can't be a fact. If you were to choose as your topic, "Vipers are dangerous," you wouldn't have to persuade anyone of that. However, if your topic was, "Vipers should be eliminated from the animal kingdom," then you would have presented an opinion that could be debated. Your persuasive essay will focus on only one side–your chosen side–of the argument. This will not be a pros-and-cons essay. Also, it won't be a personal opinion essay. You must be prepared to back up your logic with evidence collected in research that supports your position” (Covert, p.1).

Persuasion requires techniques. No one would believe anything said by another until and unless he or she is persuaded into believing it. Persuasion can be done by certain methods.

-- Evidence

First of all evidence is required so as to support the claim made by the writer in the essay. The evidence cannot be general statements but have to be valid with good sources. Apart from evidence, persuasion needs to be sequential with one fact of the topic leading to the other for the betterment of the reader, as this would help him or her in understanding the topic as well as the claim. For example, if one is writing an essay on the above mentioned statement that is, “Vipers should be eliminated from the animal kingdom," the writer needs to begin by the dangers posed by the vipers and then move on to numerical data as to how much disaster is caused by them and then carry this argument forward.

--Introduction of Controversial Issues

In the essay, the writer should also bring forth a general introduction to the issues that are against the topic at hand. This would lead to a negation of the controversial topic and would help the reader into conforming with the arguments as well as to understand the whole topic.

Conclusion

In the light of the above-mentioned statements, we can hereby conclude that persuasion is an art that is used by everyone at some point in their lives. It is necessary to note that persuasion plays a major role in an essay, which is related to a certain debatable argument. Persuasion requires some techniques, which have been mentioned above.

Works Cited

Covert, Brenda. The Art of Persuasion. Retrieved on May 17, 2007 from: http://edhelper. com/ReadingComprehension_33_32.html

Persuasion. Retrieved on May 17, 2007 from: http://en. wikipedia. org/wiki/Persuasion

I m all storied out

title:I'm All Storied Out!

author:Ed Williams

source_url:http://www. essayabc. com/articles/writing/article_440.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

One of the nicest and most frustrating parts of being a writer of stories is that when you’re out somewhere, people will come up and tell you stories - lots of them. I’ve actually been at book signings where people have come up and stood there for ten to fifteen minutes telling me some story of theirs. For them, it's fun, for me, it’s sometimes fun (dependent on the quality of the story itself), but for the poor person standing behind them in line it’s probably not much fun at all. And that’s me being polite about it.

The only problem I run into sometimes when this happens is that the person will tell me a story, finish it, and then ask, “Ed, how would you like to use that for one of your future books or columns?” I never know what to say in response, because if the story is good I feel like I’m ripping them off, and if it’s bad you hate to tell them that. And if y’all don’t think I haven’t heard some really bad ones along the way, here are a few shortened examples of some that have actually been told to me:

>From a lady that I talked to recently at a literary festival:

“Ed, when I was a young girl over in Alabama, my daddy grew us a watermelon patch every year. We ate lots of melons, you see. One day I walked over to where one of the biggest melons in the patch was, and you know, it was really, really green. Then I noticed somethin’ move, and there was a big green grass snake right next to that melon! Why, I got so beside myself that I flinched and kicked the devil out of that melon. The good news was that it rolled over and flattened the snake. The bad news was that none of us were brave enough to go and try and pick that melon up after that, so it was left there to rot. Rotten snake, rotten melon, rotten luck, life sure is funny sometimes, ain’t it?

From a guy who has some close friends he wanted to tell me about:

“My buddies are like yer Brotherhood, except we are even wilder and crazier than you three boys have ever thought about bein.’ Why one time Alfred, one of my three best friends along with Bert, Terry, Ken, Fred, and Rabbit, burped right out loud at Mawdie Jones’ funeral. I mean, right out loud in front of the preacher, Mawdie’s family, and everybody. I guess when the preacher talked about makin’ a joyful noise that Alfred took him pretty serious. That Alfred, he’s out there on the edge, ain’t he? I’ll bet if you call him and talk it over that he’ll let you write this story, especially if you give him some of those royalties that all you writers get.”

From a very old man who told this story right out loud in front of about ten or so people at a recent speaking engagement:

“I have this huntin’ dog, Spanky, that I’ve owned for years. Best huntin’ dog I’ve ever seen, he’ll point and tree just about anything – birds, rabbits, squirrels, you just name it, he’ll tree it. Why just a few weeks ago Spanky loped down into the woods one morning, he likes to get out and stretch his paws sometimes, and the woods is where he goes. Anyway, he stayed down there a right good while, and then came out with a pair of ladies’ drawers in his mouth. I’m serious, ladies’ drawers. Thing is, they were big, ole ladies drawers, I promise they were about three feet wide across the beam, you coulda hung them up in a sailboat and gone to China on them. When I saw that, I realized that it only coulda been one of about three old gals from around here that could fit into them drawers. And then I wondered how she lost them down in the woods like that in the first place. It caused me to tell this little rhyme up in my head,

“Lost drawers’

In the woods,

Should I tell this?

Yes I should!”

Man, man, man, y’all see what I mean? Bad thing is, I could’ve told another twenty or so just like these. I guess, in the end, that everyone has stories that they think are interesting, but some really do need to stay close to the vest – in fact, they need to stay very, very close to the vest. And I would say even more, but Ray and Hugh have just walked in, and we’re talkin’ about seein’ if we can get a pair of those three foot wide drawers and use ‘em to sail the S. S. Pippin across Lake Sinclair – after all:

Three foot drawers, they won’t float,

But mebbe they can move our boat!

Rewriting your screenplay the road to your audience

title:Rewriting your Screenplay: The Road to your Audience

author:Gordy Hoffman

source_url:http://www. essayabc. com/articles/writing/article_920.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

The promise of the rewrite is very sweet. I have collected evidence that the more authentic the labor put into rewriting your screenplay, the greater the reward, and the reward is high, for whatever lovely, wonderful moments you might have discovered in the frightening process of plowing through the first draft, those moments, those seeds, are only seeds, and they only fulfill their destiny as giant, involving scenes in the movie that screens before people. So if I shortcut my revision, I will miss the prize, pure and simple.

The process of rewriting is recreating. I need to make a contract with myself to make room in every moment of my writing for the imaginative magic of inspiration, that flash of brilliance which some call talent, the muse, God, or desperation, to deliver something that did not exist just a second before, but now lives forever, like a huge white rabbit suddenly from a hat. This usually happens when my fingers are on the keyboard and there's white below from where I'm typing, and I have no idea where I'm going. Or if I have some idea, I don't have the answer, but I trust and that's it.

Rewriting is technically every change you make to your draft. There, I said it, so now you can't come back and argue with me about what you think a rewrite is. But now I will tell you what rewriting really is, or what it really is not. Rewriting is not cutting and pasting. It's not reading through your draft on your computer screen and changing words. It's not pushing your cursor down the page, highlighting text and deleting it. I think this is called editing or deleting or garbage time or easy on the damn brain, but it's not called rewriting over in the bust your ass capital of screenplay planet.

Rewriting is almost starting completely over. It's almost accepting that you have nothing after celebrating like you won your tenth super bowl simply by typing the end and poking two brass fasteners through a pile of paper. Rewriting is taking that pile of paper, plopping it beside you where you can see it without a lot of movement of the head, and copying it over with an industrious attitude.

Okay, basically if you open a new file and name it second draft, or seventh, or whatever, lie all you want, but if you simply copy it over and the only thing that gets changed is the things that make you physically jerk in your chair, then you are not rewriting with an industrious attitude. An industrious attitude can mean a lot of things, I will probably call it something else next week, but it simply means you are open to work, and with a rewrite, the premise to work is the belief your script needs work. If you can't see much wrong, how can it need a lot of work, and how is the rewrite going to work? It won't. So make sure you have an open bent, and start typing it over.

What happens? Well, if you've never done it, I'm not gonna tell you. A lot of screenwriters won't even admit it they've never done it, because it breaks your neck. If you have done it, it's almost time we did it again. Either way, go.

Now, how do I find out what's broken? It's not all on one page, and it's hard to see the big picture of the awful thing. Well, this isn't a book, this is just a short essay, so here's a short list of tools to get yourself into and ready for your rewrite.

First, you got ask yourself, what's the story, or more specifically, what are the stories? I usually make up a list of sentences that start with "The story of..." and fill in the blanks. What are the stories that are emerging from your current draft? What does your spirit want to tell versus what your poor brain thought you were going to do back in the coffee shop? You might find the list is long, and that's a problem, too. There's usually a main one, maybe one close behind, then a few tiny sweet ones. There is your family of stories. There they are. Now. How are you treating them?

This is where you can make some kind of a chart. Like a spreadsheet or something. Or the back of a dry cleaning receipt will do. Divide up your script into the beginning, act one, act two, act three, and the finish. By the way, I know there's all sorts of act divisions. Modify my directions at your will. It's fine. So within this chart you will pencil in the beats that exist within the current layout of your script. When you're done charting the arcs of your family of stories, you will undoubtedly find HOLES. Wow. Nothing's there. Didn't see that before. Okay, you better put something in there.

Let's say you got your chart pretty full, in fact, it looks like the stories of your movie have something resembling a beginning, middle and end. Now what you need is to make every scene as good as your best scene. Yeah, terrible news. How do you determine this? Grade your scenes. Some scenes might get an A. Others maybe a B. Give your work an F or two. Once you do this, you will know what scenes are functioning as placeholders and what are moneymakers. In the end, rewriting is making everything the most special ever. Anything short, and you have more rewriting to do. Unless you can live with an uneven ride. But this is a rewriting article, not a give up article.

Finally, a reminder. Screenwriting becomes artful when compression arrives. Shorten your everything. All dialogue and description is representative of this life traveled through a living soul. Uh, that's you. A screenplay is just another poem, it's just another small bit resembling something we recognize as human beings. Seven Samurai is a very short movie compared to what happens in a life, even shorter stacked against forever. But it lives beyond forever, doesn't it?

Article URL: http://www. bluecatscreenplay. com/About/rewriting_your_screenplay. php

Copyright © 2006 BlueCat Screenplay Competition

Finish your book already

title:Finish Your Book Already!

author:Tom Antion

source_url:http://www. essayabc. com/articles/writing/article_553.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

I owe the completion and success of my book to a big cardboard box that saw me through the entire process. I found this box and filled it with any and all information I could find on my topic ‘advanced presentation skills for speakers and business presenters.’ I printed out articles I had written, listened to tapes and read every single book on presentation skills that has ever been published. I have a huge library filled with these books, which are a great thing to have. I took notes and pulled out the best information from each text, finding a way to work it into my own. This is not plagiarism. Some information is too important not to use, so you reword it and use it as substantial background information, giving credit in your bibliography.

When my box was full, I had a huge mess of papers filled with quotes on speaking, great techniques I had jotted down at other presentations, and even cartoons. I grabbed a pile of manila folders and slowly sorted through the rubble, putting items of similar interest together. At the end of the day, I had about 14 folders that represented my book chapters. I hadn’t written a word, but I was organized.

I told myself I would write as much of my book as I could by myself and I did. When I had done all I could, I hired an editor who worked word magic and made my book a grammatical success. Then I designed the cover, well, designed is the wrong word. I brainstormed, came up with an idea, and then bartered presentation skills training to get it done. Lastly, I hired a professional copywriter who wrote something up for the back cover, and that is how my book came to be.

Another benefit of having a book is that you can sell those blank pages that make up dead space in the back of your book. I sold and traded this ad space, putting some of the money I spent back in my pocket.

Writing and submitting articles to article directories

title:Writing And Submitting Articles To Article Directories

author:Tom Worsley

source_url:http://www. essayabc. com/articles/writing/article_956.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

Writing articles for web content and site promotion has become a full blown internet industry. The secret is out. If you want to build credibility and good targeted traffic to your web site you need to submit articles to directories. The more articles you write the better. The more directories you submit to the better.

The trick for search engine optimization is to write an article around your chosen key words. Place those key words in your title and in the body of your article. For example I am writing this article to try to get exposure for my new Article publishing directory. http://kawarthapublishing. com. What I am hoping to achieve is a high search engine ranking for the key words article directories. I have used those key words in the title of this article and already in the body of the article.

But search engine traffic is not the only benefit to writing articles and submitting them to article directories. Ezine and newsletter publishers search article directories to use in their newsletters. Myself included. When I need an article for my weekly Work from home tips newsletter I head on over to my favorite article directory and start searching for a good article that I think my readers will benefit from. You can also submit your article directly to Ezine publishers in the hopes that they will use your article in their newsletter.

To get the most benefit from your articles you will need to create a by line or signature file at the end of each article. Be sure to add URL’s to your web sites. And if possible use anchor text with your key words rather than just using your URL. Not all article directories will allow this but if they do make sure you take advantage. It will help your search engine ranking for the key words you are using.

If writing is not your thing you can actually pay to have an article written for you. You would submit your keywords and your website to the writer and they would write the article for you. Just do a search on Google for ghost writers and you will find lots to choose from. You then would retain the rights to that article and submit it to directories around the web. Keep in mind you would likely need at least 20 or more articles to see any increase in traffic. Just one article will not do much. So when choosing a ghost writer keep the cost in mind.

Were ever you get your articles from make sure you submit to as many article directories as you possibly can. You never know were people will be searching for articles. There are so many directories now its mind boggling. But you can find the most popular ones by doing a search on your favorite search engine for article directories.

Have you settled on first choice when choosing a title

title:Have You Settled On First Choice When Choosing A Title?

author:Nick Vernon

source_url:http://www. essayabc. com/articles/writing/article_249.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

Short Story Writing Tips -

We’ve established what a title should be and we’ve also established your title is your selling tool. So if it can make or break the sale of your story, then we’ll have to agree that it is extremely important. How much emphasis have you placed when selecting a title?

You can’t write a story before titling it, so you jotted down the first thing that came to mind.

You added it as an afterthought when you completed the story.

You put a lot of thought into it and selected the best one.

I hope it was the latter – and I hope you did this…

You noted down as many titles as you could think of

Then crossed out the titles you thought were ‘so-so’

And kept the most grabbing title of them all?

You did do this, didn’t you?

Benefits of submitting articles 10 reasons why free may bring in the bucks

title:Benefits of Submitting Articles – 10 Reasons Why Free May Bring in the Bucks

author:Marie Gervacio

source_url:http://www. essayabc. com/articles/writing/article_696.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

Websites, Bloggers, Ezine Publishers all need content. All business need exposure and advertising. Writing artilcles to share your expertise with others can benefit in a number of ways even if you offer your articles freely.

1. Brand Yourself. You will brand your website, business and yourself . Make sure you include your name, business name, credentials, web site address and e-mail address in your resource box.

2. Gain credibility. You will become know as an expert on the topics you write about. Get an edge on your competion with a boost in credibilty.

3. Free advertising. This will broaden your advertising efforts in addition to yur normal advertising budget.

4. Get Published All Over The Web. Multiple visiting publishers to need free content for their websites, ezines, blogs and more.

5. Get Published in Offline Content. Some publishers may put your content in ebooks and so your advertising can multiply further.

6. Gain Trust. If when people read your article they like it, they will be more likely to buy your product or service increasing your profits.

7. Highlighted Exposure. A publisher may choose to place your article on their homepage or high traffic blog. Placement can increase credibility as well as exposure.

8. Long Term Advertising. Your article may end up in archives to ezine publications. Some subcribers like to read back issues before subscribing.

9. Multiply Income. You may get extra income from people who want to hire you to write other articles, books or even speak at seminars. This can be a great way to multiply your income.

10. Link Popularity! When publishers begin placing your article along with resource box on their websites you will start to raise your search engine rankings. The more links back to you site the more popular you are with the search engines. Start gaining all sorts of popularity today!

Stop struggling and write your article

title:Stop Struggling and Write Your Article

author:David Roddis

source_url:http://www. essayabc. com/articles/writing/article_294.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

Don’t let overwhelm hold you back — follow this expert advice and start writing your promotional article today.

As a writing coach, I frequently work with independent professionals who have great ideas for promotional articles, but no idea how to start writing them. Here are the first three of six essential steps to help you get clear about your subject, kick-start your process, and ensure your article is ready to go.

1. Have something you really, really want to say. It seems obvious, but before you write, make sure there's a point you want to make, a story you want to tell, advice you just have to give. You've got to be a little bit burning to write, or your message will ramble, you’ll be bored, and there'll be no connection with your reader.

Before you write, see if you can state the kernel of what you want to say in one sentence. If you can make it intriguing, all the better:

"Here are six guaranteed ways to kick-start your writing."

"Here's why my divorce was hell and how you can avoid that experience."

"The best way to have a tidy office is to get rid of your office."

If you can't state your premise in one sentence, either you're not clear on your message or you have more than one topic. Take some time and get clear on that single thing you want to say. We want one topic in depth, not skimming the surface of several.

If you're stuck on your article, or getting bogged down or confused as you write, you can be sure you need more focus. So take a deep breath and put your article away until you can state your one-sentence premise.

2. Create an outline. I used to be one of those "jump in, bang ahead and follow your nose" type of writers. And guess what? Every time I tried to write, I'd run out of steam. I'd lose focus, so I wouldn't finish; or, if I did finish, I'd have to edit a huge, rambling mess. Ugh. The whole process took weeks and was extremely discouraging.

You see, I was writing fiction, and I had this idea that it was more "creative" and "artistic" to just jump in. Making an outline seemed so predictable and dull.

My awakening came when I began writing non-fiction articles. Here's why: I had to communicate a message, and communicate it clearly. I had to write coherent, logical paragraphs, in strong, simple language. And I couldn't take weeks to write every article, or I'd be, well, pretty darn old before anything was ready.

So, give me predictable and dull (for process, that is—not results!). Starting with an outline frees up my energy and attention for the actual writing and saves me one to two complete days of editing per article.

A great way to create an outline is to read other people's articles, analyse their structure, and use that structure for your own. Be sure to choose well-written articles by established professionals in your field.

Here's an example of an outline I created by deconstructing an article I’d read:

intriguing introduction

statement of the problem

case history to demonstrate your solution

list of practical tips

upbeat conclusion

Fill this out in point form, making sure that there's a logical progression of thoughts. Then flesh out your points. You can write a first draft of a 1,500-word article in a day or two, put it away for a day, go back and tighten it up. You're done.

Please note—using an article’s structure is fine, using someone else’s words is plagiarism (theft of their intellectual property).

Here's the great part: You can simply use the same structure over and over. No one will notice, or care, because the content will be different each time.

3. Consider using lists. People love to know the 10 best ways, the five secrets, the 12 essentials. Be honest—don't you always take a peek at an article whose title promises "Five ways to enhance your love life" or "10 secrets to financial independence"? There's something almost addictive about reading these lists, like nibbling popcorn or potato chips.

Here's my take on what makes lists enticing:

Readers love the tidbit form. The items in the list break up your article into manageable chunks of information, and also provide visual clues for skimming the page. Face it, you've done some of the reader's work for her (and who isn't grateful for a bit less work?).

Lists create an air of authority and credibility. After all, it takes confidence to promise "the 10 best ways" to do something.

This format creates a ready-made action plan for the reader.

For you, the writer, a list makes the process much less daunting. It's less stressful to tackle writing your article if you know that you can divide it into five or 12 info-bytes comprising a paragraph or two each. And lists force you to be concise and direct.

You can use a list as the structure for your entire article, or you can include a list within a longer, more narrative-style piece of writing. One way to do this is to offer your reader a concluding list of practical tips coming out of your article's premise.

This is a great strategy for staying connected with your readers. If you're discussing "big" concepts that threaten to become too vague, give your reader an agenda:

"Now that we've discussed the importance of being organized at work, here are five actions you can take.

Why great website makeovers begin with copywriting

title:Why Great Website Makeovers Begin With Copywriting

author:Cathy Goodwin

source_url:http://www. essayabc. com/articles/writing/article_954.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

"Can you give me some feedback on my website?" a life coach named "Kevin" asked his e-zine subscribers. "I just revised my site - - finally!"

Naturally, I couldn't resist clicking over to see what Kevin had done. I knew Kevin was a thoughtful coach with a reputation for high integrity.

Kevin's new site cried out for a re-makeover. He had paid a designer to get drop-down menus and a bit of flash. As a result, Kevin admitted, "I have no budget to pay a copywriter."

Ouch.

After skimming a few pages of the site, I emailed Kevin. "Who is your target market? What do you offer? How are you unique?"

Kevin replied, "I asked for feedback. I don't have time to answer a lot of questions. And everyone tells me the site looks professional."

Okay. I can take a hint.

Sure, the site looks professional. But Kevin admits he's in trouble. So far, he's gotten nothing but compliments -- no orders and no calls.

What can we learn from Kevin?

(1) Copywriters can save you money.

Often I (and other experienced copywriters) can save clients money on web design. Kevin didn't need all those bells and whistles. In fact, some Internet marketing gurus claim they do more harm than good.

And Kevin didn't understand HTML, let alone CSS. A copywriter might serve as go-between, translating Kevin's requirements into web design language. Your web designer saves time - which translates into saving money.

(2) Copywriters help you earn money.

Reading between the lines, I discovered Kevin could be a stand-out. He has developed an innovative 5-step process to help clients overcome obstacles and take charge of their lives.

But Kevin doesn't realize why he's unique, so his website reads like five thousand other life coaching sites: vague promises of "take your life to the next level," "discover what's important to you" and "enjoy the work you love."

Naturally I'm disguising the details of "Kevin's" story, but I really don't have to. Hundreds (maybe thousands) of sites sound just like Kevin's.

(3) Copywriting is collaborative.

Like Kevin, my clients often think they can show me a few pages of a website and say, "Make it sell!" Copywriting requires energy and planning, whether you're a do-it-yourselfer or a firm believer in outsourcing to a specialist.

My clients often invest many hours answering my questionnaire. As they write, they often realize there's a hole in their business strategy. Or they're sitting on buried treasure.

Until I know what Kevin wants to do with his website and his business, I can't make realistic recommendations - even as a casual ezine reader. I need to evaluate Kevin's copy in the context of Kevin's own goals, target market and unique selling proposition.

Kevin could do this himself. But, like most busy business owners, he didn't want to invest the time. And he wasn't sure what questions to ask.

When clients hire me, we have the luxury (and fun!) of creating a marketing message that hits the target market squarely in the center of the bull's-eye.

Bottom Line: Websites deliver messages. Without a message, a website is a calling card - nice when you have more business than you can handle.

Most of the time, revising copy brings traffic and sales. Websites typically earn back the copy investment with just a few new clients, not to mention saving energy and funds by avoiding a makeover to recover the makeover.

And one day you realize you're not getting compliments... but you *are* getting sales.

The art of travel and the art of writing

In Alain de Botton’s engaging book, The Art of Travel, he distinguishes between the anticipation and recollection of travel versus the reality of actually traveling.

When we anticipate, we study travel brochures and create in our imagination all sorts of exotic adventures, lying ahead of us. Once really there, we photograph the Eiffel Tower with our friends or family, their arms slung over one another’s shoulders and grinning into the camera. That forms the recollection, the moments we choose to remember.

Magically gone from memory are the delayed flight, the lousy food and the hotel room overlooking the alley, where the garbage collectors banged tins at 5am. But, if we otherwise enjoy ourselves, we select those ‘good moments’ and photograph them to construct a different reality from the real reality.

De Botton’s next idea is fascinating. He says that’s exactly what the artist does. Whether writing a novel, painting a picture or scoring a symphony, the artist imagines the outline of the work [anticipates the delights of the trip] then selects that which is felt to have artistic value [forgets the garbage men and includes friends at the Eiffel Tower]. Just as the traveler now has a fine and satisfying memory of the trip, the artist has a wonderful novel, painting or musical score. The artist has created art through imagination, selection, rejection and combination of artistic elements resulting in something new. The happy traveler has created a wonderful trip.

Then he tells of a man who had a very peculiar experience. After feasting his eyes upon paintings by Jan Steen and Rembrandt, this traveler anticipated beauty, joviality and simplicity in Holland. Many paintings of laughing, carousing cavaliers had fixed this image in his mind, along with quaint houses and canals. But on a trip to Amsterdam and Haarlem, he was strangely disappointed.

No, according to De Botton, the paintings had not lied. Certainly, there were a number of jovial people and pretty maids pouring milk, but the images of them were diluted in this traveler’s mind, by all the other ordinary, boring things he saw. Such commonplace items simply did not fit his mental picture. Thus, reality did not compare to an afternoon of viewing the works of Rembrandt in a gallery. And why not? Because Rembrandt and Steen had, by selecting and combining elements, captured the essence of the beauty of Holland, thereby intensifying it.

This is exactly what a writer or any artist tries to do and as a traveler, you may do much the same thing

When writing about a day in your protagonist’s life, you don’t start with what he had for breakfast or that his car wouldn’t start unless it’s germane to the plot or his character. You compress. You select and embellish. You toss out. All the details of your story must combine to intensify real life in order to create something interesting and of artistic merit. When I started writing the first novel in the Osgoode Trilogy, Conduct in Question, I had to learn it wasn’t necessary to build the whole city with lengthy descriptions of setting and character, before Harry Jenkins [the protagonist lawyer] could do anything. But many nineteenth century novelists did write numerous pages with glowing descriptions of the Scottish moors or a county hamlet. And that was necessary because, with the difficulty of travel, a reader might well need help in picturing the setting. But today, with the ease of travel, the surfeit of film, web and television images, no reader needs more than the briefest description. Just write walking down Fifth Avenue and the reader immediately gets the picture.

In a novel, usually only the most meaningful, coherent thoughts are included, unless you are James Joyce, the brilliant stream of consciousness writer. And so, you as the writer can order your protagonists thoughts so as to make complete and utter sense apparently the first time. In the Osgoode Trilogy, the protagonist, Harry Jenkins, does lots of thinking and analyzing [the novels are mysteries, after all]. But his coherence of thought is only produced after much editing and revising. Not much like real life, you say?

Same for dialogue. Interesting characters in books speak better and much more on point than people really do, partly because the writer is able to take back words. In real life, we often wish in retrospect, if only I had said this or that to set him straight. No problem for the writer. Hit the delete button and let him say something truly sharp and incisive.

And so, after comparing what the traveler and the writer do, what can we conclude? I quote De Botton in the Art of Travel.

The anticipatory and artistic imaginations omit and compress, they cut away the periods of boredom and direct our attention to critical moments and, without either lying or embellishing, thus lend to life vividness and a coherence that it may lack in the distracting woolliness of the present.

And so therein lies the difference between Art and Life! And so, the similarity between the traveler and writer.

Writing contests building writing credentials

One of the ways many writers can successfully add credentials to their portfolio if to participate in a variety of literary contests. This type of contest encourages writers to put their best foot forward in both creativity and attention to detail.

It is true that there are some contests that provide a cash award for their top finishers, but there are also publishing scams that will accept your work regardless of quality. When you receive notice that your work has been accepted for publication it can be a real boost, however, a quick look at many writer’s websites can help you define the contests that are essentially vanity publishers willing to print just about anything if they believe you will purchase copies of the book for friends and family.

Many cash award writing contests cover the cost of prize awards by charging an entry fee. This factor often discourages many writers who may not feel confident enough in their writing to pay a fee to submit. This allows those who do enter a better chance at placing.

There are also writing contests that present the opportunity to have their work published online, in a magazine or in an anthology. As a rule this type of contest does not require a purchase of the publication the work will appear in nor will they assume full rights of your work. The best writing contests only require a one time non-exclusive print right. This is important because it allows you the opportunity to sell or place the work in other venues.

Beware of forfeiting full (exclusive) rights in any writing contest. When this right is given the ownership of the work is no longer yours. You will have no right to use the material in any form without permission from the publisher. It is possible to pay to enter a contest, forfeit the rights to your work and allow a publisher to gain long-term financial benefit from your work.

Quality writing contests have the bonus feature of allowing you to fine tune your skills by reading the work of others. Reading can make a good writer even better. If you pay attention you can learn what works and what doesn’t while using writing contests as a means of gaining valuable insight into unique styles and structure.

On a positive note, there have been numerous incidents in which individuals who entered a submission for a writing contest were able to use that same work for publishing in other book anthologies and magazines. The key is making sure to participate in writing contests that preserve your right to control the reuse of the piece.

The importance of a website copywriter

title:The Importance of A Website Copywriter

author:Niall Cinneide

source_url:http://www. essayabc. com/articles/writing/article_585.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

A website copywriter has several jobs. They will need to provide the information, the words, and the persuasive text that is used within any site that is visited. For many individuals, this means that they will need to know the products, understand the site owner’s needs, and to be able to draw customers into the site by providing interesting and informative information. Getting into this field takes a true understanding of how the World Wide Web really works. And, it takes diligence, hard work, and perseverance as well. A copywriter has a very important job to do.

A copywriter needs to understand how people get to the site. They need to do copywriting that will encourage others to visit and to eventually purchase the products available at the site. Copywriters have some of the most important jobs online because they help to get traffic to go in the right way. For example, many people open their web browsers and go directly to a search engine to find what they need. Good writing will allow the search engine to get the person to the right site. There, they will find the products or information they need.

Many individuals who are copywriters are also in the freelance business. For those that work alone like this, it is important to find lasting opportunities in the field. To find work, it is important to build through trust in relationships and strive to provide quality work each and every time. For those looking to get started in this field, they will want to work on their skills first.

From there, they can find job postings throughout the web that can offer them exciting ways into this freelance environment. It will not be easy work, though. Many of the individuals who try to do this type of work believe that it is simple and easy to do. In reality, it takes true dedication and real responsibility to deliver quality work to clients.

How to write a love scene

The most critical lesson in writing a love scene is that it is similar to making love in the real world: when done well, it is messy, chaotic and somewhat animalistic. The civilized approach does not work; it leads to the greatest drawback of all: predictability.

Does this sound familiar? The leading man and woman dislike one another intensely; something happens and they see another side of the other; in spite of their best efforts to deny it, they find themselves attracted to one another; and they ultimately fall into a passionate embrace. Do you really want to write that one again?

The Best Love Scenes

The best love scenes are the ones in which the participants are not perfect specimens and the circumstances are obscure and somewhat confused. They are the scenes in which the reader has to work for it. In a word, they are authentic.

For example, here is the opening paragraph of my book, Point and Shoot:

This is how you make love to a woman undergoing cancer treatments. You ignore the metallic taste of her kiss; the slight snorting sound she makes when you press into her; the bony feel of her body, covered by skin that lacks tensile strength; the hairless scalp. You close your eyes and remember what it was like before. You move gently, until you forget yourself, as you should. You savor the moment because there might not be many more. And one more thing: you move very gently.

How to Get Started on Your Love Scene

I would suggest that you start by imagining your most interesting and emotionally-moving encounter with the opposite (or the same) sex. Write out a free association narrative about the images; scents; colorings; texture; dialogue; weather; and other aspects that trigger your memory.

Then, complicate it. You must assume that your memory of the event has been neutered by the passage of time. You remember your past, as we all tend to do, in an unrealistic light, obscuring and shading over the petty annoyances (Could you stop that whistling?); the inconvenient bodily functions (I have to pee.); and the wanderings of your mind (Did I lock the car door?) . So instead of writing that simplistic and ultimately, predictable story, shake it up.

Have your female character imagining a former lover, while her words are only about the man in her arms. Have your male character fear that he will not achieve arousal, and keep this truth from his lover until it can no longer be hidden. Have your characters wear blindfolds, so that all of the narrative description is tactile. In other words, create some kind of slanted, asymmetrical aspect to the story. Make your characters, and the reader, work for it.

Sure, Sex Sells, But Don’t Make it Porn

One of the most frequently asked questions is how explicit to make the love scene. The answer is simple: less explicit than what you would want to read.

It is axiomatic that the most sexually-charged organ of the body is the mind. That is where your story will be experienced, and you need to cater to the mind’s unique way of perceiving. The best caricaturists will use nothing more than a curved line or a geometric shape to suggest an instantly recognizable celebrity. They draw the most memorable aspect of the person’s face, for example the ears. By that alone, the viewer can instantly discern the subject’s identity.

Likewise, a writer must suggest rather than explain. Describe how it feels to run a finger along a thigh; to feel blankets bunched between your body and your lover’s; to be out of breath and not really know why. To paraphrase a long-ago Presidential campaign, make it subtle, stupid.

Here is another excerpt from that scene in Point and Shoot which illustrates the point:

"Are you getting there?"

"I told you never to ask me that question. It doesn't matter. Keep going. Finish."

"If I'm hurting you."

"Keep going."

I sped up. She shifted her hips to make it easier. After a while, I could see a tear well up at the corner of her eye. The tip of her nose flushed. She patted my shoulder again. "I said keep going."

A wave of remorse and self-pity, a heavy, deadening feeling, yanked me back.

I stopped for good and rolled off her.

She lay there, splayed out, staring at the ceiling. Unmoving.

I propped myself on one elbow, stroking her abdomen.

We were silent for a long while.

Conclusion

To sum up, love scenes are done best when they follow no particular formula, but instead, come from the heart. Less is more. Of course, you should also keep in mind that the research is frequently much more fun than the actual writing. But take a few moments to get it down on paper, anyway. We readers like to watch.

Seven ways to select a book topic that sells

title:Seven Ways to Select a Book Topic That Sells

author:Judy Cullins

source_url:http://www. essayabc. com/articles/writing/article_804.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

Since a book title is the number one "Essential Hot-Selling Point" for your book, it's a good idea to choose one that sells well.

1. Write what you are passionate about. Write about a topic that will still interest you in two years. Your book is an extension of you, your talks, and your profession. If you don't love your topic, you won't be successful. One common mistake authors make is to put attention on writing another book before there first one has been promoted.

2. Write down five topics that stir your passion. Ask your inner author which one should you pay attention to first. After choosing, gather and organize everything you already know and want to know about that topic. If you need more knowledge on a topic, research it. Read other authors' books in your field, check out related Web sites, and subscribe to newsletters. You become the expert as you write.

3. Write a book your audience needs or wants. People want their problems solved. Among fourteen other books, three on memory and a speed-reading manual I wrote 15 years ago have sold over 155,000 copies, and still sell today. Business books sell well. People need writing, reading, speaking, computing, communication, math, sales, marketing and Internet skills. Nonfiction self-help or how to titles sell best. When your nonfiction books sells well, you can finance your novel.

4. Research your target market. Who is your preferred audience? Who will read and buy your book? Who will pay the $15-$35 price tag? How many possible buyers are there? How does your book stack up to your competition? What is your unique selling proposition? What benefits does your book bring its readers? How many in your audience? The targeted book Chicken Soup for the Teenage Soul sold three million copies more in one year than the original Chicken Soup sold in three years. That tells you that a book with an angle is a good idea.

5. Compare your book with other reputable, good sellers in your field. What way is your book like theirs? What makes your book unique from others? How is your book better? If your book is the only one of its kind, it could be more difficult to sell because mainstream buyers don’t know about it. Check out what category your book fits in by visiting your local bookstore. Ask the bookseller to help you. Turn to the back covers--look at the upper left side to see the two or three categories usually listed there. Which ones does your book fit under? Let your book develop a new angle on the problem to be solved. A book on breast-feeding sold far more copies when the author aimed it at working mothers.

6. Survey your market. While some of us get our title instantly and know that it is the right one, many of us need help. Brainstorm with, and ask for feedback from, friends and associates. Let them vote on the best of ten titles and subtitles, chapter titles, back cover information. While some get their title instantly and know it's the right one, many of us need help. Knowing that your book title is the top “Essential Hot Selling Point” makes time spent on it worth it. When you use the synergy of more brain power, you receive so many more ideas. Don't be attached to your choices. Feedback helps build a better book.

7. Create a winning vision for your book. Know that your book will be published. You can self-publish if you are not famous. Before you finish the book, specifically name the outcomes you will see, hear and feel. Place this winning vision in color on a card. Put it near your workstation. (Use today's date including the year) Now that my book (title and subtitle) is finished and is a huge seller. For example:

I see (smiling people at my talks buying it) or (hundreds of orders from my Web site)

I hear (applause from multiple audiences affirming it)

I feel (exhilarated, confident and pleased that it's such a hit)

Give attention to your book title. When it's good, it can sell thousands more copies than a mediocre one.

Judy Cullins c. 2006

Is now the time for a play about the war in iraq

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

author:Ron Brynaert

source_url:http://www. essayabc. com/articles/writing/article_99.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

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

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

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

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

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

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

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

The annoyance of the three paragraph essay

So we begin where we have so diligently been instructed to start, at the beginning. Our teachers berate us over topic sentences and main ideas using the terms interchangeably but stressing that they are distinctively different from each other. It is that paradox which boggles my mind and evokes writer's block. I like to consider that I have more fulfilling things to do than to keep track of which is which in my first paragraph. I would much rather get a root canal than agonize over some imaginary division between essential two words that mean the same thing to me. Remember that the topic sentence is to introduce the subject matter. For example a proper topic sentence for piece of work would be, "I hate three paragraph essays." The main idea would probably be the same thing but together differently or I think you have to explain it. After deliberating through that issue and introducing the topic we are told to write a transitional sentence and push ourselves to get to the bulk of the essay where you explain your subject.

Most instructors dictate that you have at least three points of defense and/or explanation. I assume three was chosen because it is the number of the trinity or because it was inspired by Hitler's Third Reich. The three paragraph essay is stifling to creative expression in its rigid structure. An English teacher once tried to explain the divinity of the three paragraph essay by comparing it to a triangle saying, "The triangle is one of the strongest structural shapes, which can endure a great amount of weight that's what makes it perfect for an essay." I personally don't appreciate the comparison, because in my opinion the triangle is the most dangerous shape. It has pointy ends which can break skin depending on the degree of the angle, but that's geometry. It has also been brought to my attention that a three paragraph essay looks like a fat chick. A small light bit of writing on top followed by a heavy middle section ending with a little bubble of words for feet. It just isn't proportional or aesthetically pleasing. The three paragraph essay also doesn't lend itself to an agreeable flow of thoughts. Everything of significance is crammed into the center. Three paragraph essays read more like an E. E. Cummings poem whereeverythingisranintoexaggeratetherateofspeechorthought. Jokes aside, it really does push everything in to close together. Readers that skim through derive very little because there are no breaks between the thoughts to slow them down to take matters into consideration. New ideas should not just be broken down into sentences they can be expanded into paragraphs so one has more room to explain. Having only one paragraph pressures writers to use concise words, and let's face it some of us don't like to visit words outside of: good, bad, cool, dumb, and weird.

The three paragraph essay of course cannot do without the conclusion. So, this gives the writer an opportunity to be redundant by saying what they have already wasted our time with. Three paragraph essays are rigid, terribly proportioned, and dull to look at and read. That's why writing three paragraph essays are annoying to write.

Best selling book secrets

title:Best-Selling Book Secrets

author:Matt Bacak

source_url:http://www. essayabc. com/articles/writing/article_544.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

Everyone says, “Some day I'm going to write a book,” but few actually do. So congratulations on a noteworthy achievement! Now that you're holding your book in your hands, after years of research, writing, editing and rewriting, the last words you'll want to hear are, “That was the easy part.” Well, unfortunately, that was the easy part. Unless you don't mind your only fans being family and close friends, or unless you're already a celebrity with a big publishing house behind you, your new challenge will be letting the world know about your book so someone will actually read (a. k.a. buy) what you've so laboriously created. And the hard reality is that, in the madness of today's publishing environment, the onus for successful book promotion lies almost exclusively with the author. Whether you fought your way through to a mainstream channel or decided to self-publish-whether you've written a self-help tool or a novel-odds are good that a publicist won't be calling you tomorrow morning with a jam-packed itinerary of book signings and television interviews. Some of you may have a little help if you're mainstream, but all of you will carry the lion's share. So, where do you begin?

First of all, your book is no longer “your baby,” but a business-and as with any business, you must have a Marketing Plan. Number One in your plan should be creating a website that will help facilitate everything else we'll cover in this article. If you already have a website (business or otherwise), add a banner headline announcing publication on your Home page. If you don't have a website and/or don't know how to create one, Google how to create a website, and plenty of user-friendly links will come up. The point is that your website should showcase your book as the feature, and you should offer the book for sale right there. Sign up for a Pay Pal account, if you don't already have one (www. paypal. com). This is an easy, affordable way for you to offer buyers a means to pay with a credit card, and that feature alone will help drive more books out the door.

Next you'll need to develop a Sell Sheet consisting of: a) a summary of your book in 50 words or less; b) an author biography in one paragraph; and c) your field of expertise and how that relates to your book (not always relevant with fiction). Then identify your Target Audience-the “who” you had in mind while you were writing. If you've written a novel, will interested readers be male or female, young, middle-aged or seniors, action or romance devotees? If your book is non-fiction, are you targeting a certain business or profession? Do you already have a client or seminar base that will be a built-in market? If you don't have a built-in base, what media outlets (radio, television, print) will help you build one, and which will be relevant and feasible? How do you get to Book Reviewers? (Reviews are golden, even if they're not glowing-and reviews are mandatory for success. Without them, you don't get interviews, and the good ones become marketing tools.) Each category and media market, by the way, can be easily researched via the Internet, and each will have to receive a Review Copy of your book. Once your target audience is clear, identify your book's Position with a single sentence that explains why someone would want to buy your book over others in the same category. This is an extremely important element because, with every Review Copy you send out, you'll have between 5 and 15 seconds to catch someone's attention. Finally (and you've probably figured this out already), you need to decide how much money you're able and willing to spend on your book promotion. Guess who buys all those Review Copies, for example? You'll also need business cards (focused solely on your book), bookmarks, “Just Published” posters, announcement post cards, travel expenses and so forth.

But before you send out for oxygen, this new challenge isn't as daunting as you may think, because the majority of Best-Sellers begin their successes locally. Your first contact won't be to the New York Times, but rather your local newspaper. Send a copy of your Press Release (similar to your Sell Sheet but a more familiar format to the media). If you Google how to write a press release, you'll find a wealth of tutorials. Then use a “local author” angle to approach the Manager or Event Coordinator in nearby book stores (small independent book sellers and big chains like Barnes & Noble), first about scheduling a book signing, and second about stocking your book on their shelves. (The former will be easier than the latter.) Check each store's Event Calendar and attend several book signings to see how they're done. When you have a signing scheduled, send invitations! Include everyone you've ever known, if you can afford the stamps. Although you'll want to do a broadcast email to announce your book's publication, signing events require old-fashioned invitations to bolster turnout. The book store(s) will also do a little advertising (usually very little, i. e., a flyer by the cash register), but your best hope for a large crowd resides in the people you already know.

Use your successes with local papers and book stores to secure interviews with other media outlets. Google to seek out venues in your area such as noon television news broadcasts and radio talk shows that are willing to feature new authors. Remember, every contact you make-through media, book stores, book reviewers, libraries, everyone-will need to receive a Review Copy of your book. Be sure to write REVIEW COPY in big, black magic marker letters on the inside front cover to minimize bootleg sales of all the books you're sending out. Distribute widely and generously all of your other promotional materials, as well (Sell Sheets, Press Release, Business Cards…), and never travel without two copies of your book. Take a handful on your vacation. You just never know when a future fan will be standing in front of you.

This local focus will not only build success from the inside out, but will also help minimize cash outlays for airfare and hotels in the beginning. At the same time, however, expand your base by listing your book for sale on sites like Amazon and eBay (both sites have links that walk you through the process), and by entering your book in contests (have four or five on-going at any given time). Google again for those contests germane to your book, but research the sponsoring organization(s) before entering. Some are less reputable than others. Contests offer tremendous publicity potential, though, and many judges return valuable comments whether you win anything or not. Lastly, set up an automatically inserted tag line promoting your book at the bottom of every email you generate. That's free advertising that could circle the globe.

Obviously, the how-to's of book promotion could fill volumes-but the short version begins and ends with you. If you believe with a passion that your book can be a Best-Seller, then others will believe, too. Just keep in mind that, as with any project or craft, the devil is in the details. Orchestrating a book promotion can be a little like managing a goat rodeo, if all the basics aren't in place. Make your plan, have your props, and then start calling on your local segment of the world. Every success will breed another, and the boundaries of “local” will continue to expand as far as you wish to push them. Of course, none of this happens overnight, and wisdom suggests putting your plans in motion while the book is still in the production cycle. Then allow yourself a few captivating moments when you first hold the “real thing” in your hands. Celebrate and feel that well-deserved pride. Okay. Time's up.

The window of marketing opportunity is the first year after publication, which doesn't leave room for many wasted days. Even though writing your book was the easy part, selling your book is the fruitful part-and nothing compares to the sound of someone saying, “I bought your book, loved it, and recommended it to my friends.” May those words ring familiar time and again along your personal path to your own Best-Seller!

Veerappan the legendary bandit no more

title:Veerappan - The Legendary Bandit No More!

author:Chris N. Fernando

source_url:http://www. essayabc. com/articles/writing/article_327.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

Known by different nomenclatures like bandit king, elephant poacher, sandalwood smuggler and the much recent Robinhood of India, Veerappanthe forest brigand was finally killed in an encounter this month. This man popular for his handlebar moustache, hacked more than 120 people to death during his reign of terror spanning over four decades, felled thousands of sandalwood trees worth and sandalwood worth $22 million, and poached about 2,000 elephants for more than 88,000 pounds of ivory worth $2.6 million and what not! It took about 20 years and more than Rs 1000 crores to finally kill Veerappan, making this manhunt, Indias biggest and most expensive.

In the beginning there was a brigand

The year was 1952, the date18th January. Kuse Muniswamy Veerappan Gounder was born in Gopinatham Village in Karnataka state (India). He was lovingly called Veerappan, which means he who is brave. He started off with committing crimes at a very young age. In fact Veerappan began his career in crime as an ivory poacher and is reputed to have killed his first elephant when he was just 14. He committed his first murder at the age of 17too small an age when boys his age would be falling in love. He used to operate from the dense Sathyamangalam forests and used to reportedly distribute money earned from smuggling and kidnappings to villages around the forests. Doing this earned him the title of Robinhood of India and the local people would worship him as their king. But then as they say, every coin has two sides Veerappan too had a scar face hidden behind his generous image.

It is said that Veerappan used to boast about how he killed his victims, cut them into pieces and fed the flesh to fishes in ponds around the forest. Veerappan was notorious for his guerilla tactics, kidnappings, beheadings of his victims and killing more than 120 people of which majority were police officers and forest department officials. His fame to crime increased day-by-day, forcing two of biggest states in IndiaTamil Nadu and Karnataka to launch a massive manhunt and also form a Special Task Force (STF) for capturing Veerappan, dead or alive. Despite this, he could never be capturedin fact, the only time Veerappan was put in jail was in 1986; but he soon escaped killing four policemen and paying a bribe of $2,000. The STF formed by both the states had more than 1,500 officers and personnel. As if that was not enough, even the Border Security Force (BSF) was assigned a task to capture the brigand; though they failed miserably in it.

So, how was he hunted down?

Capturing Veerappan was not an easy task. He had informants in villages around the forest to tip him off about any police forces entering the forest to hunt him down. Reports say that his jungle hamlets were often booby-trapped and heavily mined, to keep trespassers away. Moreover, his people were in and around the 6,000 sq km jungle and so it proved to be a hell of a task. And he did all this with old hunting rifles, while the police forces had all the latest gadgets, including AK-47 assault rifles and night vision binoculars. At one point for time, 2,000 police officers were searching for Veerappan around the forests. Finally their efforts paid off on 18th October 2004 at Dharmapuri village in Tamil Nadu (India). Veerappan was killed in an encounter that had been planned over months. Police officials say that all through these years, Veerappans troupe was getting weaker and weaker and he was on a lookout to hire more youngsters into his group.

The first step of their plan was deemed successful, when the police officials intercepted a letter sent by Veerappan to his brother, who was then lodged in jail. The letter said that Veerappan wanted his brother to arrange for a few youngsters to join his team through his contacts with extremists. Thats when the police decided to send their people instead into Veerappans group to record his daily activities. However, the police did not want to send their team members, because Veerappan could get suspicious. Therefore they called for volunteersand they got volunteers in the form of a few villagers and two college students. These volunteers armed with Veerappans letter, went into the forest to meet the brigand claiming that his brother sent them. Fortunately, Veerappan didnt have any suspicions and the team of volunteers was accepted into his group little knowing that these volunteers would be cause of his death in the coming days.

The police officials received daily reports from the volunteers about Veerappans daily activities. Also it is said that Veerappan was suffering from sight problemsthats when the police decided to act. The volunteers were asked to offer Veerappan, a trip to an eye hospital to get his vision corrected. Veerappan too agreed without much suspicion. The day for the hospital visit was decided to be 18th October 2004, time 10:50 p. m. The STF had already laid a trap on the route Veerappan was to travel while on a trip to the hospital. The volunteers had arranged for an ambulance for Veerappans hospital visitthe ambulance was to be driven by an STF official undercover. As the ambulance neared the trap laid by the STF, the driver of the ambulance hurled a hand grenade into the ambulance before escaping. The STF opened fire on the ambulance without warning, though STF claims that they had asked Veerappan to surrender, but he opened fire and so they had to retaliate. The encounter laste!

d for 20 minutes and finally Veerappan was dead along with three of his associates. Jubilations prevailed among the STF as they had finally hunted down the hunter.

Is Veerappan really dead?

When Veerappans body was bought to Pappirappatti village large number of villagers gathered around his body. But there was something amisshis trademark handlebar moustache had been trimmed down. Many people who saw Veerappans body claimed that the man dead didnt look like Veerappan. STF Chief and Additional Director General of Police, K Vijaykumar however said, "Veerappan had trimmed his moustache. He was not wearing his traditional green clothes and was dressed in white. DNA tests have not been done yet. But we are sure the man killed is Veerappan.

The villagers werent really happy with Veerappans death because he was like Robinhood for them. He was known for distributing huge amounts of money among the villagers. The National Human Rights Commission has also ordered a probe into the killing of Veerappan and has suggested that a DNA test be carried out as soon as possible.

The treasure hunt begins

Veerappan, during his reign of terror had collected millions of dollars in ransoms and by smuggling ivory and sandalwood. Veerappan has reportedly hid this money into the vast forestland on the Karnataka-Tamil Nadu border by digging up pits, concealing the cash into plastic sheets, and covering the pits with leaves and mud. After the fall of forest brigand, the STF is all set to launch a new operationto unearth the treasure trove of cash and jewellery that the sandalwood smuggler may have left behind. Villagers around the forests too have joined this treasure hunt in expectations of hauling up huge loot from the forests.

Filmmakers throughout India are also keen in cashing in on the brigands deathmy making movies on his life. In fact, a dubbed movie Veerappan starring Kannada star hero Devaraj is being released in Hindi shortly. This action movie released in languages Kannada, Telugu, Malayalam and Tamil emerged a mega money-spinner and broke all box-office records. However in the film, the climax shows a guy who is caught by the police in the film, turns out to be a deceptive clone, while the brigand keeps evading the police. The Hindu newspaper had reported Veerappan commenting on movies made on him. He had once said, I wish they would look on me differently. I am a human who loves and gets hungry. They make me out as this gangster. But in Hollywood, gangsters make great films. I have seen `The Godfather' a hundred times. That is the kind of film our film-makers should make about me.

One of the top filmmakers in IndiaRam Gopal Verma had recently planned a movie on Veerappan titled Lets Catch Veerappan. The film will now be re-titled as Lets Kill Veerappan.

Top 10 tips for writing a good press release

Writing a press release doesn't need to be difficult. Here are 10 tips for writing a successful press release.

1 - You are writing for journalists

Press releases aren't for customers or consumers they are for reporters, journalists who will use them as a starting point for a larger story or feature. Write your story as you would like to have it told. Press releases written as sales pieces will be completely ignored. The points you make in your press release and the order in which you make them may direct the journalist in how to develop the story.

2 - Start with a strong "lead"

The first paragraph of the press release is known as the "lead". The lead needs to be strong, communicating your message quickly and concisely. You need to use your headline and first paragraph effectively so that they standalone and that if only those portions were to be read, there would be enough information to understand what the release is about. The rest of your press release should provide the detail. Journalists see maybe thousands of press releases a day, you have a few seconds to grab your their attention.

3 - What is your angle?

The media are always on the look out for a good story. Your press release needs to be more than just. fact, it needs to be newsworthy. Understanding why journalists would find your story interesting is the key to success. Think about the release from the journalist's point of view, put yourself in their shoes. It is best to make your press release timely and to tie it to current events or social issues if possible. Find a good angle, a good news hook and you have the start of a good press release.

4 - Who, what, where, when and why

A good press release needs to answer all of the "W" questions (who, what, where, when and why), providing the journalist with useful information about your organization, product, service or event. If your press release reads like an advertisement or sales pitch, dump it.

5 - Why should anyone care?

Company launches, new websites and changes of management happen all the time and so aren't interesting. You need to concentrate on what makes your new company, web site, CEO or product unique. Ask yourself the question, "Why should anyone care?" Concentrate on the aspects of your press release that makes it different.

6 - Add the human touch

Always use real life stories about how your organization identified a problem and solved it. How did your service or product fulfil a need or help the community. Real life examples communicate the benefits of using your product or service in a powerful way.

7 - Keep to the point

Use enough words to tell your story, no more and no less. Don't pad your release with unnecessary adjectives or flowery language. But at the same time make each word count.

8 - Limit the jargon

The best way to communicate your news is to speak plainly. You may need to use some jargon or industry specific lingo, but limit it to the minimum. Industry specific terms are only understood by people in the same industry where as your press release is aimed at a general readership.

9 - Add an "About" section

Make sure you add an "About" section where you describe your company and services. This will be useful for setting the press release in a context. Don't forget to add the URL of your website.

10 - Add good contact information

If a journalist picks up on your press release they will want to talk with you. Just adding your website URL isn't enough. As a minimum you need to add a contact name and an email address. Even better add a phone number where you can be contacted.

Screenwriters filmmakers pitching the cold heart of the banker

title:Screenwriters & Filmmakers - Pitching the Cold Heart of the Banker

author:John Gaskin

source_url:http://www. essayabc. com/articles/writing/article_596.shtml

date_saved:2007-07-25 12:30:21

category:writing

article:

Can a creative pitch alone get your script produced? Pitching the script is an art that is much talked about, put into college curriculums and lauded by the Pop Culture. But, there's a big factor missing from creative pitches. It's fundamental; but broadly ignored by key creative people.

For over 20 years I've been hired by Film Financiers (Studio Exec's, Bonding Companies, etc.) to watch over their investment during the film's production. I've also had more than a few independent filmmakers ask me for help in getting their film off the ground. So, I've been rubbing elbows with the elusive Film Financier (of one stripe or another) for some time.

Creative screenwriters, directors and filmmakers, especially when they're new at the game of film production, conceive that the money for wonderful scripts should be found - like apples dropping from a tree. 'Fraid not. Filmmaking is as much about the money as it is about the creative.

The person who you're pitching may be wearing blue jeans and topsiders, but he's still a Financier (or his immediate superior is). When pitching your script, think - I'm looking into the cold heart of a banker.

Learn to be familiar enough with the costs of your script to defend it in the language of money. Then, you'll be able to look any Studio Exec in the eye and mean what you say in his/her language.

But, you say, I'm creative! What do I know about money, and financing, and accounting, and, and….. Take heart. It's a heck of a lot easier than you may think.

Pitch the Script…But Don't Forget The Money

Independent screenwriters, directors and producers are fervently connected to their scripts and can pitch them anywhere, at anytime. But can a creative pitch alone get the film made?

It's very rare. Think about it. You're dealing with the M word….MONEY! So, yeah, pitch your heart out. But, hey, isn't it reasonable to learn some of the language of the person you really want to work with? To my mind, that's the only way to be credible in the eyes of the Financiers. Remember that we're talking about INDEPENDENT Film Financing and not about getting swept through the red carpet of the major studios.

There's a two step process going on here:

Pitch the script

Create confidence that the film CAN be produced within defined dollar limits.

Translate Creative Ideas Into 'Money Talk'

Being bright and creative is pretty much the norm in the film industry. But, being bright and creative, AND knowing how to translate creative ideas into 'money talk' elevates you way ahead of the pack.

To deliver a good pitch, have answers to these key questions about your screenplay:

How you will achieve and produce your vision, yet still stay within a predetermined budget.

What's important about money in film production, and what's not, and how to bring it up in the pitch.

What are some of the 'Insider' secrets about film budgeting and reporting that YOU can use to your advantage?

Regardless if you're a film director/ producer/screenwriter/ crew/ film student/ etc., film budgets and cost reports have something to do with you and your goals. Be prepared to bring this topic up when you pitch your screenplay.

You get the idea. Learn to be familiar enough with the costs of your script to defend it in the language of money. Then, you'll be able to pitch your script in a very powerful language - the language of MONEY.

Sign up for a series of seven articles - all only about 3 to 5 pages each which will give you insight into most of your 'pitch the money' problems, at http://www. talkfilm. biz .

Here are the article titles:

MAKING IT! In Film Production

Introduction to 'Directing the Money'

Translating Ideas Into 'Money Talk'

Your Participation In Above-the-Line Budgeting

Your Participation In Below-the-Line Budgeting

Your Report Card - The Internationally Recognized Cost Report

Presentation of the Weekly Cost Report - It's As Important As the Dailies

John Gaskin

With over 20 years experience and 40+ film productions, John has worked with some of the industries top professionals, including academy award winners Ron Howard and Brian Grazer. John brings his expertise to aspiring & established film professionals.

(Copyright 2005)

How to succeed as a technical writer

If you have great passion for words and have a degree or diploma in any technology field, then your chances of success is beyond your wildest imaginations. You can be part of that clan of writers out there, who make anything from a thousand dollars to several thousands every month from writing technical articles online for freelance websites, building their brands and getting noticed.

It’s a really wonderful field of writing. And, with the advent of Internet and web publication technologies, the traditional text publication platform has tasted a whole revolution. Today, as an author you are free to publish anywhere at your own will. All you need is some talent in writing, which most of us inherently have.

However, in order to succeed, the most important thing is your brand. You may be a great writer offline, you may know it yourself, and possibly, your nearest friends may know of this fact as well. But the world doesn’t, your prospective client doesn’t. In such a scenario, come the freelance websites. These websites give you a platform to show off your merit and get sales for the content you make.

Examples of the best freelance websites are Guru. com, Elance. com, getafreelancer. com, and so many others. You may just do a search from Google and you will stumble upon a million of them.

What you need to succeed?

One and the most important thing you need for success in freelancing industry is a flawless language and an extensive vocabulary. This will come about as a result of a lot of reading. But do not read any ordinary web publication. You should strive hard to find out the best publications to read. Those, which can enrich your mind, give you some thoughts, and give you new words and ideas. There are not too many of them. And I assure you, top bloggers may not get one sentence correct!

So, look out for authentic sources to read or those sites or blogs, which help you in writing. There are many.

Secondly, you should have quality content in your writing. Writing anything would not make you successful. The quality comes inherently. Naturally. All you have to do is understand what you are writing about and do an in depth research on the topic. Find out the important information on the technology you are going to write about:

It’s advantages and disadvantages

It’s issues and glitches

It’s benefit on the ordinary people

The ways people may use to tweak it to their advantage

The ways to use the tool productively

Any issue with particular groups of people: like children, adults, senior citizens, etc.

Any future improvements

The general statistics of the service provider and the service itself

In any writing about technologies hitting the market and those already in, these points are very important.

To do the research, you can use tools like Google. Do an in depth search for all the terms associated with the technology and find out everything available related to it. Once you get enough information, should read through it. Reading will generate more ideas in you, and will strengthen your points. Start your writing only after you read your research content.

Topic to find

You can find out the topic of writing by various means. The best way is by looking at the current technology news from Fox News, CNN, New York Times, Reuters, BBC World, etc. Such news channels and their websites provide you with the latest happenings in the technology field. What you have to do is read through a specific interesting post and find out the proper keywords. Then do an in depth research on these keywords with Google and Wikipedia. You can get a number of research pages to concentrate your writing on. And such content-rich articles are what the people want, and what hit high in search results. So, they will be purchased for any price you set on them.

All the best to all those who wish to get successful technical writing careers.

From manuscript to novel a short guide

What do you do now that you have finished that great manuscript? Many believe you can simply start sending it out to agents or publishers sometimes even both. However this is simply not true, just because you have created this riveting tale, you cannot send it out and expect it to be published right then. No, there are many aspects to being published and even more frauds out there, where the only goal is to con you out of your money. Filling their pockets and leaving yours empty and your dream of being published unfulfilled.

So what to do, where to turn, who do you trust, who do you ask? Well the first thing is take that perfect manuscript and reread each and every word and prepare to rewrite, if you are like many authors out there who have a hard time seeing their own mistakes then join a critique group. These groups are designed to help writers, and many have guidelines to follow so that your critique is accurate and fair. Once you have joined the group, redone your mistakes, repeatedly, finally believing you have the best Manuscript possible, here comes the hard part. Getting someone else to believe it as well.

You have to come up with a query letter that holds the readers attention using a strong hook. A hook if you don't know is that one scene, that one line, that grabs the readers attention making them want more, need more of what you have to say. Once you have that Query here comes the synopsis, a synopsis is summary of your story highlighting plot twist and turns along with giving, a detail setting your story takes place in, generally about two to three pages in length. A word of advice when you write your synopsis, know the ending even if not exact, at least how it will end. Publishers and Agents do not want to be still guessing at the end.

Ok you have your Query, your Synopsis, your sample Chapters leading into the story, now what? Did you make sure everything is formatted properly; this makes a huge difference on acceptance to being read or thrown away before they look at the first line? So everything is properly formatted, you have researched the agents and publishers, you know who you are going to send out to, but there is one major problem who first?

Well that depends on your list, first off if you want an agent then they are the first ones to contact. A good agent will walk you through the process from, professional editing to submitting to the publisher. Agents will have Publishers they want to send to first, but you can suggest your own as well. A good agent will not charge you; they make money off getting that contract with the publisher. A good agent will keep you informed at all changes, but most importantly, a good agent will be looking out for you.

Now that we know what an Agent does maybe, you are like hundreds of other authors and do not want an agent. Well that is ok too; many go straight to the publisher. Whether you self publish or have a publisher, you need to follow the company's guidelines and rules. Also, remember that unless you are self-publishing then the Publisher pays you not the other way around. A publisher should also have a list of events and ideas they want to use to promote the book.

No matter what way you choose to move that manuscript into a novel be sure to check out each publisher, editor, and agent on your list. Make sure they are legit, that they do not have any hidden fees, and any questions you have are answered completely before you sign that dotted line. Remember you are in charge, it is your work, and you have a responsibility to yourself, your readers, and your publisher or agent, just because the hard parts are done, do not stop. Send it out for reviews, ask local books stores to carry it, promote, promote, promote.

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