Writers Block is No Longer a Problem

"If you're like me, than I'm sure you're pretty familiar with the well-known writer's block.

From time to time, when you have to start writing something, be it an article, an ebook, or just a letter, there is that moment when you just stare at the blank sheet of paper (or at the vibrant colors of your monitor) and nothing seems to come out from your mind.

The good news is that there is a cure for this disease. :)

American poet William Stafford offers this advice to poets who suffer from Writer's Block: ""There is no such thing as writer's block for writers whose standards are low enough.""

But, this is not an incentive to write junk!

Perhaps the most important reason that leads to WB is the lack of an idea. You just sit down in front of your perfectly empty monitor and think about what should you be writing. ""There is nothing I can write about"" seems to be the only thing that you can think about.

This doesn't happen to me anymore because now I have a text document right on my desktop where I note down any important thought, idea, question that comes into my mind during my daily habits. Every time I start writing about something, all I have to do is to open that (now pretty big) file and ""presto"", I know what to write about. :)

If you don't have an ""ideas file"" on your computer yet, no problem, just take a look through some forums related to your niche market and look for questions.

Well, now that I have a great idea of what I want to write about, I just sit down again in front of my computer... and here comes the block again. :)

How should I start?

Here is a tip for you: It's OK to start writing at whatever point you like. You can begin with the final chapter. You can start writing the middle of the book. It's OK if the introductory part of your book is the last thing you'll write.

Another thing you can do is to talk over the subject with a friend. If you can't do that, you should record yourself talking about the matter.

Anyway, you must force yourself to write down something, however poorly worded that approximates your thought and go on with the next idea.

Also, you can always try free writing. All you have to do is to choose one sentence in a paragraph and write a paragraph about it. Then, choose a sentence from that paragraph and do that again.

Whatever you do, it's always a good idea to be flexible. Be willing to throw out sections of text that are causing problems or just don't work.

Physical actions can move your brain in good directions so move around, stretch, or walk.

Get a snack or drink, talk to someone, or just relax for five minutes before you start to write again.

After you already have a few ideas written down it's ok to reread and jot down ideas while doing so.

Relax! Because the more you worry, the harder it gets to think clearly.

And once you have your book ready, remember that you will need a cover for it. :)

I can help you with that at www.AbsoluteCovers.com"

About The Author

Ovi Dogar is specialized in the creation of professionally custom made covers that really sell. You can view some recent samples of his work at <a href="http://www.AbsoluteCovers.com" target="_new">http://www.AbsoluteCovers.com</a>

The Practice of Writing

Virgil, the great Roman poet, wrote &quot;Practice and thought might gradually forge many an art.&quot; From this we can assume that practice comes before thought, and so it is with present day writers.

What must be practiced? If one is to be a successful writer then one must be able to practice good grammar. In order to practice good grammar, a writer must know the rules of good grammar and therefore must study the rules of good grammar. Most editors reject quickly those writers who do not know how to construct a proper sentence with at least a subject and predicate.

Besides knowledge of a simple sentence, a writer must use compound sentences, complex sentences, and compound-complex sentences. In order to perfect the ability to use these sentences, one must practice their use until it becomes second nature.

Once a writer-through practice-has mastered the sentence then it is time to work on the paragraph. Again, composing a unified, effective paragraph requires practice so that it has unity, coherence, rhythm and acceptable syntax.

English syntax can only be learned by practice, particularly the practice of reading. A &quot;wannabe&quot; writer must be a reader-one who reads voraciously and eclectically so that good syntax will come naturally. However, this reading must be done studiously with awareness of the writer's style and composition, because syntax is the way in which one puts the words together. Now the writer must practice and develop his own style of syntax.

This brings us to the next practice: the use of the dictionary and thesaurus-not the dictionary and thesaurus that are found with most word processors. Although they are helpful, they are not as beneficial as a complete and unabridged dictionary or thesaurus. If a writer depends completely on the dictionary and thesaurus found with most word processors, one's writing will be full of mistakes.

Finally, but not the least, is punctuation. Although most punctuation is a personal preference, there still are basic rules that should be learned and practiced.

In all case of grammar, vocabulary, punctuation, and syntax, the writer must know the rules before he breaks them. Moreover, the only way to become proficient in their use is by continual practice.

Once the basics are acquired, then the writer can proceed to writing fiction or non-fiction in poetry, articles, essays, short stories, etc., again practicing until one has develop a personal voice or style.

Charles O. Goulet has a BA in English literature and has written several novels that are available through Amazon.com, Amazon.ca, and other online bookstores.

His website is: <a target="_new" href="http://www.telusplanet.net/public/go1c">http://www.telusplanet.net/public/go1c</a>

Publisher Ethics For Reprint-able Articles

Let's Discuss Publisher Ethics:

If you are an ezine publisher or webmaster that likes to use supplemental content from the many free articles available for free reprints on the Internet, this article may save you from a very expensive copyright infringement lawsuit. Stealing articles by violating the posted reprint rights is copyright infringement theft. Read on?

Article Reprints Universal Law #1

Don't assume that you can reprint any article at any time without checking the publicly posted terms of service for reprint rights. If a website does not post its reprint rights policy, you must assume that you do not have permission to reprint the content.

Article Reprints Universal Law #2

While an ethics discussion might take &quot;morality&quot; into consideration, you must take legality into consideration first. Violating an articles copyright is an illegal act. It's intellectual property theft.

Article Reprints Universal Law #3

Planet Earth is a very small planet. Do not assume that you can evade infringement just because you're not based in the country of the authors that you reprinted without permission. You can not hide. Every web server has an IP address and every IP address has a commercial Internet Service Provider managing it. Every ISP has an AUP (Acceptable Use Policy) that almost assuredly denies illegal activity to be performed by any of their clients.

Article Reprints Universal Law #4

Consider your article source very carefully. Just because an article directory gives you unlimited reprint rights does not mean they have the legal right to give you rights to reprint the content without further author permission. When in doubt, poll a dozen of the authors of the site and make sure that they agreed to allow their articles to be reprinted.

Best way to determine the legitimacy of the site that is offering the reprint rights is to contact the owner of the site and ask him or her where they got the right to publish the content that they are offering you to reprint for free. Proceed very slowly and with caution when in doubt.

Article Reprints Universal Law #5

Unless you get specific permission, assume that you do not have any right to alter the content in any way without further permission from the author of the article you wish to reprint. You should also not assume that you can change the reprint rights to suit your particular web or ezine project. For example, if an author only gave limited reprint rights, you should not assume that you get lifetime reprint rights.

Article Reprints Universal Law #6

If you are following a reprint rights policy that is publicly posted on a website, it would be good to download a local copy of the reprint policy to prove that you had the right to reprint the content without further permission. It is also a good idea to visit the reprint rights policy on a monthly basis to make sure it has not changed.

Article Reprints Universal Law #7

Get to know copyright law 101? specifically, section 504 of the Copyright Law of the United States of America and Related Laws Contained in Title 17 of the United States Code (<a target="_new" href="http://www.copyright.gov/title17/92chap5.html#504">http://www.copyright.gov/title17/92chap5.html#504</a>).

Bottom line is that you could be liable for up to $150,000 USD in copyright damages for EACH copyright infringement.

One more point: Copying an entire article does not constitute fair use. You can safely consider copying a few sentences or perhaps a paragraph may be considered fair use, but in no case does the "<a target="_new" href="http://www.copyright.gov/title17/92chap1.html#107">fair use doctrine</a>" cover reprinting an entire article without attribution or following the posted reprint rights policy.

Article Reprints Conclusion:

Do the right thing.

You know what it is.

Follow the reprint policy or ask the author for permission for each and every article that you wish to reprint.

It's the right thing to do and instinctively, most people know it.

Failure to comply with the reprint rights policy that is posted by an author can invite copyright infringement lawsuits that may have a strong financial bite on your future.

About The Author:

Christopher M. Knight invites you to submit your best articles for massive exposure to the high-traffic <a target="_new" href="http://EzineArticles.com/">EzineArticles.com</a> directory. When you submit your articles to EzineArticles.com, your articles will be picked up by ezine publishers who will reprint your articles with your content and links in tact giving you traffic surges to help you increase your sales. To submit your article, setup a membership account today: <a target="_new" href="http://EzineArticles.com/submit/">http://EzineArticles.com/submit/</a>

A Writers Life

Ever wonder what an author's life is like? What that breathing, sweating, hungry, weary, bona fide guy does when he's not at the keyboard? How does his &quot;day job&quot; affect his writing? When he's mowing the lawn, grocery shopping, or babysitting grandchildren ? what goes through his mind? Is he sucking up every sensation as he moves through his day, tucking tidbits away for a future piece? Or, does he simply journey through life, just ? doing ? these things?

How do I define myself? Am I Aaron Paul Lazar, with the obligatory middle name, author of the LeGarde Mystery Series? Sometimes. At book signings, indeed. In the grocery store, frequently. But more often than not, I'm Papa, Dad, Honey, and just plain, old Aaron.

My day job pays the mortgage. I'm an electrophotographic engineer. I know, that term is really overwhelming. But it's what I do! I have worked with the same terrific set of colleagues for 24 years. Electrophotography is the science behind the digital presses that we design and manufacture at NexPress Solutions Inc. in Rochester, NY.

Strange as it may seem, my &quot;day job&quot; is not unrelated to my writing career. One might be hard put to understand how such work - data, science, formulas and hardware - could be even remotely related to writing. When I'm on a project, whether it's the development of a new toner to meet impossibly stringent standards, or solving a reliability problem in a complex system, there's always a mystery that needs to be solved! It's that challenge, that incredibly exciting contest that gets my blood pumping. And, of course, there is always the human drama that occurs in real life to stimulate a writer's emotions and imagination. My colleagues have experienced appalling trials, and these traumas spark fears. What would I do if I lost either of my baby grandsons? How would I deal with the sudden death of my wife? What if I experienced a life-changing heart attack? Those are the fibers that make up the cloth of every day life. Not unlike breaking news events, they generate the germ of an idea that may blossom and grow into a storyline. Most of the themes I've used have come from my own life, but the influences of those around me cannot be denied.

What about hobbies? Do they figure prominently in an author's work? My passions, which include gardening, cooking, photography, classical music, and art find their way into each of the LeGarde mysteries. Each experience, however commonplace, worms its way into a story in one way or another. Between the chase scenes, the fights with the villains, or the rescues, life happens. My characters live their lives as I do. Whether my protagonist is preparing a large feast for his extended family, planting peas, or changing a diaper, real life scenarios are intimately wound into the stories in various permutations. Routine activities, like digging in the dirt, provide vivid, gritty color for the books.

I adore photography. When you think about it, a very specific talent is required to frame a nice shot. I think it's this same appreciation of the &quot;visual feast&quot; that provides writers with that extra perceptive eye he or she needs to bring a reader into a scene. I've been told that the LeGarde series offers a strong sense of place. Of course, the Genesee Valley is where I live, it's where my characters live, and it's infused into every chapter of each of the nine books that have been written to date.

Some day, life might be different. The fire may crackle in the hearth as I snuggle down to write my current New York Times Bestseller and sip a fine Riesling that didn't come from a jug! If it's snowing, I'll cheer - more snow to ski on and no worries about commuting back and forth to Rochester. But for now, please accept my invitation to visit the website. You can read excerpts from the first three books in the series, check out reviews and readers' feedback, and browse through some lovely photos of the Genesee Valley while listening to Chopin mazurkas and waltzes. Feel free to visit: <a target="_new" href="http://www.legardemysteries.com">www.legardemysteries.com</a>

Aaron Paul Lazar resides in Upstate New York with his wife, three daughters, two grandsons, mother-in- law, two dogs, and three cats. After writing in the early morning hours, he works as an electrophotographic engineer at NexPress Solutions Inc., part of Kodak's Graphic Communications Group, in Rochester, New York. Additional passions include vegetable, fruit, and flower gardening; preparing large family feasts; photographing his family, gardens, and the breathtakingly beautiful Genesee Valley; cross-country skiing across the rolling hills; playing a distinctly amateur level of piano, and spending &quot;time&quot; with the French Impressionists whenever possible.

Although he adored raising his three delightful daughters, Mr. Lazar finds grandfathering his &quot;two little buddies&quot; to be one of the finest experiences of his life. Double Forte', the first in the series, was published in January 2005. Upstaged, number two, is in production. With eight books under his belt, Mr. Lazar is currently working on the ninth, which features Gus LeGarde and his family. <a target="_new" href="http://www.legardemysteries.com">http://www.legardemysteries.com</a>

Break in with Fillers: The Best Market for New Writers

Interested in breaking into writing or breaking into a new area? You can't go past writing fillers. Fillers are one of the most overlooked opportunities in the freelance writing world and offer one of the best opportunities for new writers.

Fillers Are In Demand

I've spoken to hundreds of editors and been told over and over again that fillers are the one thing they never get enough of. Most publications tend to publish more freelance fillers than they do freelance articles. Yet, they often receive 100 times more articles than fillers. This is a gap in the freelance market that you can take advantage of.

Fillers are a Great Place to Get Started

Many publications are careful about publishing feature articles from writers they don't know. Even if your article is good, an editor might decide not to publish you because they don't know you as a writer. This is especially true if you don't have a lot of experience or any clips. But even without experience or clips, most editors will consider a filler. In fact, many editors treat writing fillers as the testing ground to see if a writer can be relied on to write feature articles.

Here's what one editor had to say about fillers:

"One of the best ways to break in is to write fillers. It gives me a chance to start to build a relationship with a writer and see that I can trust them. Of all the freelancers I work with, over half started out writing fillers." - Margaret, Magazine Editor

So not only can writing fillers get you some clips, it also has the potential to turn into a long-term writing opportunity. Consider fillers a stepping stone to much bigger things.

The Smart Way to Write on Spec

Fillers are almost always submitted on spec. This means that you avoid the problem of having to query the publication and sell yourself as a writer, because your filler is doing the work for you and showing the editor your writing skill.

The big argument against writing on spec is that you spend your time writing pieces that might never sell. Fillers reduce this problem because they are short and take less time to write. So even if your filler doesn't sell, you haven't wasted as much time as you would have on a longer feature article. Fillers are also more flexible, with few publications having set guidelines for fillers. This means that a filler will often be suitable for more than market. So if it gets rejected once, it's not a waste of time. You can just send it to a new market, often without having to make any changes.

Fillers Rely on Information, Not Writer Qualifications

Fillers usually rely on information, not on the writer's qualifications. This means that you don't have to sell yourself when you submit fillers. Instead, the information you put in the filler sells it for you. This makes fillers a perfect option for writers lacking the experience or clips to sell themselves to an editor.

You Can Write a Lot of Them

Since fillers are short, you can write a lot of them and submit a lot of them. You could literally have hundreds of pieces out in the market for consideration in a short time. And if you write them well, you could have a lot of them published in a very short time. That means you can build a list of clips fast.

And one other benefit is that magazines don't have as limited a space for fillers as they do for feature articles. So if your filler gets accepted, it's likely to get published fast. The same isn't true for feature articles, where an accepted article will often be scheduled for an issue a year or two away. That's one more good reason why fillers are a great way to build clips fast.

Once you've got the clips, then you have a few more options. Until then, fillers are a great place to start.

And one final tip. Once you have the clips and start moving into feature articles, don't forget about fillers. As you're researching a feature, take note of interesting facts, trivia, or anecdotes you come across. These can make fillers and be an added bonus, bringing in some extra cash and some extra clips.

Shelley Wake is the editor of "Getting Published Without Clips." Packed with inside information, proven methods, hidden markets, and more, it's successfully launched hundreds of freelance careers in record time. <a target="_new" href="http://www.writingstuff.com/fs02m.html">http://www.writingstuff.com/fs02m.html</a>

Im Just The Writer

Writers are often are greatly surprised or disappointed by how their work is changed when it is adapted for the big screen. When Irwin Shaw's World War II novel The Young Lions was shot in Paris in 1958, the Nazi character was played by Marlon Brando. Ever the method actor, Brando provoked an uproar by strutting around town in his SS uniform, even going into restaurants to dine. The thirty three year old star was unsure if the Parisians ripping his clothes were doing it out of adulation or disdain. Like most actors Brando wanted to be loved and he took his concern to Shaw that the Nazi be made sympathetic. "You just don't understand the character", Brando told the amazed writer. "It's my character," replied Shaw. "Not anymore", replied the actor.

Some writers grow resigned to their voices being lost. George S. Kaufman wrote the screenplay for the Marx Brother's comedy Animal Crackers in 1930. He attended rehearsals and realized that nothing Groucho, Chico and Harpo were doing resembled his original draft. He watched as the director Victor Heerman was driven to distraction by the brothers showing up late, placing bets on horses, playing the stock market and never sticking to the script. Heeman literally threatened to imprison them in cages till they behaved. Kaufman took it in stride falling asleep through much of the tomfoolery. At one point the writer woke up with a start and shouted," Oh my God! I thought I heard one of my lines."

A few years ago comedy playwright Neil Simon announced he was moving from Los Angeles to New York. In Los Angeles he was isolated in his car all the time and he felt it is was hurting his writing. Better to be in New York where you walked everywhere and met people. His departure may have been hastened by writing and showing up to the set of The Marrying Man (1991). He got to witness Kim Basinger holding up the production with tardiness, temper tantrums and her much publicized love affair with co-star Alec Baldwin. Simon was humiliated when she held up her copy of the script and stated for all to hear," Whoever wrote this knows nothing about comedy!" The Odd Couple writer was too insulted to help fix the plot problems and the picture bombed.

Some writers are amazed to see their words turn into movie reality. When Margaret Mitchell (1900 -1949) was a young girl in Atlanta, various relatives took her on tours of Confederate battle sites, describing the Civil War so vividly that she imagined she was part of it. It took her ten years to write the text for Gone With The Wind which she scribbled on yellow legal pads, shoving them under her couch when friends would come over to visit her. The best-seller was turned into a movie in 1939 and Mitchell showed up in Hollywood for the fiming of Scarlett O'Hara (Vivian Leigh) nursing wounded soldiers at the Atlanta railway station. The author was overwhelmed by the sheer vastness of the scene. "My God", she told producer David O. Selznick. "If we would have had this many soldiers we would have won the war."

Some writers have strong ideas about who should play their characters. Novelist Tom Clancy was initially unhappy with the fifty year old Harrison Ford cast as the thirty something CIA agent Jack Ryan in Patriot Games (1992) and Clear And Present Danger (1994). He also berated the actor for suggesting plot changes to his stories. Ford angrily retorted that writers who sell their work to the big screen have to expect it to be changed, otherwise don't sell it. After the two films did great at the box office, Clancy hinted that he would be willing to bury the hatchet to get Ford to star in the next Jack Ryan installment, The Sum Of All Fears (eventually made with Ben Affleck in 2002). Ford demurred by saying," Maybe when I'm sixty."

Sometimes stars are better off just following the writer's instincts. Lou Holtz Jr. was disappointed that Jim Carrey brought in a team of writers to change his lighthearted script The Cable Guy (1996) into a dark tale about stalking. Despite Carrey winning the MTV award for best villain, the movie was panned by critics, led to several executives being fired at Sony pictures and became known in Hollywood as "The Straight To Cable Guy".

About The Author

Stephen Schochet is the author and narrator of the audiobooks Fascinating Walt Disney and Tales Of Hollywood. The Saint Louis Post Dispatch says," these two elaborate productions are exceptionally entertaining." Hear realaudio samples of these great, unique gifts at <a href="http://www.hollywoodstories.com" target="_new">www.hollywoodstories.com</a>.

<a href="mailto:orgofhlly@aol.com">orgofhlly@aol.com</a>

Before You Write Your Book, Organize Its Parts - Part 1

If you are a serious writer who wants to publish and sell books and informational products, you need to be able to find all of its parts in a minute or less. Filing only the important parts of your book will yield fast-writing your book. With the tips below, you will find any book-related paper within two minutes!

After you decide on your topic, working title, audience, thesis, and "tell and sell" and before you write a single page of a chapter, it's best to organize your book, its chapters, even your promotion how-to's.

Five Hard Copy Filing Tips

1. Stop Piling and Start Filing!

Maybe you're a stacker (horizontal multiple piles), a stuffer (look organized, but can't find things, a spreader (spread one pile to another place, then another), a slinger (undecided, you sling into a place behind closed doors).

For those of you who want a hard copy of your book's parts, you'll want to leave the bad habits above.

2. Make all important files vertical and A-Z. To retrieve your book's chapters, place the name "all chapters" (table of contents) on the flap of your manila folder; then place each chapter title and number on one manila folder. Here you will also add other parts of your book such as the introduction, the hot-selling points such as the "tell and sell," and your "audience profile." Keep these files alphabetical and vertical and you can find them fast. You may choose a file such as a box, filing cabinet or three-ring binder.

3. File each scrap of paper of useful information on an 81/2 by 11 piece of paper. Give it a category (title) at the top and file it alphabetically. Whenever you see something, a book title, a quote, an article that relates to your book, pop it into the proper file. One may read "useful quotes for chapter one" or "sample working book titles," or "signature stories and analogies." When you take different notes on one page, or allow your scraps of brilliance to get into the horizontal piles, one of your great ideas will get lost.

4. Write on one side of the paper only when you want to save useful notes. Again put only one subject at the top of each page and the correct word on the manila folder to retrieve quickly. It's far easier to read handwriting on one side only. Staple and number pages of related parts for easier retrieval.

5. Keep every piece of important paper vertical and file it in its proper place. The Pareto Time Management Principle says that only 10% of our papers are important. That means those related to your book--it's chapters, front matter, back matter and the all-important promotion-marketing folder. When you give each paper a special place in your book file you will find it fast and also write your book fast!

Four Computer File Tips

For those who also want to keep files on your computer, you need to think Word folders and files within the folders. If you aren't savvy, hire a high school or technical school tutor or computer assistant.

1. Put your major topic in a folder. One client gave her main folder the name of her book. Within that folder she kept three other main files--the three 3 sections (can be chapters) of her 70-page book. Now that she has these organized, she can add new material, as she needs in the proper folder and file. And, she can find it within a few minutes. When important information comes your way, immediately file it and add the date to the end of the file to help you retrieve it fast.

2. Put your unfinished work in a file in My Documents. We are not always sure what category or chapter new information will go in. Located right after your folders, these files are alphabetized, and you can skim right to these files over the next days or weeks you want to work on it before it's ready to re-file into your book folder. This works well for ongoing, unedited work because you can find it fast.

3. Take care to name your files correctly. In one book I wrote three chapters on how to write articles, subscribe to ten opt-in ezines out of 400,000 possible ones, and how to submit them to the ezines and top web sites for the big payoffs of getting into the top ten search engine placements and getting my web site listed on over 900 other web sites. All related, but they each needed a separate file. When you think filing always think specific categories.

4. Save your files with first the name, then the date you last worked on it. Including the date shows me and my assistant the latest revision fast for easy retrieval.

Without organizing your files, you will waste a lot of time looking for the correct one. One figure is over 150 hours a year time wasted looking for misplaced paper. You will also waste money because unfinished projects that don't get shared, don't make you money.

Without organizing your book folders and files, you will waste a lot of time looking for the correct one. You will waste money because unfinished projects that don't get shared, don't make you money.

Part two of this article is available at http://www.bookcoaching.com/freearticles/article-65.shtml.

Judy Cullins ?2004 All Rights Reserved.

Judy Cullins, 20-year Book and Internet Marketing Coach works with small business people who want to make a difference in people's lives, build their credibility and clients, and make a consistent life-long income. Judy is author of 10 eBooks including Write your eBook or Other Short Book Fast, Ten Non-Techie Ways to Market Your Book Online, The Fast and Cheap Way to Explode Your Targeted Web Traffic, and Power Writing for Web Sites That Sell. She offers free help through her 2 monthly ezines, "The BookCoach Says...," "Business Tip of the Month," blog Q & A at <a target="_new" href="http://www.bookcoaching.com">http://www.bookcoaching.com</a> and over 185 free articles.

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Email her at <a href="mailto:Judy@bookcoaching.com">Judy@bookcoaching.com</a> or <a href="mailto:Cullinsbks@aol.com">Cullinsbks@aol.com</a> Phone: 619/466-0622 -- Orders: 866/200-9743

Writing Is Not Life-threatening

Some writers complain that writing is arduous work requiring long hours and little pay, which is often true especially for freelance fiction writers. Today, everyone wants to be a writer and with word processors and computers it is easy to put thoughts down, but it is not always effortless to be published unless one self-publishes or uses a vanity press.

Neverthe less, writing although demanding, is not life threatening. Yes, it is a lonely occupation as the writer sits alone at the keyboard and pours forth his/her ideas. Many more occupations or vocations are more dangerous than sitting before a monitor and looking at the screen as letters, words, sentences, paragraphs, and composition unfold before the writer's eyes. The most dangerous effects are eye strain, muscle fatigue, and carpal. Sometimes, back strain is an occupational hazard due to poor posture or poor equipment, it's not like the military where digging a trench under fire can be common.

Writing, on the other hand, is fulfilling in some way. Some write for money, some for recognition, some for enjoyment, and others to leave a legacy, usually a book that will outlive them or be passed on to their progeny. Most write because the like to express themselves in a way that is unique and satisfying. In any case, the writer feels some need that must be satisfied.

Writing as a career does have it hazards. If it is needed to provide revenue to maintain life, it can be frustrating. Writers who are salaried find that the pay is low and usually insufficient although over time it may rise if the writer stays long enough with the employer be it a newspaper, a magazine, a trade, or other organizations that uses the services of a writer. Freelancers probably are more thwarted in their attempts to earn a satsifying income. Their earnings usually fluctuate greatly of a year.

Even so, all writers need to be fulfilled and satisfied by what they do whether they are salaried, freelance, or writing for personal gratification. They must feel that the writing life is a good life!

Charles O. Goulet had a BA in history and a BEd in English literature. Several of his historical novels have been published and are available at Amazon.com. Amazon.ca, Barnes and Noble, and many other bookstores.

His website is: <a target="_new" href="http://www.telusplanet.net/public/go1c">http://www.telusplanet.net/public/go1c</a>
His blog is:<a target="_new" href="http://go1c.blogspot.com">http://go1c.blogspot.com</a>

Sick of the Traditional Publishing Path?

A book coaching client recently emailed me that she was getting sick of traditional publishing because of so many costly requirements and so little payoff. Do you feel the same way?

Fifteen years ago, I worked hard on a 60-page proposal for a top agent and after a year got "approval" to be his client. Then the kicker, he asked for a $50,000 retainer to get the book marketing because I was an unknown.

Unknown, yes, but not a fool. A marketing maven for 20 years, I sold 20 self-help books at the back of the room for seminars taught at colleges and other talks. Why would I need to go the traditional route of low attendance book signings, travel to less than prominent spots to market the book at a cost that had to paid back through royalties.

And royalties? Even selling 10,000 books, with the percentages that book stores, distributors, and agents take, what profit comes to the author?

As an author's advocate, I step out of the traditional box and encourage you talented writers to do so too. You can self-publish without spend $1000's. You can write a saleable short book and it still will have merit and be readily accepted by your appropriate audience. No one today wants to read long books any more unless they are fiction.

All of this, and you can market and promote from you home office through the Internet. In just 3 1/2 years, online promotion has paid off hugely and brought me over $3500 a month in sales. Depending on your book and audience, you can too.

Avoid the myths and get real information from a professional book coach of 20 plus years. See the once a month free book and business ezines offered in the signature file below.

Judy Cullins ?2004 All Rights Reserved.

Judy Cullins, 20-year Book and Internet Marketing Coach works with small business people who want to make a difference in people's lives, build their credibility and clients, and make a consistent life-long income. Author of 10 eBooks including "Write your eBook Fast," "How to Market your Business on the Internet," and "Create your Web Site With Marketing Pizzazz," she offers free help through her 2 monthly ezines, "The Book Coach Says..." and "Business Tip of the Month" at <a target="_new" href="http://www.bookcoaching.com/opt-in.shtml">http://www.bookcoaching.com/opt-in.shtml</a> and over 155 free articles. Email her at mailto:Judy@bookcoaching.com.

The Three Cs of Writing an Excellent all Purpose Headline

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

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

News Headlines

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

Advice and Promise Headline

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

Selective Headline

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

Curiosity Headline

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

Command or Demand Headline

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

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

Illustrations

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

<ul>

<li>To attract attention to the ad.

<li>To illustrate the item being featured.

<li>To create a mood in the mind of the reader.

</ul>

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

Copy

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

<ul>

<li>Good copy should be clear.

<li>Good copy should be crisp.

<li>Good copy should be concise.

</ul>

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

You Discovery Safety

Money Proven Results

Love Guarantee Save

New Easy Health

Notice the overused word free is not on the list.

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

About The Author

Steven Boaze (Chairman) is The Owner of The Corporate Headquarters <a href="http://Boaze.com" target="_new">Boaze.com</a> Which houses and controls 5 websites including Web Development services. Steven is also the author of "Hidden Secrets To Business Marketing" and "12 Step Remedy To A Successful Ezine" along with numerous articles on Marketing and Advertising published by Boaze Publishing. <a href="http://www.boazepublishing.biz" target="_new">http://www.boazepublishing.biz</a>

Copyright ? 1998-2003 <a href="http://Boaze.com" target="_new">Boaze.com</a>

<a href="mailto:owner@boazepublishing.biz">owner@boazepublishing.biz</a>

How Three Publishing Myths Kill the Author

Agents and publishing houses have their best interests at heart, not the author's. Save yourself from headaches, disappointments, and money down the drain. Become your own independent publisher and produce your book faster and cheaper. All you need is a little help from professionals.

Myth: You need an agent or big publishing house to market your book and make big money.

Since big publishers don't look at unknown authors, now is the time to look at what they can do for you. Dan Poynter, self-publishing guru, says that if a publisher can't sell four times as many books as you can, you're better off selling it yourself. Self-publish first because it acts as a test market for your book. If it sells well (over 10,000 in a year), publishers may be interested in your book.

Traditional publishers and agents accept only 1-2% of authors' submissions, and even if you are one of the "chosen" you may not make much money after printing, bookstore, distributor, wholesaler and other expenses--probably $2 on a $14 book. Yes, you get an advance, but your sales must meet that and more. And after the initial book tour, the trainee marketing person is onto the next new author. Then, your books disappear from the bookstore shelf unless you, personally, devote a lot of time to marketing them.

Book Publishing is a new game today. Think self-publishing where the profits are all yours. Thanks to Dan Poynter of the Self Pulsing Manual for giving us permission to do part of the task ourselves. If you self-publish and decide to print, you need to print only the copies you need (5-500) with the new technology Print on Demand (POD). Even better is Print Quantity Needed (PQN) such as Deharts.com. No more unsold cartons of books in your closets or garage. You print as you go leaving enough cash flow to market your book splendidly.

Myth: To be a respected author, you must invest thousands of hours of time on your full-length book.

The reality is that people today want concise and useful information. You don't have to write a 200-page book to be a real author. Remember The One-Minute Manager and the One- Minute Salesperson? Around one hundred pages. People want information fast and convenient. Create short information products that are between 20 and 99 pages you can sell online, even if you don't have your own Web site.

If you choose to print your book with Print Quantity Needed (PQN), your perfect bound books will look as good as any book on the bookstore shelves.

Myth: Authors must spend a lot of money to publish themselves.

The printing costs for 1500 copies of a 160-page book might cost $3000, about $2 a unit. Small runs cost even more per unit. That's a lot of cash for anyone to put out all at once, and it's not worth it to many of us to use our home equity or life savings to finance our book. The answer is a small run with Print on Demand (POD) where you can print from 100 to 500 for around $2.40 for 160 pages. Without the high inventory, you can maintain a comfortable cash flow to spend on promotion, the most important part of your book adventure.

You save even more money if you don't print your book. Book publishing is going Internet. You can write small books in less time, market them easily and inexpensively on the Web and reap profits sooner. Try an e-book. It can be downloaded, it takes no printing costs because your buyer prints or downloads it. You don't even have to have the whole book finished to sell it. Just include your table of contents at the end of each chapter and present it as an e-serial book.

As a book coach, I am an authors' advocate and want you to make money. Going traditional doesn't work. Give ePublishing a chance.<BR>

Judy Cullins, 20-year book and Internet Marketing Coach, Author of 10 eBooks including "Write your eBook Fast," and "How to Market your Business on the Internet," she offers free help through her 2 monthly ezines, The Book Coach Says...and Business Tip of the Month at <A target="_new" href="http://www.bookcoaching.com/opt-in.shtml">http://www.bookcoaching.com/opt-in.shtml</a> and over 140 free articles. Email her at <a target="_new" href="mailto:Judy@bookcoaching.com">mailto:Judy@bookcoaching.com</a>

The One-Plot Wonder

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Copyright 2004, Michael LaRocca

Michael LaRocca's website at <a target="_new" href="http://www.chinarice.org">http://www.chinarice.org</a> was chosen by WRITER'S DIGEST as one of The 101 Best Websites For Writers in 2001 and 2002. His response was to throw it out and start over again because he's insane. He teaches English at a university in Hangzhou, Zhejiang Province, China, and publishes the free weekly newsletter WHO MOVED MY RICE?

Becoming A Successful Author: The Price!

So you want to be a successful author? You want to be up there with Brown, Archer, King, but what price are you prepared to pay? You might be lucky and your first book could be an overnight success but the chances are you'll be hacking it for years before success knocks.

If you decided to become a lawyer, an accountant, a bricklayer, or even to start an 'ordinary' business then you would be prepared to make sacrifices, to invest in the future. Why expect it to be different??

The amount of effort you put into your apprenticeship will dictate how successful you will be as a fully fledged tradesman, a successful author!

Are you prepared to spend a year putting a novel together to have it rejected by not one, not two, not three but four publishers? Are you prepared to take the novel sit down and do a major rewrite! If you are then you might, just might, be more successful second time around.

Harder still are your prepared to accept that the book just doesn't hack it and bin it!

There are very few real overnight successes: role up your sleeves and do some hard graft, learn the trade. Then you'll succeed.

Competitions are a good starting point. You are continuously challenged to meet deadlines. You should aim to enter at least one competition a month and you should aim to enter all the major competitions for new writers. For details on current competitions see my website http://www.abcwritersnetwork.co.uk/competitions.htm Remember that as far as major competitions are concerned you can 'win' without collecting the first prize, though that would be nice! Get a good mention and it will do your career the world of good. Publishers are often asked to judge competitions, think name recognition.

Competitions also help you understand what it is you are doing wrong, and what it is you are doing right. Contact the winner, congratulate them on their success, ask them for a copy of the winning entry and see how it differed from yours.

When entering a competition you are effectively asking someone's advice, you are asking them is my entry the best in the bunch. And they will say either yes or no! The price here is rejection.

If possible get your own personal critic. Your wife, husband, girlfriend, boyfriend, sibling. Anyone as long as they are prepared to give you a good, fair, honest opinion and not just say for an easy life, 'that's a fantastic story.' If they're not prepared to give it to you, warts and all, then let them wait until they eventually see your name in print.

A good place to find honest critics is at your local writing group. Join one, join two - but join! Some people underestimate these groups; think that they are just a bundle of middle age women playing at writing. In many cases that is correct but there is always one or two serious authors there and it is those you want to meet. Together you can knock ideas of one another. Believe me you will learn and grow.

You wouldn't dream of becoming a lawyer or a doctor without buying the books necessary to study. Granted you'll not buy them all, you'll borrow some, perhaps most, from the university library but there are key books you'll need throughout your career and these you will buy and use again and again.

Why on earth are you not prepared to invest in your chosen career by buying your own trade books? I've given a list of the most popular ones over on my website. They're not all essential, like all reference books there is some cross over. But please: beg, borrow or steal (no skip that last one!) at least three of them. I've suggested the main ones. It's all part of the price.

You've decided on the genre you're going to specialize in. You have, haven't you!! Well then make it a point to read at least one, if not two, books in that genre each week.

We all like to go to our local library and borrow books, and I'm all for supporting my local library. Be honest though, they are totally under-funded and while my librarians are wonderful they can't come up with the goods.

I'm not suggesting buying a new book every week but I do suggest buying one every four to six weeks. You must keep up with what the market is producing. My site carries information on what is current - http://www.abcwritersnetwork.co.uk/reviews.htm.

For those of us who are forty plus tax there is the added danger of reading what we like: be careful, ask yourself the question would your favourite author hack it today?

Consider collecting the works of a particular (modern) author who you appreciate and admire and don't be afraid to use the yellow marker, after all they are text books, not collector's items.

What ever you do, don't try to be the same.. Why be a second rate Stephen King, or Jeffery Archer when you can be an original!

? Kevin Hart MA BA(hons) ABC Writers Network 2005

<a target="_new" href="http://www.abcwritersnetwork.co.uk">http://www.abcwritersnetwork.co.uk</a>
ABC Writers Network: an indispensable resource for creative writers with competitions, suggestions, reviews and general market advice.

Your Words Will Determine Your Business!

Be careful when you write.

Words you use, sentences you phrase will reveal what you are.

We come across so many examples daily.

There are sales letters that I do not even bother to go beyond first few lines.

There are others which keep me hooked till the end.

What differentiates one from another?

-Use of the right language.

What is right language you might ask?

-It depends upon the occasion, I would say.

When you interact in the real world your facial gestures and voice modulation can to some extent compensate for the wrong selection of words though that too becomes difficult sometimes.

But internet is a faceless world.

Here your sole medium of communication is the written word. It is in your emails. It is in your sales letters. It is in your website, advertisements and not to speak of many other things.

So when you use wrong word on the net you will not be pardoned. Online business thrives on the written sentences. Whether they take a form of sales letter, a promotional article or communication with your potential customers, your writing will influence your business.

What you write forms a personality of its own. In language each word has a unique identity, a unique meaning. Further amalgamation of words into sentences forms a structure that may vary in the shape depending upon words chosen and how well they have been knit.

This whole process will differentiate a well built writing from a poor one.

This whole process will eventually distinguish an impact from a thud.

Yes! You should choose your words carefully and knit them diligently.

This is an ongoing process and can not be learnt in a day. But it can be learnt for sure.

First and foremost is writing with passion. Whether it is a sales letter or an email, when you get involved in the work you produce a better copy. Your mind works on a different level and your vocabulary is used to maximum.

Second is constant reading and increasing your vocabulary. Whenever you read something whether it is newspaper or a novel or anything you do come across new words. Note them down and look for exact meaning. Do not work by approximation to complete the reading. It might seem boring initially but it will end up forming a good habit and enrich your vocabulary.

Study the good works of successful people. Learn how they produce powerful statement using the same set of words. Note how everybody has a unique style that they can be identified with.

You too should develop your own style. No! Not a copy of someone but your own. Write as you comfortably write. Don't imitate somebody in want of style. As you write naturally your style will take a shape.

Last but not the least, keep your grammar and spellings correct. Wrong grammar and spelling mistakes leave a very bad impression. It does not matter if your reader has a bad grammar but you will be judged by absolute standards.

Typos and grammatical mistakes are absolutely intolerable. Avoid them as you would avoid an allergic substance.

Follow these and you will have better hold on the language and better results in your business.

Your words are your weapon in this marketing arena. Make it sure that you possess the best ones and you are an expert user.

Copyright 2005 Arun Pal Singh

Arun Pal Singh, a successful marketer and writer offers a unique and duplicable business opportunity at <a target="_new" href="http://www.homeforprofits.com">http://www.homeforprofits.com</a>. To avail his free Income Course, send an e-mail to <a href="mailto:subscribe@homeforprofits.com">subscribe@homeforprofits.com</a> with subject 'subscribe'.

The Top Five Writing Mistakes Professionals Make

Yes, you know your subject. You also need to think about entertaining your audience, and making your book or other writing easy to read. If your writing lacks organization and compelling, vital sentences that convince your readers to keep reading, they will leave your book or Web site immediately. There goes your "word-of-mouth" promotion.

Try my "Check and Correct" for These Top Five Mistakes

1. Stop passive sentence construction.

When you write in passive voice, your writing slides along into long sentences that slow your readers down, even bore them.

Before you put your final stamp of approval on your writing, circle all the "is," "was" and other passive verbs like: begin, start to, seems, appears, have, and could. Use your grammar check to count your passives. Aim for 2-4% only.

Correct: "Make sure that your name is included on all your household accounts and investments." "Make" and "is included" --the culprits. Create more clarity with this revision," Include your name on all household accounts and investments to keep your own credit alive after your divorce."

2. Stop all pompous language and phrases.

Well-meaning professionals often use the word, "utilize." You see this criminal in resumes, military directives and medical or lawyer documents. "Utilize&quot; not only puts people off because we don't relate to "jargoneze," but because we want simple language. Think of Hemingway who knew that one or two syllable-words work better than longer ones.

When you aim at 10th grade level, you make it easy for your audience to "buy." Attempts to impress your audience with research babble or long words fail because they sound unreal and create a distance from the audience. Your reader wants a savvy friend, not an expert.

3. Show, don't tell to keep your audience reading.

When you take the lazy shortcut using -ly words like suddenly, or the adverb "very," your telling makes your reader yawn a "ho hum" and stop reading. Instead show "suddenly." For example, "When she saw the pistol, she ran and slammed the door behind her,&quot; shows "suddenly." Instead of "Alice was fat," say "Alice's girth prevented her from buying just one airline seat."

Circle the -ly and very words and sit down with your Thesaurus and replace them with power words that describe or show emotion.

4. Reduce your passive -ing constructions.

Think of a title that inspired you in the past. I like "Jump Start your Book Sales" by Marilyn and Tom Ross. "Jump Starting" lacks power because it doesn't ask for action. "-Ing" construction implies passive. Next time you think heading, title, or even compelling copy, think command verbs as sentence starters as well as using other strong verbs and nouns. Keep your sentences active using verbs in either present or past tense.

5. Take the "I" out of your writing to satisfy your reader

Whether you write a book introduction, biography, chapter or web sales message (did you know these are part of the essential "hot-selling points?"), keep the "I's" to a minimum. Your audience doesn't care about you, only what you can do for them.<BR>Think about where your audience is now--their challenges or concerns. Remember to answer their question, "Why should I buy this from you?" Put a big YOU at the top of each page you write. Write three or four paragraphs. Then, circle the "I's" and vow to replace them with a "you" centered sentence or question.

So instead of telling your story, (I know that's important to you) put your story in the third person. Use another name, maybe a client's or friend's. If you think your bio is important, instead of placing a long passage on your home page, place it instead, on your "About Us" page. On your book's back cover, put your longer bio and photo inside the back cover page, so you can put more of what sells on your back cover--testimonials and benefits. Get everything you write checked by a book or writing coach to make sure it sells.

You cannot only get more sales from what you write, you can put yourself out there as the savvy friend to your audience who wants a problem solved. In the long run, these satisfied readers will return to you again and again--even buy your products and services.

Judy Cullins, 20-year book and Internet Marketing Coach, Author of 10 eBooks including "Write your eBook Fast," and "How to Market your Business on the Internet," she offers free help through her 2 monthly ezines, The Book Coach Says...and Business Tip of the Month at <A target="_new" href="http://www.bookcoaching.com/opt-in.shtml">http://www.bookcoaching.com/opt-in.shtml</a> and over 140 free articles. Email her at <a target="_new" href="mailto:Judy@bookcoaching.com">mailto:Judy@bookcoaching.com</a>

Should You Do a Writing Course?

First, let's tackle the question that is uppermost in many aspiring writers' minds: "Do I need to do a writing course to sell my writing?"

No. Absolutely not.

I have never done a writing course (the kind with assignments and feedback). Yet I've now had published (or have in production) around 56 books for children, half a dozen ghost-written titles, a co-written book on networking and self-promotion, dozens of articles, short stories, and even short poems for kids. Besides that, I've written promotional material for businesses and business professionals, speeches, blurbs for posters, educational materials, web site copy and more... the list is long.

How did I do it? <ul> <li>I always loved to read. Like most readers, I tend to 'absorb' the rhythms of the language, correct grammar and punctuation, and the conventions of many different writing genres - mystery, romance, suspense and so on. (There's a very good reason for so many people advising you to write what you like to read - you "know" the genre without having to study it!)

<li>I started buying "how-to" books on writing and marketing early in my career. You can learn pretty well everything you need to know from these books. The trick is USING what you learn. There are a lot of would-be writers out there who have groaning shelves full of how-to-write books - but who do very little actual writing.

<li>I subscribed to industry magazines such as The Writer's Digest and The Writer. I photocopied and filed the articles in relevant categories. Over time, I built up a considerable collection of 'how-to' articles.

<li>I attended writing workshops and joined professional associations. I volunteered to be on the Committee of one of these professional associations. In that capacity, I made lots of contacts - editors, agents, and authors.

<li>I joined writing support groups. I never actually started one of my own, but that's not a bad idea if you want to have the support of a critique circle.

<li>I WROTE. I experimented with fiction, articles, non-fiction and fiction. I wrote for adults and children. I found out what I liked to write and what I didn't like to write.

<li>I treated writing as a business. I've always invested in my writing career - by buying books, attending workshops and conferences (in Australia and overseas), buying good quality equipment and, in recent years, establishing an internet connection. </ul> Should YOU Do A Course?

What was right for me, however, may not be right for you. I had always excelled in English at school. I loved to write stories, from the time I was a child. I knew I had a good grasp on the mechanics of the English language. I was fairly certain that I could "teach myself" to write.

As it happened, I was right. BUT - If I had done a course, and received quality feedback on my work, I may have started getting my work published a bit sooner. A course involving carefully structured lessons and good feedback can show you what you're doing right and where you're going wrong early in your career.

As a tutor for several correspondence courses in writing, I have seen countless variations of the following comment: "I thought I knew how to write. But when I kept getting rejection letters, I decided to enrol in a course to see if that would give me any insights into why... I found out there was a lot I didn't know! Some of the mistakes I was making seem so obvious now!"

So, even though you think you know how to write, you may discover that: <ul> <li>Your style of writing is somewhat outdated.

<li>You haven't fully grasped the requirements of the particular genre for which you're writing.

<li>You are making mistakes in grammar and punctuation that you weren't aware of. </ul>

A few simple 'tricks of the trade' can take your writing to a whole new level very quickly.

The fact is, many of us can't "see" what we're doing wrong - until it's pointed out to us. And this is the case even if we've read advice about that very thing in a writing "how-to" book! If you are not having a lot of luck with your submissions, then a writing course could be just what you need to speed you on your way.

What Kind Of Course Would Be Best?

If you do decide to do a course, then shop around to find out what would be best for you. Don't rush into a decision. You'll find that writing courses vary in length, in quality, in mode of delivery, and in cost. For example, some "courses" on the Internet are free - but they're pretty much the same as reading a how-to book, because you don't get any feedback on your writing. These courses are really more like mini-seminars.

University Courses

There are plenty of university-level courses around. You may need a certain level of education to be eligible. These courses are useful if you want to have a university qualification on your CV (say if you want to use your writing skills to obtain a job or career position). If you attend regular lectures and tutorials, you also have the benefit of face to face interaction and immediate feedback on your writing.

The downside (for some) is that you could take years to get through the course, and you may have to take other subjects of very little interest to you to achieve that final qualification. And (it has to be said) some writers who want to work on "commercial" or popular fiction find that other students are only interested in literary fiction, and literary snobbery becomes a problem.

Short Writing Courses

There are a number of writing courses that let you pace your work to suit your lifestyle. For example, the company that markets the writing courses that I have written (I'm not going to name them here because this is not an ad - it's a general discussion of what's right for you!) allows students to take up to 5 years to finish the course. However, if you want to move through it quickly, you can do the course in 12 weeks. (One tutorial and assignment per week.) There are plenty of writers with talent and drive who can complete the course in this short time. They can then move on to advanced courses or just write up a storm and start marketing their work!

Internet Options

The internet is an incredibly fertile source of information and learning for writers. (For example, you subscribed to this free tipsheet!) Free information is everywhere. You can, however, also buy e-books on writing and enrol in structured writing courses with assignments and feedback. The fees vary.

The advantage of using the Internet is that you can work on the lessons at a time that suits you. You can email assignments away at two in the morning, if this is when you work best! Most courses allow you a fair bit of flexibility in the amount of time you take to finish the course.

The disadvantage of doing a course via the Internet is that some courses on offer have been around only a few months or a year. I recommend shorter courses, because if you decide to do a course over an extended period, you may find that the provider has shut up shop!

Community Colleges

Six- or eight-week courses in writing are often on offer through community colleges or night classes. These can be general in nature (Creative writing) or more specific (Writing for Children). Try to ensure that the person delivering the course has the expertise you require. It's your money! The benefits of these courses: they're short; they offer face-to-face interaction; they can provide you with the nucleus of a critique group if you all get on well.

Bottom Line

You don't have to do a writing course to get published, but it can certainly help. If you are at the stage where you need feedback on your writing before you can move on, then it's probably a good investment. But do your homework first - ask for testimonials and ask about the qualifications of the tutor. Check on how long you have to complete the course, and what happens if a family disaster takes you out for several months. Make sure it's the right course for you!

(c) copyright Marg McAlister

Marg McAlister has published magazine articles, short stories, books for children, ezines, promotional material, sales letters and web content. She has written 5 distance education courses on writing, and her online help for writers is popular all over the world. Sign up for her regular writers' tipsheet at <a target="_new" href="http://writing4success.com">http://www.writing4success.com/</a>

Get Your Writing Reviewed by Major Publications for Free

All Writers need the press, especially new writers. As a new novelist, I know I need name recognition. The best way for me to get the public to learn about my novel, The League, I figured, was to get some reviews in major magazines and newspapers.

Now, being unknown, this might seem like a tall task. It really isn't. In fact, I was shocked by how simple it really is.

In looking for media coverage for the May 2005 release of my novel, I first decided to approach magazines that focus on the area that is most closely related to the plot of my novel. So, I started with fantasy football magazines and websites, since my novel, The League, is about a group of wealthy men who play fantasy football for $30 million prize.

My approach was simple but effective. I e-mailed the editor or publisher of as many magazines and web sites as I could find that focus on professional football and fantasy football. I sent them the synopsis of my book, and I told them that my book has major appeal, because it is the only work of fiction of its kind. Then, I asked them for a review in their magazine or just a quote that I could put on the dust cover of my novel, with a tagline that would also promote their magazine or web site.

I found this method of self-promotion to be a lot like sales. I got about a five percent return -- that is five percent of the people I contacted actually gave me a review or a quote. All, just because I asked.

So, when you write your article, short story or novel, don't hesitate to ask people to review your work. You'll be shocked at the results.

Mark Barnes is the author of the new novel, The League, the first work of fiction, based on fantasy football. He is also an investment real estate and home loan finance expert. Learn more about his suspense thriller at <a target="_new" href="http://www.sportsnovels.com">http://www.sportsnovels.com</a>. Get his free mortgage finance course at <a target="_new" href="http://www.winningthemortgagegame.com">http://www.winningthemortgagegame.com</a>

Pairs/Groups Of Words Often Confused - Part 1 of 6

ACCEPT, EXCEPT
Not commonly seen even from unpublished writers, who are probably familiar with the difference because they're all waiting for an acceptance!

"We accept your invitation to your party, except for Bill, who will be away on that day."

ADAPT, ADEPT, ADOPT
Adapt means to adjust, adept means skilled and
adopt means to take as your own:

"Some people cannot adapt to new surroundings."
"He is very adept at dodging awkward questions."
"He tends to adopt the attitudes of those around him."

ADVERSE, AVERSE
Adverse means inauspicious, hostile; averse means disinclined, repelled.

"I'm very much averse to making a long, arduous journey under such adverse weather conditions."

ADVICE, ADVISE
Advice is the noun and advise the verb.

"His advice was that we should advise everybody to either stay away or be extremely careful."

AFFECT, EFFECT
Affect is a verb; effect is a noun.

"Bad weather will affect the quality of the fruit."
"The effect of bad weather is a reduction in fruit quality."

ALREADY, ALL READY
Already means by this time; all ready means prepared.

"Are you already packed?"
"Yes, I'm all ready to leave."

ALTOGETHER, ALL TOGETHER
Altogether means wholly; all together means everybody in a group:

"It's altogether too bad you can't come."
"All together, now: 'Good morning, Sir!'"

ALL RIGHT, ALRIGHT
All right is the correct form; alright is grammatically incorrect.

ALLUDE, ELUDE
Allude means to refer to; elude means to dodge or escape.

ALLUSION, ILLUSION
Allusion is an indirect reference or hint; illusion means deception or mirage.

ALL WAYS, ALWAYS
All ways means by every way or method; always means all the time, forever.

ANNUAL, ANNUL
Annual means yearly; annul means to make void or invalid.

ANYONE, ANY ONE
This is quite tricky. Anyone means anybody, any person at all; any one means any one person and is followed by "of".

"Does anyone else want to come?"
"Any one of you is welcome to come along."

APPRAISE, APPRISE
Appraise is to assess or estimate. Apprise is to inform or notify:

"I will appraise the situation and immediately apprise everybody of my conclusions."

Please don't make your character say or write anything like this, though--unless you want him to sound like a pompous twit!

ASCENT, ASSENT
Ascent is an upward movement; assent means agreement.

ASSISTANCE, ASSISTANTS
Assistance means help or aid; assistants is the plural of assistant, one who gives help.

ASSURE, ENSURE, INSURE
Assure means to guarantee; ensure means to make sure; insure means to protect against loss or damage:

"I assure you there's no call for alarm."
"To ensure your crockery doesn't get broken, wrap it all in bubble wrap."
"In case of breakage or loss, you should insure everything with a good insurance company."

About The Author
Laraine Anne Barker writes fantasy for young people. Visit her web site at <a target="_New" href="http://lbarker.orcon.net.nz">http://lbarker.orcon.net.nz</a> - Fantasy for Children & Young Adults for FREE stories and novel excerpts. Sign up for the NOVELLA OF THE MONTH CLUB, absolutely FREE!

Childrens Stories - The Essentials

There is no specific formula for children's fiction. There are, however, some necessities. Whether you are writing a humorous picture book or a coming-of-age novel for young adults, you will need: a main character, a setting, a problem or goal and a satisfying ending.

*Main character

Develop protagonists that your readers will care about. Create characters that are the same age or a little older than your target audience. Make them real and believable. Allow your characters to make mistakes and have embarrassing moments. Children aren't perfect. They can't identify with a protagonist who is. Give Molly Squinch an obsession with worms or the inability to complete anything. Make Henry Steed stumble and turn red when a certain teacher comes near. Develop a character who is real enough to be living next door.

*Setting

Your setting has to be clear, but incidental. This is where show, don't tell comes into play. Weave an awareness of the setting through action and dialogue. Don't allow the explanation of a setting to put the brakes on your pace. Children's eyes tend to glaze over when faced with blocks of description. You may have written an award-winning paragraph about a mountain backdrop creased by the glitter of a waterfall ? save it. Most ten-year-olds will not be interested. Use it for your next adult novel or postcard.

*Problem or goal

This is your plot. Give your character a problem, or a wish. Push him gently toward the solution to his problem or the fulfillment of his goal. Then toss in an obstacle. He must overcome it using his own ingenuity and/or skill. When he's succeeded, throw him another one and then maybe a third. You can make things even more interesting by making each hurdle a little higher than the last. The most important thing here is to allow the protagonist to conquer his own problems or achieve his own goals. Try not to depend on coincidences and avoid allowing an adult or older brother to swoop in and save the day.

*Satisfying ending

One aspect of a satisfying ending calls for a change in your main character. He must learn, accept, acheive or experience emotional growth. Your ending doesn't always have to be 'happily ever after' but it must be tight. Loose ends must be tucked in and all characters accounted for and placed in reasonable situations. It is best to avoid lingering questions at the end of a children's book.

You don't want to hear:

"So what happened to the guy with the yellow belt?" or "But that kid was in Africa, so how did he get there?"

You do want to hear:

"Aaaaaaah. I get it."

Pick up any children's storybook or middle-grade novel in your library or bookstore. You will find that most of them contain these four basic ingredients. From a picturebook about a child's fear of the basement to a fifteen-year-old's struggle with drinking, the essentials will be included. Exercise your imagination. Create a character you care about and give him a problem. Use a fascinating setting as a backdrop and allow your character to use his own ingenuity and skills to achieve his goal or get out of his predicament. With these essentials in mind, your children's story can become a success.

Ann Harth ? 2005

Ann Harth is a freelance ghostwriter, manuscript assessor, copyeditor, and published author. She has a Bachelor of Arts Degree and two professional writing diplomas. She is the assistant fiction editor of Moondance, a literary on-line magazine and a member of the creative writing staff of Storydog, a website for children. Ann writes a regular column on running a home business for the Writing4SuccessClub website. Her columns can be viewed at <a target="_new" href="http://www.writing4successclub.com/annharth6.htm">http://www.writing4successclub.com/annharth6.htm</a>

Additional information on Ann Harth's published work and freelance services can be found on her website at <a target="_new" href="http://www.annharth.com">http://www.annharth.com</a>

Power Writing 101: Tips and Tricks to Get You Taken Seriously!

In my ten years as an advertiser, I've encountered plenty of folks with a flair for writing. They were born having some idea of where to put the words within the sentence, and the sentences within the paragraph. They usually know what words to use ? when to say 'bloom' instead of 'grow,' or 'confused' instead of 'befuddled.'

But having a flair doesn't make them an expert in the field.

I'm an expert ad copywriter. But I can't write a journalistic piece to save my life. I have no experience in this area, and it's just not my bag. So I happily leave this task to the reporters. Likewise, a retailer, marketer or salesperson should leave the writing to the writer. Yet they seldom do.

A copywriter is forever trying to explain why he inserted a word where he did, or why he chose one expression over another. Frequently, a client or employer takes a writer's carefully constructed piece and turns it into a wordgarbage wasteland. An atrocity... of verbosity!

If you're such an offender, shame on you! Let your writer do the job he or she was hired for: to make you look good. But if you insist on meddling with the marketing, critiquing the catalog and butchering the brochure, you may as well learn how to do it right. Master the secret to writing that packs a punch and makes people view you as a credible source. Learn the tricks of the trade that will get you taken seriously!

Use concrete examples to prove your point. Repeating an idea in different words leaves your writing flat and empty. "We're great! We're so awesome! You won't believe how cool we are!" Why are you cool? Did you help a billion people save money last year? Did you rescue an endangered species from extinction? If you can't back your claim with solid evidence, no one will believe what you say. Be specific! &quot;I'm thinking of you&quot; might win brownie points, but &quot;I'm thinking of you in that little black dress you wore last weekend&quot;-now that'll actually get you somewhere!

Resist the temptation to cheer for yourself. You're good, and you know it. But if you must crow about it while doing your peacock strut, tell it to your mother because no one else cares. The world's consumers aren't interested in what you can do. They're interested in what you can do for them.

Don't pepper your writing with bad puns and kitschy wordplay. This is a weakness of mine. Puns come to me at the strangest times... in the shower, while I'm driving, as I'm trying to fall asleep. I want to paint the world with my puns, but alas, this is not appropriate! No one wants to click on their financial advisor's website and see him raving to everyone in the free world that he's &quot;so money, baby!&quot; Puns are fun, but the true meaning of a well-turned phrase is one that's used at the right time and in the right context.

Use the active voice. I forgot about this for a long time, and my writing suffered for it. The active voice lends a certain dynamic quality to your writing. &quot;The teacher wrote the words on the blackboard&quot; employs the active voice. &quot;The words on the blackboard were written by the teacher&quot; illustrates the passive voice. Don't be passive! Avoid any form of the verb to be, such as 'is', 'are', 'was', 'were'. Practice this by literally using your own voice. Read your writing aloud, doing your best &quot;announcer&quot; impression. If as you read, you find yourself lapsing into a sing-songy elementary-school kid reading his essay out loud, you probably failed the assignment.

Get rid of the &quot;asides&quot; in parentheses. They might look cute in an email to a girlfriend, but '&quot;asides&quot; that stray from the main point of an informative paragraph make you look like a scatterbrain. Interrupting a thought with an unrelated remark is distracting to the reader. It's a comedic tactic that plays out well in informal writing, but just doesn't fly in the real world.

Avoid the following: double negatives, redundancy, dangling participles.

The double negative: &quot;It's not impossible.&quot; Why not just say, &quot;It's possible.&quot; A negative plus a negative really does make a positive, even in writing!

Redundancy: &quot;We're also offering free gifts to our members too.&quot; 'Also' and 'too' may be at opposite ends of the sentence, but they're serving the same exact purpose and that means one has to go. Better: "We're also offering free gifts to our members."

Dangling participle: Beware the dangler in this sentence! &quot;Shivering with cold, Anne's hat barely covered her ears.&quot; Here, 'Shivering with cold' should modify Anne because she's the one who is shivering. The way this reads now, Anne's hat is the one with goosebumps. Acceptable: "Anne's hat barely covered her ears, and she shivered with cold."

Employ parallelism. Parallelism helps reinforce a point with repeated sentence structure. Bulletpoints best illustrate parallelism. An example:

The product effectively:

- relieves headaches
- eases tension
- boosts immunity

Notice that each bullet follows the same format: action verb, object of verb. To stray from this format is to do a disservice to the bullet. Paralellism also works in a sequence separated by commas. &quot;I like pie, I like cake, and I like pudding.&quot; Another example: &quot;She enjoys climbing, hiking, and fishing.&quot; The incorrect version of this sentence: &quot;She enjoys climbing, hiking, and to fish.&quot;

Avoid wordiness. Eliminate the following words and phrases from your vocabulary, and feel better about yourself: very, unique, being that, utilize/utilization, a lot, needless to say, it goes without saying, in back of, without a doubt, at some point in time, as to whether, it seems to me, oddly enough. They're just filler, and they're in the same category as their credibility-stealing cousins redundancy, the double negative, and the passive voice.

Go easy on the prepositional phrases. &quot;The girl who was sitting on the porch of the house that was up on the hill, felt the breeze as it was gently blowing through her hair.&quot; Eegads, what a mouthful! Correct this problem by breaking up your ideas into separate sentences. "The house stood atop the hill, and as the girl sat on the porch she felt the breeze blowing through her hair."

Use adjectives sparingly. &quot;What? But my English teacher taught me...&quot; Forget about what your teacher said. You're running with the big dogs now. Which is more interesting? &quot;The boy skipped happily and grinned openly,&quot; or &quot;The boy skipped down the hill, a grin playing about his face.&quot;

Don't repeat words. I repeat: don't repeat words.

Avoid hyphenating words that shouldn't be hyphenated. What is this new trend that's sweeping the nation? &quot;Put-on your coat.&quot; &quot;Please check-in before 9 pm.&quot; Hyphens are used to join two words that, when used in conjunction, take on another word form. &quot;Put on your coat&quot; doesn't require a hyphen because you can also say &quot;Put your coat on.&quot; 'Check-in' would require a hyphen if the sentence read like this: &quot;Check-in is at 9 pm.&quot; This is because check and in work together here as a noun. Hyphenation is tricky, I admit; even as a grammarian I must consult my styleguide from time to time. I suggest you do the same.

For the Love of God, SPELLCHECK! Enough said.

Don't over-exclaim or use excess punctuation marks in formal writing or advertising. And for God's sake please don't slip emoticons in to help you convey a feeling. That's what the vast English vocabulary is for. When people see you dropping exclam-bombs everywhere, they'll think you're cheap, tawdry and lacking design capabilities. Remember, you can use big bold fonts to make certain buzzwords jump right off the page.

Dashes ? and ? ellipses... are not acceptable ways to finesse a poorly constructed paragraph. There's nothing wrong with having two separate sentences instead of one that's broken up into sections. Dashes and ellipses are a copywriting crutch. I'm tempted by them just as much as the next guy. It's so easy to insert a little pause in my rambler of a run-on using those three cute little dots. The ellipse... I love it! But I must control myself. Make a simple statement, punctuate with finality, move on to the next idea. Don't underestimate the power of the period. We all need a break now and then!

Don't be afraid to use contractions. More and more I come across emails written by people who are either too lazy to use contractions, or they are simply fooled into thinking it is going to make them look smart. What's wrong with the sentence I just wrote? Contractions such as it's, I'm, we're, you're, they're, couldn't, wouldn't didn't, doesn't, aren't etc. are a way to sound conversational in writing. That's how people talk. What if you were making a formal speech? If you eliminated all the contractions, you'd sound pretty robotlike, wouldn't you?

One space will do. Those who are behind the writing times still type two spaces after an end punctuation mark. Modern word processing programs have eliminated the need for this, as they can sense the need for a skoche more room after periods, question marks and exclams. So as much as I applaud you for being fastidious in your space insertion, you can stop it right now. Do your clients a favor! They're not doubling up on spaces in their websites, so when you submit writing for them, don't you do it either.

This article is lengthy, but every single sentence holds weight. Read, and heed these words! Don't be an advertising amateur; if you really want to wow 'em with your wordsmithing wizardry, memorize and hold true to the writing rules outlined here. Above all: practice, practice, practice! Master these tactics, and you're sure to establish yourself as a writer with valuable insights, expert information and a powerful message to the world. And a writer like that gets taken seriously.

Copyright 2005 Dina Giolitto. All rights reserved.

Dina Giolitto is a New-Jersey based Copywriting Consultant with nine years' industry experience. Her current focus is web content and web marketing for a multitude of products and services although the bulk of her experience lies in retail for big-name companies like Toys"R"Us. Visit <a target="_new" href="http://www.wordfeeder.com">http://www.wordfeeder.com</a> for rates and samples.

The Many Paths to Plotting

For several years before I left teaching to write full time (over a decade ago now), I was a specialist reading teacher. I dealt mainly with two categories of kids:

<ul> <li>those who were struggling to read at all (I had to turn them into readers) and

<li>those who could read, but did it slowly and reluctantly (I had to build their enthusiasm and level of expertise)</ul>

Before I became a specialist in this subject, I had been a classroom teacher for some time. Every so often, there would be a new fad in the teaching of reading skills. Suddenly, all the 'old' methods were thrown out of the window. "Do it this way now," we would be instructed. We had no choice: the curriculum changed, and we had to change with it.

During my training to teach kids with reading problems, I was presented with further 'new methods'. They sounded good. And of course, there was always proof that the new ways worked 'better'. So, armed with my pristine Graduate Diploma in Special Education, I ventured out to try the new methods... again.

It wasn't too long before I conceded that, as usual, the new ways were no better than the old; they were just different. With fifteen years of teaching behind me, I finally had the courage to take matters into my own hands. I found a system that worked.

Did I invent a new system?

No.

Did I choose one method from the many that I'd tried over the years?

No.

I did the sensible thing. Realizing that every kid was different, I simply dipped into my grab-bag of experience from over the years, and used WHATEVER WORKED... for each class; for each child. (Duh!)

As a writer, I can't help but see the similarity between my experience as a reading teacher and what writers go through with plotting. You can read six books on plotting and come up with six different methods... and that's only a fraction of what's possible. The bottom line is, and always will be, DO WHAT WORKS. To know 'what works', of course, it's likely that you'll have to spend some time experimenting. Your method of plotting is likely to reflect your personality, but writers have been known to use different methods. Here are three basic approaches - moving from the least structured to the most.

1. Writing On The Fly

This is beloved of many writers. Some can't work any other way. They simply have a 'flash' of an idea (they 'see' a character, or imagine a situation like a car crash or a robbery) and off they go. They write while being able to see only a short way ahead - a bit like walking through fog - and write the whole book that way.

The Advantages Of This Method:

<ul><li>You don't have to plot ahead

<li>If you don't know what is coming next, perhaps the reader won't see it coming either

<li>It can be a lot of fun - not knowing where the story and/or characters are taking you!</ul>

The Disadvantages Of This Method:

<ul><li>You can 'paint yourself into a corner'. By the time you decide that a certain plot direction isn't going to work, you might have a dozen wasted chapters. At this point many writers ditch the whole story and start a new one rather than untangle the plot... lots of writing hours down the drain!

<li>You can actually end up with a plot that is too predictable (as opposed to one that 'surprises' the reader) because you tend to take the easiest route</ul>

2. Mind-Mapping

Good for right-brain types. A 'mind map' is sometimes referred to as 'a cluster diagram', or 'branching', or simply 'brainstorming'. Basically, you dump lots of ideas on a page so you can see the plot at a glance. Circles, arrows, lines and scribbles tend to be representative of this method of plotting.

Lots of writers find this method works wonders. While they scribble and link ideas, they are organizing the story in their minds. Although there's not a lot on the page, there's plenty going on in the grey matter. All of this 'sticks', and provides enough of a path so writers don't lose their way.

The Advantages Of This Method:

<ul><li>It's a good compromise. You have planned a route for your story, but you have plenty of room for side excursions if a better idea should occur.

<li>It feels comfortable for those who think more clearly when they use diagrams or pictures.

<li>It doesn't take up too much time.</ul>

The Disadvantages Of This Method

<ul><li>It can make some writers feel more confused than ever.

<li>It doesn't provide enough of a path for more organized writers.</ul>

3. Linear Plotting

Okay, hands up all the Virgos... (just kidding. ;) We know you're unfairly typecast as anal retentives when you're really free spirits.)

The fact is, some writers like to feel they have their bow in hand and all arrows steel-tipped and ready in the quiver before they start the trek. Well, fair enough. We all operate differently.

I know of writers who can't start writing the actual book until they have written an 80-page outline first. This is more like a slim version of the final book - they then go back and rewrite, fleshing it out. But before the 80-page outline came the list of characters, the time-line, the backstory for each character, the setting checklist... and so it goes on.

If this is the way you like to work, DO IT. Who says it 'wastes time'? Who says it 'takes the spontaneity out of your work'? So what if you could have written two books in the time it took you to prepare for one?

People who make comments like this show their preference to work in other ways, that's all. You probably wouldn't like their way of plotting. Remember, there's no 'right way' to plot. The right way for you is the one that works. Period. If you like to spend six months preparing before you start to write, then do it. It's your book, and your time.

The Advantages Of This Method:

<ul><li>You know exactly what you're writing next. No sitting there playing Solitaire or Free Cell while you're desperately wondering how to get the characters out of the impossible situation you've engineered.

<li>You can map the highs and lows of the plot and subplots so there's never a flat patch in the story.

<li>You know your characters and their motivation well before you begin.

<li>You can insert any necessary hooks, red herrings, and clues as you go along. (Writers using the first two methods above get around this by writing extra scenes later and planting them where necessary, and rewriting other scenes if required.)</ul>

The Disadvantages Of This Method:

<ul><li>The finished book can have a stilted feel to it, because you've locked yourself in from the start.

<li>You turn away from interesting alternative plot twists.

<li>It can take a long time to prepare.

<li>You are tempted to make the characters fit the plot, even if they 'want to' evolve in a different way</ul>

The methods outlined above merely give you a sense of both ends of the spectrum and the middle ground afforded by 'mind-mapping'. There are countless variations in between. Experiment with different methods of plotting your story; be prepared to adopt whatever works. And don't be surprised if a method that works for one story doesn't seem right for another!

Be flexible. Listen to your instincts. Listen to your characters! Then choose.

(c) Copyright Marg McAlister

Marg McAlister has published magazine articles, short stories, books for children, ezines, promotional material, sales letters and web content. She has written 5 distance education courses on writing, and her online help for writers is popular all over the world. Sign up for her regular writers' tipsheet at <a target="_new" href="http://writing4success.com">http://www.writing4success.com/</a>