Writing Tips for your Journey

Tips for your writing journey

So, you'd like to be a writer? Congrats! Writing not only is a great way to express yourself, but can provide an income. Keep in mind not all writers make a fortune, some still cant quit their day job. Below are some tips to start your writing journey.

1.Start Writing

Okay, so this tip is obvious. For some, it's a question of what to write about, for others how to write. Write how and what you want. What kind of books do you like to read? Fiction, Mystery, science fiction, how to books? How about articles, reports, maybe you're interested in journalism. Whatever the case may be, to get your creative juices flowing, start writing! Don't worry about how it sounds, grammar or other mistakes, you can go back to fix these.

2.Join online and offline groups/message boards and chats

If you already know what you want to write about, consider joining writer groups at your local library, or online groups, along with message boards and chats. It's a great way to network with other writers and published authors. It's also a good place to share your work and receive feedback. Many places online are free to join, some require a membership which usually consist of a user name, e-mail address and password for your user name. Some request more information such as a name, address and sometimes phone number.

3.The Library

You've probably heard about some books that writers refer to, this could be writer markets, e-book publishing, self publishing and generally how to improve your writing. But what do you do when you can't afford to buy these books from your local bookstore or online? A trip to your library is the key. Many libraries carry writer resource books, which if you have a library card, are free. If you're living out of the area, the library may require a fee for membership. The book you're looking for may not always be at your local library, however libraries borrow from other libraries in and out of state. The method of receiving outside books is called Inter-Library Loan. Later on, if you find the book to be a great resource, you may be able to purchase a used copy online.

4.Researching

The Internet is also another good resource for information. Keep in mind that not every resource you find online is going to be an honest good resource. It will take time to sort out which websites are useful. Most information is free, so you can sit back and research in the comfort of your home. If you don't have a computer with Internet access, check your local library and see if you can use one of theirs.

5.Workshops

Workshops taught by experts is a great way to learn from the professionals, but only if you can afford it! Make sure the topic of the workshop is based around your interest. For instance, if you love fiction..it wouldn't be a good idea to go to a workshop based only on non-fiction. It's a good idea to register early to ensure a spot at the event. Bring a new legal pad, plus a few writing tools to take notes.

6.Contents

After writing a while, you may want to enter contents. Some require an entry fee. I suggest staying away from the entry fee contents until you've entered some other free ones. That way you can get a feel for how contests work. Spend some time writing and re-writing your entries. If you've written your entry in 5 or so minutes, th judges will notice it immediately. You wouldn't want a reputation for sloppy work.

There you are, 6 tips to get you started on your journey to writing. Good Luck!

About the Author- Laura Hickey is the author of the children's book Mysterious Chills and Thrills- 10 short stories to tickle the imagination. It may be purchased at <a target="_new" href="http://www.laurahickey.com">http://www.laurahickey.com</a> Access Laura's press kit...interviews, book reviews, PR's and more.

A Book Note Vs a Book Report

Introduction

Since our early days of elementary education we have been familiar with what a book report entails. But do you know what a book note is? Good question you say? Great! Read on and together we can explore the relationship between the two.

Preparing the Reader

For starters, a book report provides the reader with general background information such as the setting and time period. Where does the story take place? When is all this occurring? For a reader it is important to have some sort of working knowledge of the book, before diving right in. This working knowledge of the book can enhance our understanding of the events and circumstances found within the book. The setting and time period can explain many things concerning the actions, behavior, and personalities of the characters that might otherwise be misinterpreted.

Likewise a book note offers up similar information for the reader to consider before setting out to read the book. It provides the reader with insight into the objective and focus of the book. Just like it is difficult to find the solution to a problem if one does not really have a firm grasp of the problem, it can be challenging to completely understand and get the most out of a book if the book's primary mission is lost on the reader. It can answer questions like what is the purpose of this book or what is the author's main argument. A book note might also offer up additional information, such as the style the author employs to support his/her argument. It will inform the reader who the intended audience is, so that the reader will have a better idea as to whether this book will prove to be a good read. In their own unique way, book reports and book notes prepare and inform the reader before delving into their book of choice.

Teaser vs. Review

However, a book report offers more information than just a simple description of the setting and time period. It also introduces the reader to the main characters of the book, granting the reader a feel for what the characters will be like. In addition, a book report almost always offers the reader a taste of the plot, employing extreme caution not to spoil it. This provides the reader with a convincing reason to read the book, having just wetted their appetite with a suspenseful synopsis of the storyline. A good summary of the plot will relate the adventures of the main characters, and offer insight as to what the main characters are trying to overcome or achieve. The summary of the plot might also include a few particular events that happen to the main characters.

On the other hand the second half of a book note has a more personal feel to it as it seeks to provide just one person's individual assessment of the read. Its primary objective is to provide the reader with a personal evaluation of the book in question. It might examine how the author achieved or failed to achieve the perceived objective of the book. Often times a book note will explore the good, bad, and ugly of the book. What did the author do well? What didn't the author do well? What are the shortcomings of the book? In what regard can the book be considered a success? Finally, a book note will discuss the overall quality of the book. Like a movie review, the book note should help the reader decide if the book is worth his/her time or not.

Adam Smith is a client account specialist with <a target="_new" href="http://www.10xMarketing.com">http://www.10xMarketing.com</a> ? More Visitors. More Buyers. More Revenue. For more information, visit <a target="_new" href="http://www.oneminutemillionaire.com/affiliate/glossary/book-note.asp">http://www.oneminutemillionaire.com/affiliate/glossary/book-note.asp</a>

Dont Make This Huge Writing Mistake!

You can create a great headline, a dynamic first sentence, and a brilliant lead paragraph. But if you can't hold readers during those middle paragraphs, they'll never see your conclusion.

What can you do? Here are seven ways to anchor that wayward reader from your first paragraph to your last:

1. QUESTION ? Ask a question in the last sentence of the opening paragraph. Example: &quot;What did the three little pigs learn when they went out on their own?&quot;

2. ANOTHER QUESTION ? If you don't ask a question as the last sentence of your opening paragraph, try asking it in the first sentence of a few middle paragraphs. Example: &quot;What did Pig # 1 discover?&quot;

3. BACKGROUND ? Bring the reader up-to-date on a problem. Example: &quot;As you might remember from the original fable, the three pigs wandered off in different directions, each with completely different plans.&quot;

4. PROMISE ? Offer a few specifics in a paragraph, and offer to reveal more details later. Example: &quot;The three pigs each built separate houses, which we'll discuss in detail later.&quot;

5. CLARIFY ? Show the reader that you're about to explain some previously unrevealed data. Example: &quot;If Pig # 1 had built a stronger house, would he be out of danger?&quot;

6. REMIND ? Reinforce points made in earlier paragraphs. Example: &quot;Remember that each pig needed to find a house quickly.&quot;

7. LIST ? Make a list of items previously discussed. Example: &quot;Yes, the pigs left their original dwelling for three reasons: (a) Etc., etc.&quot;

8. INVOLVE THE READER ? Ask the reader what he or she would do in similar circumstances. Example: &quot;What would you do if your house fell down, and a wolf began to chase you?&quot;

Bottom line: A transitional paragraph is like a combination road map and compass. It should keep the reader headed in the right direction and simultaneously point toward a goal.

Rix Quinn covers all sorts of writing techniques in his book &quot;Words That Stick: A Guide to Short Writing with Big Impact.&quot; It's available in your local bookstore, or <a target="_new" href="http://www.amazon.com/exec/obidos/ASIN/1580085768/qid/">http://www.amazon.com/exec/obidos/ASIN/1580085768/qid/</a>

The Magic of Layout in Your Story

"The Magic of Layout..."???

Okay... "magic" might seem a bit over the top when you first read this article title. But believe me, although it doesn't involve incantations or bubbling cauldrons, careful selection of layout does work magic on the reader.

Picture book authors understand this (as do parents and others who read a lot of picture books aloud). By moving a sentence - or even a word - to the next line, the author can add a lot of impact to the text.

When a word or sentence is moved to a new paragraph, the reader automatically pauses before reading it. This might be a physical pause, if the story is being read aloud, or it might be a mental pause. This can create tension, or set the reader up for a humorous twist, or add emphasis to one word alone.

Let me demonstrate.

TAKE ONE

Ben hauled himself over the sill and dropped silently into the room. He moved to one side, away from the window, and waited several minutes while his eyes adjusted to the dark. Objects in the room gradually began to take shape, defined by the bright moonlight. Ben mentally traced the path he would tread to get to the door; he didn't want to bump into anything, or send something crashing to the floor. Just as he was about to move, he heard a sound. A quiet sound... a sort of whispery scrape. No, not a scrape exactly. He listened harder; all senses on alert. Then there was a creak... and another. He realised it was coming from the hall outside. Someone was making an effort to move quietly. Ben took a few quick steps to one side, and crouched in a corner, half behind a chair. Then the door swung open and a figure was outlined in the dim light cast by the low-watt bulb in the hallway. His heart thumping, Ben exhaled slowly. It was McInerny in his dressing gown and slippers. The above is written in one 'solid' paragraph. It tells the story, but it fails to take advantage of the opportunities offered to build suspense. The pacing seems rushed; the tension doesn't really build.

We can change this simply by changing the layout. Sometimes, you will have to change the sentence itself to achieve the effect you want. You might have to shorten it, or use a sentence fragment (these often do a better job of reflecting someone's thoughts than complete sentences). You might find that you get the effect you want by putting a word or phrase in a paragraph on its own.

Let's experiment:

TAKE TWO

Ben hauled himself over the sill and dropped silently into the room. He moved to one side, away from the window, and waited several minutes while his eyes adjusted to the dark.

Objects in the room gradually began to take shape, defined by the bright moonlight. Ben scanned the room, mentally tracing the path he would follow to get to the door. He didn't want to bump into anything, or send something crashing to the floor.

Just as he was about to move, he heard something.

A quiet sound... a sort of whispery scrape.

No, not a scrape exactly. He listened harder; all senses on alert.

A creak. Then another.

Shuffle...creak.

It was coming from the hall outside, and getting closer. Someone was making an effort to move quietly.

Ben slid a few steps sideways into the corner, and crouched, half behind a chair. He shouldn't be immediately visible if anyone came in.

The door swung open. A figure was outlined in the dim light cast by the low-watt bulb out in the hallway. Ben exhaled slowly, his heart beating fast.

McInerny. In his dressing gown and slippers.

ANALYSIS

What we've done in the scene above is take one long paragraph and break it into ten paragraphs. This is quite a dramatic change... but it has been done with an eye to building in a lot more tension.

Imagine what it's like for Ben, dropping in through the window in this dark house. We don't know why he's there (since I just made it up) and we don't know how much of a threat McInerny is. But the point is, we have created suspense by showing the reader that Ben doesn't want to be seen or heard. By creating many more pauses - by making the reader wait until the next paragraph to find out what happens - we mimic the breathlessness and anticipation felt by Ben. (Remember, suspense is created not so much what happens as the anticipation of what will happen.)

Ben has come in through the window, so we can assume he's not supposed to be there. He doesn't want to make a noise or reveal his presence... so he's either afraid of being discovered, or he wants to keep his visit a secret.

Either way, we need to keep the reader on the edge of his or her seat. We can do this much more effectively by manipulating the layout, as you have seen.

PLACEMENT OF SPEECH TAGS

Changing the layout or structure of a sentence can work wonders in dialogue, too. Most writers tend to put a speech tag on the end of a sentence:

"I thought I left it at home," he said. That works just fine with short snippets of dialogue. But when you've got a character relaying a lot of information, you can give the reader a mental breather by moving the speech tag to the middle.

NOT THIS:

"I had no idea that he was involved in anything like this. As far as we knew, he just went to work every day. He always came home looking as though he'd done a day's work - dirty clothes and a black face. But come to think of it, he started working different hours about a month ago. If the boss wanted to keep going on a job they'd do a few hours overtime... or that's what he told us. Now it sounds like he wasn't even at work half the time," said Jenny. BUT THIS:

"I had no idea that he was involved in anything like this. As far as we knew, he just went to work every day," said Jenny. "He always came home looking as though he'd done a day's work - dirty clothes and a black face." She glanced across at Monroe. "But come to think of it, he started working different hours about a month ago. If the boss wanted to keep going on a job they'd do a few hours overtime... or that's what he told us. Now it sounds like he wasn't even at work half the time." In the first example, there's a fairly big chunk of dialogue followed by 'said Jenny'. This lessens the impact of what has been said, and the whole paragraph has been written so the reader isn't offered any 'mental pauses'. By inserting 'said Jenny' after the first two sentences, we're giving the reader time to absorb some information before going on to the next bit.

The sentence "She glanced across at Monroe" helps us to picture Jenny's actions as well as giving another 'pause' during which she seems to be processing the information she's just found out - and follows it up with more information: that he had been keeping different hours. This has added impact because it's offset from the rest of what Jenny has to say.

Next time you're editing your manuscript, play around with the words and paragraphs. See what happens if you create these mental pauses. Look at the page and judge the effect of building in a lot more white space, instead of one big, dense paragraph. You're sure to find that a simple thing like changing the layout can add a lot of zing to your style!

(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>

Self-examination vs Self-indulgence

Self-examination is brutally honest. Self-indulgence is brutally maudlin.

Writing requires the author to be harshly candid about motive, intent, and goal, which, of course, mean self-examination. On the other hand, a lack of sincerity becomes self-indulgence, which is self-pitying.

Writers must know why they are writing, their motive. Is it for money, acclaim, or self-satisfaction? Is it to inform, entertain, or convince the reader? Is it to fulfill a desire to titillate, deceive, or subvert the reader? The author must be sincere when he or she considers the desire.

Generally speaking, writers have more than one goal as they compose. In today's world where non-fiction makes up the greatest percentage of writing, the motive is to inform or convince with the secondary motive being financial. Most authors want to be published to acquire financial assets or to become wealthy, but the first consideration is to have something to say that is relevant to the intended readership. Fiction writers often write for a need to express themselves and to entertain while poets put forth their passion to amuse, to beguile, to foment, to excite, and to purge. All writers, therefore, must establish their motive and be conscientious.

Thus writers have three goals--to inform, to entertain, and to convince. In this world of information overload, the writer has an important role because dissemination of information is, for the most part, achieved through the written word, even in television. Before the pictures, comes the text and writers generate this although they often work behind the scenes.

Entertainment is accomplished through the eyes, the ears, and other senses, but, again, before this happens, the writer is the primary source of the ideas that become articles, books, movies, or television programs. Last but not least, is the motive to convince, and again the writer is responsible for this. Advertising, political campaigning, religion--all want to persuade the reader, audience, spectators, and listeners that it to their advantage to accept what is offered. Behind the scene, again, is the writer.

Thus, the writer must submit to self-examination with candor and intensity to be sure that motives are fulfilling, not just self-gratifying. If it is self-indulgence then it is effusively sentimental, lacking in substance and fidelity-the dedicated writer's anathema.

Charles Goulet has a BA in history and BEd in English literature. He has several historical novels published.

Charles O. Goulet
RR 1
Evansburg, AB
T0E 0T0
<a href="mailto:go1c@telusplanet.net">go1c@telusplanet.net</a>

Creative Writing Tips - Does The Name You Chose Suit Your Character?

How do you choose a name? Do you put down the first name that pops into your mind? Initially that's what I used to do, until someone pointed out to me that there are a few things to take into consideration when choosing a name?

1. You Have To Be Comfortable With It

We associate names with people we know. If you like a certain name but know and dislike a person who bears it, will you feel comfortable using that name in your story?

Will you mentally shut that person out or will you be reminded of them each time you type that name?

Our characters have to be likable to us before they can become likeable to our readers. Will your dislike for that person transfer to your character?

2. It Must Be Easy To Pronounce

The English language can be, at times, misleading. How many words, and even names we spell one way and pronounce another? If the name you have chosen falls into this category, will your readers know how to pronounce it?

For years I use to pronounce the beautiful name 'Sean' exactly how it's written 'Seen,' when it's pronounced by the much nicer sounding 'Shorn.' Will the name you choose bear the same problem?

If you choose a difficult pronouncing name for your character and worse, one that's not widely known, you stand to lose the effect of that name. A beautiful sounding name can be utterly destroyed if your reader doesn't know how to pronounce it.

Your story has to flow. If the name you've chosen is not easy to pronounce, the readers will constantly stop each time they come across it. This will disrupt the flow of your story.

3. Foreign Sounding Names

The same as the above applies to foreign sounding names. They must be easy to pronounce. Consider the following:

<ul>

<li>Yahiya

<li>Indihar

<li>Gschu

<li>Lyudmila

</ul>

These names sound exotic but they don't exactly roll off the tongue. Should you compromise the flow of the story for the sake of a name?

4. Does The Name Suit Your Character?

Not all names suit all people and not all names will suit all characters. Like clothing and hairstyles, names go out of fashion too.

For example...

Let's say your heroine is a lively, upbeat, modern lady. Will it suit her type of personality if we choose the name 'Mabel'? 'Mabel' we usually associate with an elderly aunt or grandmother.

What about your hero? Let's say he's a young man who possesses a powerful personality. Will the name 'Hubert?' suit him? 'Hubert' would suit an elderly character or perhaps a 'quiet' character.

5. They Shouldn't Start With The Same Letter

If you're going to have two main characters in your story and their names start with the same letter, it will read a little awkwardly.

Example?

<ul>

<li>David and Debra

<li>Sam and Sue

<li>George and Gina

</ul>

6. Surnames

Like we carefully choose the first name for our characters, we have to be careful when selecting their surnames. Just like first names, there are certain surnames, which sound better than others.

When selecting a surname, make sure it has a pleasant ring, when used with the first name. Using names, which rhyme like, Jeff Jefferson, sound amusing. If this is the effect you wish to create then using it is fine.

7. Stereotype Names

Are you thinking of naming your character Adolph or Judas? There's nothing wrong with these names, except for the fact that we tend to associate them with that single person in history who bore them. Will your reader trust your hero if you name him Judas?

8. Famous Names

I recall a quote I once read which went something like this?

&quot;Nothing grows under the shade of a tree.&quot;

If you name your character Elvis, Madonna etc.. Will your character be able to outshine the ultra famous person of whom the world knows? I doubt it.

~~~~~~~~~~~~~~~~~~

When naming characters there are also a few other points to consider?

Naming them will not only depend on what kind of people they are, but who their parents or guardians were (if the parents or guardians play some sort of role in your story). After all, we don't name ourselves, do we? So take into consideration the following?

1) What kind of people are the parents?

a) Free spirited?

Unusual names will rank highly amongst people like this.

For example,

<ul>

<li>The seasons of the year

<li>Or perhaps a month in the year

<li>Or an object

<li>Etc

</ul>

b) Conservative?

These types of people tend to use the full name rather than an abbreviated version of it.

For example,

<ul>

<li>Kathleen instead of Kat

<li>Michael instead of Mike

<li>Etc

</ul>

2) What Is The Parents/Guardians Nationality?

If they're traditional, they will choose a name, which is popular in their country. Also traditional parents/guardians tend to give their children the names of their own parents or other relatives.

Look at the name you chose for your main characters. Does the name suit them?

About The Author

Besides his passion for writing, Nick Vernon runs an online gift site where you will find gift information, articles and readers' funny stories. Visit <a href="http://www.we-recommend.com" target="_new">http://www.we-recommend.com</a>

Hunting for Markets Over the Holidays

Chances are, you'll be busy over the next several weeks. Between preparing for, celebrating, and unwinding from the holidays it may be difficult to maintain your regular writing routine. And if researching potential homes for your work is part of that routine-as it is for many of us who regularly submit stories, essays, poems, articles, and reviews for publication-you may be worried about falling behind.

But it's time to put those worries to rest. In truth, there are many ways to keep up with your market-hunting over the holidays. Here are just four possibilities:

1) When you visit friends and family, peruse the magazines they may have on their coffee tables or stacked in their recycling bins. Chances are they may subscribe to some that you don't receive. Who knows how many new markets you may discover? (Just be sure to ask for permission before you start rummaging!)

2) Be bold with your gift list. If someone close to you should ask what you might like for the holidays, go ahead and say it. Go ahead and tell that person: "I'd like you to bring me/send me all the magazines you've received for the past six months-and haven't yet thrown out." That person won't need to shop, and you will be able to spend the rest of the winter researching markets.

3) If you'll be traveling, take advantage of any complimentary publications that may come your way: inflight magazines, morning newspapers at hotels, and so on. Again, these may provide you sample issues for markets that you haven't considered before.

4) If you're visiting anyone out-of-town, stop by the local library, and check out the magazines the library keeps stocked. It's quite likely that you'll discover some-especially regional publications-that you won't be able to research as easily back home.

Can you think of other possibilities? Add them to the list! Happy holidays, and happy market-hunting.

(C) Copyright 2004 Erika Dreifus. All rights reserved. Article reprint permission is granted provided that the entire article, including the "About the Author" information--remains intact and unaltered. Please send a courtesy copy of the reprint to erikadrei (at ) yahoo (dot) com

Erika Dreifus (Ed.M., M.F.A., Ph.D.) edits the free monthly newsletter, "The Practicing Writer," and has published several resource guides, including "The Practicing Writer's Directory of Paying Short Story Markets" and "The Practicing Writer's Directory of Paying Poetry Markets." Visit her website at <a target="_new" href="http://www.practicing-writer.com">http://www.practicing-writer.com</a> to learn more.

How to Avoid the 11 Biggest Mistakes of First Time Authors

&quot;If you want to change your life,&quot; Harry Beckwith wrote in The Invisible Touch, &quot;write a book.&quot; But writing a book can also be tremendously frustrating and unrewarding.

Following are the 11 biggest reasons most first-time authors fail to receive the rewards they are due.

1. Unrealistic expectations. Don't expect to get rich off your book, even if it's a success by publishing standards. The vast majority of books fail to earn out their advance.

Instead, develop a personal marketing plan to leverage your career off your book. Instead of trying to make money on the book itself, use your book to open doors, promote your credibility and build relationships with readers.

2. Writing without a contract. Never write a book without a signed contract. Instead, prepare a polished proposal and two sample chapters.

Publishers are increasingly selective about the titles they accept. Often, less than 1 in 20 titles proposed are published. Writing a book that isn't accepted is not a good use of your time.

3. No agent. You must be represented by a literary agent. Publishers rarely accept unsolicited book proposals. Unsolicited proposals are frequently returned unread or are simply discarded.

The right agent will know exactly which publishers might be interested in your book. Agents can also negotiate terms more effectively than you.

4. Weak titles. Titles sell books. The title of your book is like the headline of an advertisement. The title represents your one and only chance to attract the attention of acquisition editors or bookstore readers.

Successful titles stress the benefits readers will gain from your book. Successful titles arouse curiosity and offer solutions. They often include consonants and alliteration (repeated 'hard' sounds like G, K, P or T).

5. Title versus series. Focus on a series of books rather than an individual title. Publishers want concepts that can be expanded into a series rather than individual titles.

6. Going it alone. Successful careers involve a nurturing support group of readers and peers. Your quest should include the support of your friends, other authors, book coaches, readers and others who will help you maintain your enthusiasm while providing ideas, assistance and feedback.

7. 'Event' writing. Write a little each day rather than 'going away' to write your book. Stress is an author's biggest enemy. When you attempt marathon writing, you're putting an unrealistic burden on yourself. &quot;What happens if I come back and my book isn't written?&quot;

8. Self-editing. Avoid unnecessary self-editing. It's far more important to complete the first draft of your book than to agonize over the perfection of every word.

Editors will ensure that grammar is correct and ideas appear in the proper order. But they can't do anything until you submit the final manuscript.

9. Failure to promote. Publishers are not promoters. Publishers are skilled at editing, manufacturing and distributing books. But they are not set up to give your book the marketing attention it deserves. A single publicist may represent over 100 books!

If you want your book to succeed, you have to promote it as well as write it.

10. Failure to back up and save. Save frequently when writing. Always save before printing. Never turn off your computer without making a copy of your files for off-premises storage. Never end a writing session without printing out a hard copy of the latest version of the chapter you're writing.

11. Failure to plan future profits. Before writing your book, create a book marketing plan. Book sales should be just the first step in an ongoing relationship with your readers. Your plan should identify opportunities from consulting, newsletters, audio/video recordings, seminars, speeches and yearly updates.

A book can, indeed, change your life. But you must take charge; take a proactive role in promoting and leveraging its success.

Roger C. Parker knows the secrets to promoting your business one page at a time. Find out the simple way to keep in constant touch with your customers, while saving you time and money. Visit <a target="_new" href="http://www.OnePageNewsletters.com">http://www.OnePageNewsletters.com</a> for your three free reports.

Become the Writer You Always Dreamed of Being

So you want to be a writer, except you don't know where to begin. Heck you can't even think of something to write about let alone how you're going to get paid for writing. Maybe you have gotten over those humps but can't figure out why you're not a successful, awarding winning writer yet. Well, here are several tips to get you through all of those problems and then some.

1. Plan What You are Going to Write ? This is very important whether you are just beginning to write or have been writing for years. Simply put you need to know what you're talking about. Many times we as writers get bogged down in what we call 'writer's block' but all that really means is that we can't think of anything to say. If you take whatever idea you have and start writing down the points you'd like to make about that idea, then the words will flow naturally. Also it planning what you are going to say ahead of time saves on time when you actually sit down to write out that story or article you have in mind.

2. Write Everyday ? And yes I do mean EVERYDAY. If you are serious about writing then you have to treat it like you would a regular job. That means you need to get up go to your office (a.k.a. your computer) and get to writing. Rain, hail, sleet or snow you need to write. Regardless of what you have to do that day you need to set aside time to write. Which brings me to my next point?

3. Have a Specific Time Set Aside for Writing and Adhere to that Time ? This is important if you're going to establish the discipline necessary to become a serious and successful writer. You have to find a time frame that works for you and stick to that time frame. No excuses. The main reasons why budding writers don't succeed is because they lack discipline. And the only way you gain discipline is by doing something over and over again, writing everyday and writing at the same time everyday will help you gain the discipline you will need to be a success.

4. Write About what You Know and what You Don't Know, Research ? When you're first starting out the best thing you can do is to write about something you know. If you don't know anything about astronomy, don't write about it. It is much easier to write an interesting and compelling article about something you know and are passionate about then to write about something you're clueless about. As time goes on and you become a better writer then you can approach topics that interest you but you may not be well versed on. Research is the key. The Internet, books, magazines, periodicals, be thorough and make sure if you borrow someone's idea that you credit them for it. Plagiarism is the ultimate sin for a writer.

5. Seek Constructive Criticism ? Yes I want you to seek criticism. This isn't a bad thing. Sure we all want to hear how wonderful we are and what great writers we are but the positive comments, while ego boosting, aren't going to make us better writers, the negative ones are. Constructive criticism isn't about being cruel or mean it is about telling someone what works and doesn't work about what you're writing which will ultimately make you a better writer. So give your work to people you trust, whose opinions you value and who you know will be honest with you no matter what. Sure, it may sting a little at first, but you'll eventually thank them for their honesty and you'll see the results of their criticism as your writing improves.

6. Submit Your Work to as Many Sources as Possible as Often as Possible ? You should be sending out your work everyday or at the very least once a week. Query letters, reviews, manuscripts it doesn't matter; if you want to be successful as a writer then you have to submit your work as often as possible and to as many sources as possible. Research the magazines or periodicals, etc. you're submitting your work to before you send them anything. You need to make sure that what you are looking to send then is something they are looking for and you need to have a through understanding of their guidelines for submissions. If you expect someone to give you a paying job then this is the only way to go about it. Also submitting your work gets you into the habit of viewing your writing as a business and not just a hobby.

7. Have Fun ? Lastly the most important thing to remember is to have fun, enjoy yourself. This is something you've dreamed of doing and while it is a lot of hard work it should be enjoyable and not a chore.

Tamika Johnson is a freelance writer and owner of PrologueReviews.com. To read more articles by Tamika and to recieve FREE tips on becoming a successful writer visit <a target="_new" href="http://www.prologuereviews.com">http://www.prologuereviews.com</a>

Sense of Place

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

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

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

Another attempt is to list things.

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

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

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

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

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

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

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

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

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

Later: &quot;He looked around for the closest house.&quot;

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

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

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

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

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

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

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

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

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

About The Author

Karyn Follis Cheatham, a 23-year member of Western Writers of America, has authored eight books, including Dennis Banks, Native American Activist (Finalist for the 1998 Spur Award). She has edited for magazines and publishing houses, and her articles and poetry appear in national journals and newspapers. Her books can be purchased through Writers West <a href="http://writerswest.com/" target="_new">http://writerswest.com/</a> web site: <a href="http://kaios.com/karyn/litserv.htm" target="_new">http://kaios.com/karyn/litserv.htm</a> e-mail: <a href="mailto:karyn@kaios.com">karyn@kaios.com</a>

<a href="mailto:aqk@kaios.com">aqk@kaios.com</a>

Screenwriting and Screenwriters ? beyond Syd Field

Without denigrating the work and contribution of Syd Field to the art of screenwriting, it is about time many screenwriters moved on.

Syd Field gave us the plot point - a clearer definition of what was previously known as the &quot;twist&quot; - as well as other concepts such as the &quot;pinch&quot; and midpoint. His work is still a valuable start point for screenwriters.

Syd Field's midpoint analysis moved us towards four-act structure, which is well established in many cultures, whereas western culture still tends to dwell on three acts.

It seems as though Syd Field had some issues with the mid-point, one of them being that the inclusion of the mid point and consequently four act structure does not fit well with all stories ? his attempt at preciseness resulted in a consequential lack of broadness and hence greater critical analysis as a template.

Hollywood has implicitly accepted four act structure ? most movies now have a high point midway ? usually a catastrophic event for the protagonist. Resistance to four-act structure is probably a result of our theatrical heritage.

But moving light years ahead in terms of structure is the Hero's Journey.

Ironically, Campbell published Hero with a Thousand Faces before Syd Field published his work. Vogler wrote an easy to read update in 1992 (The Writer's Journey). The Hero's journey is a well established anthropological analysis of stories across cultures.

Depending on the interpretation, there were 17, 18 or 19 stages to the Hero's Journey. But a modern, detailed analysis reveals at least 106.

There is some rejection of the Hero's Journey as a universal template primarily because the archetypes (Mentor, Shape Shifter, Threshold Guardians etc) refer to the Quest, Fable, Fantastic et al genres. However, this is a misunderstanding as a metaphoric and symbolic interpretation leads to such classics as Midnight Cowboy and Get Carter, the original Michael Caine classic.

Ultimately, the Hero's Journey is a much more sophisticated study of Story Structure than Syd Field's analysis ? and story structure is the most fundamental and critical of the skills that screenwriters need to possess.

Other theorists, such as McKee in Story are not as structure orientated, but their input when debating structure, is also indicative to it's importance. For example, McKee rightly states that the screenwriting process should involve a step-outline, treatment and then a words-on-paper first draft.

The thing that held us back was this idea that a template had to be broad, which made sense if that template had to explain many stories. But a conceptual leap is the understanding that detailed templates, which may not each explain large numbers of stories, when taken together, can be more useful tools.

Further, whereas Syd Field's analysis left the screenwriter with yawning gaps - the need to fill 30 and 60 pages ? detailed templates overcome this problem.

Whereas Syd Field had difficulty with four acts, we are now playing with story structures with potentially 150 acts. This is the natural result of analysing sequences as opposed to acts.

It is like comparing today's scientific analyses to Middle Aged analyses using Fire, Water, Earth and Air.

In conclusion, it is time screenwriters moved beyond Syd Field.

A detailed Hero's Journey analysis and related story structure templates can be found at http://www.managing-creativity.com/

You can also receive a regular, free newsletter by entering your email address at this site.

Kal Bishop, MBA

**********************************

You are free to reproduce this article as long as no changes are made and the author's name and site URL are retained.

Kal Bishop is a management consultant based in London, UK. He has consulted in the visual media and software industries and for clients such as Toshiba and Transport for London. He has led Improv, creativity and innovation workshops, exhibited artwork in San Francisco, Los Angeles and London and written a number of screenplays. He is a passionate traveller. He can be reached on <a target="_new" href="http://www.managing-creativity.com">http://www.managing-creativity.com</a>

Mind Mapping Your Journal Entries

Clustering, also called Mind Mapping, is a great way to save space and time when you journal. For those of you that aren't familiar with Mind Mapping, you can search in Google on the words or reading one of Tony Buzan's (the creator) books. At the end I've included the ten basic rules of Mind Mapping.

A Mind Map is a powerful graphic technique that harnesses words, images, numbers, logic, rhythm, color and spatial skills. Unlike linear notes, it allows your mind to work with expansion.

Mind Maps are an incredibly powerful memory tool. As I was studying for my CPA exam, I created a very large detailed Mind Map that covered several walls in my home office. When I was taking the exam I could close my eyes and see the Mind Map and go right to the answer.

We both know a picture says a thousand words. In Mind Mapping, you can use one word to trigger a set of memories or you can draw a picture (artistry doesn't matter) that represents a story or memory for you.

You can use the Mind Mapping or Clustering techniques to record a single event or a whole day of events. If you are working on time management, you can also use a Mind Map to track time and tasks. For this, you will want to turn the paper landscape, add a center picture, like a clock, and use the branches pointing the same way as the clock's hour -- noon or midnight would be straight up, one o'clock slightly to the right of midnight, etc. The subbranches would be one word representing your focus or task during that time.

After attending a personal development event or that evening I like to reflect on my experience by drawing a Map from what I recall. This is a great way to transfer my thoughts from short term to long term memory. If I took notes I choose one word or image that represents each though per single branch for each area. When I remember a thought that doesn't connects clearly, I record a trigger word of what I do remember along with a question mark right before I turn in for the night. By morning I have the answer or a complete picture that build on that Map. Sometimes the morning also brings additional ideas or fuel for thought.

By keeping your Maps or Clusters in your journal -- usually all in one place -- you can quickly review previous Maps to build upon. Since Maps provide a master aerial view it's easier to see how the dots connect -- the aha moments or unmasking patterns. They stand out easier than in linear notes.

Maps also shorten the journaling time. What might normally take pages or an hour in linear writing now take 15 minutes.

Being creative and having fun with this technique is important to the experience. Mapping encourages the use of colored pencils, pens and the use of images in place of words. My drawing skills haven't improved since third grade yet after a few hundred lopsided airplanes I can now draw them from several angles. But I'm still sticking with stick people.

Ideas also count. Ideas always occur during our writing. We're writing away, an idea pings up and we either need to try and hold it on the edge of our mind or record it somewhere quickly before it slips away. Start a Map on a new page, place the idea in the center of the page, then return to finish the writing. You will find your mind popping in and out from one to the next as you continue writing.

You can also keep a separate Map journal. Ever few years I remember to buy a journal for that purpose. One of my favorite Map journals is, Note Sketch Book by Bienfang. You can order them in many places on the Net. Our local Staples store usually carries them in stock. They are different because the top portion of each page, about three-quarters, is blank and ready for your Map. While the bottom portion has lines for writing.

Of course, Maps and Clusters have many other uses -- like brainstorming (alone or in a group), research, reading, studying, or memorizing. Thus, learning the technique is worthy to learn. I use them for just about everything, including the three books I'm working now.

Basic Rules for Mind Mapping:

1. Sheet sideways.

2. Pen or computer

3. Select topic, problem or subject and purpose.

4. Start in the center of the page.

5. Use color to trigger memory. Each separate main branch has a different color and each subbranches for that main branch stay that branches color.

6. Branches closest to the center are thicker.

7. Each idea starts a new branch.

8. Use images to express ideas whenever possible.

9. The image or word needs to sit on the line and in print.

10.The line needs to be the same length as the image or word.

(c) Copyright, Catherine Franz. All rights reserved.

Catherine Franz, a MindMapping trainer, has been Mapping since the mid-1980s. She offers two books (pdf or in print) on journaling techniques and tips at: <a target="_new" href="http://www.abundancecenter.com/Store/main.htm">http://www.abundancecenter.com/Store/main.htm.</a>

Becoming a Writer

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

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

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

1. Step Away From the Car, Sir.

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

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

2. Look Harder, Homer

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

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

3. Write Thinking Will Be Rewarded.

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

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

4. What Reasons Do You Need?

Don't wait for inspiration ? just write!

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

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

5. Wakey Wakey!

Set your alarm clock for an hour earlier than normal.

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

6. Oh God ? Not That!

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

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

7. Like Your Style, Baby.

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

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

8. The Sincerest Flattery

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

9. Wanna See My Invention?

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

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

Develop this technique into a habit.

10. It's A Goal!

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

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

The trick is to set goals you can achieve easily.

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

About The Author

Rob Parnell is founder of the Easy Way to Write, a young Internet company committed to giving excellent writing resources to novice and seasoned writers. For free writing lessons and much more visit: <a href="http://easywaytowrite.com" target="_new">http://easywaytowrite.com</a>

<a href="mailto:rob@easywaytowrite.com">rob@easywaytowrite.com</a>

Prolific Writers

Prolific authors write; they don't just dream about it. A good example is Georges Simenon of Inspector Maigret fame. He writes a book quickly, at one sitting so to speak. The first draft of each chapter is written longhand in a single afternoon. The following morning he transcribes it with his typewriter, revising and rewriting as he types. The afternoon is spent writing the next chapter, but before this happens he outlines a plan for the novel.

Perhaps one should do as Charles Dickens did. Early in his life he learned shorthand as a reporter and would write many of his novels first in this manner. He also was a prolific writer, in shorthand and longhand, no typewriter or computer for him. A man of great energy and vitality, he wrote voraciously but he did many other things as well.

Anthony Trollope, another 19th century novelist was also a prolific writer who adhered to a very strict schedule for work. He invariably arose at 5:30 am and wrote until 11:00 whereupon he breakfasted and spend the remainder of the day in personal activity. As a result, he was able to write 47 novels and 16 books. He was methodical worker who considered writing as a trade, probably one of the reasons his books have lost esteem.

Honor? de Balzac (1799-1850) is another prolific writer of the 19th century who wrote from midnight to dawn almost every day of his life, thus turning out a million words per year. Although he was prodigious he was always poor and that might account for his abundant output.

Victor Hugo (1802-1885) like Balzac was a prolific French writer of the 19th century. He too spewed out poetry and novels at an unbelievable rate. His most famous novels are The Hunchback of Notre Dame and Les Miserables, but they are a small example of the many works that he produced at the amazing rate of over a million words a year.

If these writers-with paper, pen, and pencil-could effect the volume of writing they did, then writers today should easily do as much. Writers today have computers and word processors, with spell checkers and grammar checkers, and other aids that make the process easy and enjoyable. Probably what is lacking is the focus and vision that these writers had. Perhaps lives today are too full of computers, television, films, theater, music, and other distractions that impinge on the writer's time. Yet is possible with planning and discipline to put ideas to paper in poems, stories, novels, articles, essays, etc. Although the competition to be published probably exceeds that of writer of the 19th century and the 20th century, the way to publication is more varied and available.

Traditional publishers are being replaced by electronic publishers who now print books on demand or to order. Soon the publishing industry and booksellers will have to wake up to this new phenomenon and change the way they do business to satisfy the new prolific writers.

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

8 Quick Tips on Creating Vivid, Memorable Characters

These 8 tips on using characters in your stories will help you make sure that readers are involved with your story people right from the start.

Tip 1: Make sure that the reader knows as early as possible who the viewpoint character is in any scene. Do this by tapping into thoughts or emotions that can only be known by the viewpoint character.

Tip 2: Decide on and mention names early in the story. Carefully chosen names help the reader get a rounded picture of your character. (It also helps to stimulate the writer's imagination.)

Tip 3: Give an early "thumbnail sketch" of your character. While it is boring for the reader to suffer through a lengthy description of any character, don't make the mistake of being too sparing with your description. Give the reader enough to form a picture of your character - 'first impression' in looks and personality.

Tip 4: Ask: "Whose story is it?" If one of your secondary characters appeals to you more, and is 'taking over the story', you might have chosen the wrong protagonist. Whose story do you most want to tell? Whose story is likely to engage the reader more?

Tip 5: Use character tags (hair colour or style, annoying habits, distinctive voice etc) to help readers keep characters straight - especially if you have a lot of characters in your novel.

Tip 6: Don't reveal everything about your character in the beginning. Leave room for the character to grow; for the reader to become curious, and for you to get to know him/her.

Tip 7: Know each character's motivation for action. If the reasons for your character's actions and thoughts are not clear to you, the writer, then you will probably find your character doing or saying things that are unbelievable. Motivation is all important! Character motivation comes from two sources: from the inner nature of the person, and from external events that move that person towards making certain decisions. The character's actions will be a result of both internal and external motivation. Make sure you give yourself time to really understand your character.

Tip 8: Characters who have inner conflict are more interesting than more static characters. This does not mean you can have them act out of character "because they're conflicted". Their inner conflict IS part of their character. They can be pulled two ways? but the reader should be able to understand the reasons for both impulses.

(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>

The Iniquitous Slip

All the famous writers I heard of could paper the walls of their offices with rejection notices.

Rejection slips are the bane of all writers, yet they are inevitable. The most successful of writers had their share of them, and even get them now that they are prosperous. Although rejections are inescapable, they should not be considered maleficent; they should be considered helpful. Though when first received, they can be disheartening, they should be contemplated as a valuable learning experience. Even if they come as form letters, they can serve as valuable lesson in determination.

Look at it this way: One more &quot;no&quot; is that much closer to a &quot;yes&quot;. Each time a manuscript comes back, the quicker it should be sent to the next market prospect, and the writer should get on with the job of writing. Hesitating will only prolong the period of time before the piece is accepted for publication.

If the rejection notice has a personal message attached with a critique from the editor it should be studied carefully and heeded. If that happens, the writer knows that the composition had merit, and with a little more work can be placed.

Once the &quot;work of art&quot; is further improved, it is time to send it on its way again. When the writer is confident that it is the best that can be produced, then it is ready to return to the eyes of editors, whether it is an anecdote or a mammoth saga. It must be out there to be considered.

Perseverance is the writer's best virtue. If at first you do not succeed, try and try again.

As Ana?s Nin says in her autobiography &quot;Beware of allowing a tactless word, a rebuttal, a rejection to obliterate the whole sky&quot; that should be a writer's philosophy about rejection slips.

Charles O. Goulet has a BA in English literature. He published several novels that are available from Amazon.com, Amazon.ca, and many other online bookstores.

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

The Write Habit: How to Strengthen Your Writing Muscle

Writing is a muscle that needs exercise to stay in shape.

I realized how true that saying is when I took what I called "a well-earned break" after I finished my first novel. The last few days of writing that novel felt as sweet as whipped cream--I was in a writing groove, humming along. I figured I'd take a little hiatus for a few days, then start my second book. No problem.

Those few days stretched into a week. Soon two more weeks wandered by and thumbed their noses at me. I felt guilty every time I passed my PowerBook. Then I began to avoid the computer altogether, a beautifully self-defeating habit.

Finally, twitching with dread after more than a month away, I sat down at the screen and began my next novel. Trying to write after that time away was torture. My neglected writing muscle had become flabby and whiny. It protested my sudden demands and resented being drafted to work.

For many people, the key to productivity is making writing a habit. Consistent writing breeds easier writing. If that's true for you, create a new habit.

Make a commitment to a certain amount of writing every day--a length of time or a number of words or pages to reach before you lift your butt off your chair. Each day when you've reached your goal, do something nice for yourself.

One of my published clients who loves email has chosen to write five pages each weekday before she can log in. She made getting her email a reward for completing her writing goals, and every time she slows down with her writing she remembers how much she wants to read her newsgroups and see her friends' replies. That spurs her to complete her pages, and she feels doubly triumphant when she hears "you've got mail!"

Is email not a good enough carrot for you? Find one that is, then earn it. Setting goals and rewards that make you want to keep writing create a great habit that's win/win.

Write away!

About The Author

Katey Coffing, Ph.D. is a novelist and book coach who helps women delight in writing (and finishing!) their books. Visit her at <a href="http://www.Women-Ink.com/" target="_new">http://www.Women-Ink.com/</a>.

To receive additional articles and tips for women writers, subscribe to Katey's ezine, The Write Calling, at <a href="http://www.Women-Ink.com/the-write-calling.htm" target="_new">http://www.Women-Ink.com/the-write-calling.htm</a>.

WANT TO USE THIS ARTICLE IN YOUR E-ZINE OR WEB SITE? Please do, as long as you include the above short bio and blurb with it. (A short note to Katey to let her know would be appreciated! Contact her at <a href="https://www.hform.com/form.cgi?1717945" target="_new">https://www.hform.com/form.cgi?1717945</a>)

Using Metaphor Effectively

We've all heard a politician on their soapbox, pushing for some policy change or cleaning up after a scandal. Some will cut out a sharp point, while others leave the audience in bewilderment. You can often thank - or blame - the use of metaphor for the outcome of a speech.

Most often, the problem comes down to either poorly chosen metaphors, or "mixed" metaphors. A mixed metaphor is one in which half of the statement refers to something metaphorically that doesn't match the other half. Here's a hilarious example by cartoon superstar Homer Simpson:

-----"These people are the glue that holds together the gears of our society."-----

The metaphors "glue" and "holds together" aren't very appropriate when imagining gears. Gears are used in situations where there is movement, while glue is used to prevent movement. A sentence that puts these completely incompatible metaphors together is funny because it is perfectly ineffective but easily visualized.

Had Homer said "...the glue that holds together the pieces of society", it would've been an effective metaphor and statement, but not at all funny. This is because "glue", "holds together" and "pieces" are all metaphors belonging to the same metaphor system, one that, in this case, suggests that society is a solid construct of many parts.

But had Homer used half of the metaphors from "glue" and the other half from, say, "chemistry", many listeners would not have found humor at all, having too little knowledge from chemistry to find the metaphors reachable. If you want people to find what you are pointing to in a metaphor, make sure it's reachable to them.

Take great care in selecting every metaphor you are using in a sentence, paragraph or entire work. Do the metaphors you use work well together? Do they create an image in the reader's mind that is consistent and easily visualized? Will most readers identify with the metaphor systems you refer to?

Points to remember when building effective metaphors:

1) Make your metaphors consistent.
2) Make sure your metaphor is easy to visualize.
3) Make sure your metaphor is reachable.

The metaphor has been held in high regard by many cultures for thousands of years. Its use as a tool in the right hands can build imagery that will stand the test of time. In the wrong hands, the metaphor will make one's words fall flat, becoming soon forgotten. Build your metaphors to last - craft them carefully, deliberately and reachably.

John D. Casnig is a writer and publisher in Kingston, Ontario, Canada. His current focus is on the <a target="_new" href="http://knowgramming.com/metaphors">metaphor</a> and its use as a teaching and learning tool. His online arts magazine, <a target="_new" href="http://jaywalker.ca">Jaywalker Magazine of the Arts</a>, features some of his work, as well as works from other people in his region.

How to Write a Short Story

Everybody knows writing a story is not easy. Like the drama or the poem, it is imaginative literature that should appeal to the emotions of the readers. Since it communicates the writer's interpretation of reality, there must be an artistic use of language to signify human experience. But how do we write a great short story? What are the things to keep in mind in order to come up with a short story that works? Here's a quick guide to get you started:

1. Read

Reading is essential to anyone who wants to write. In order to be able to write a good short story, you must read other short stories first. This will not only give you the motivation and inspiration for your own story, but it will also help you learn how other authors made an impression on the reader and use their style as basis to create your own style and impression.

2. Get inspired

For seasoned professionals, there is no need to obtain inspiration because thoughts naturally flow and they only have to put them into words on paper. But for novice writers, it is important to have one because it will not only help you begin your first paragraph but also keep you going throughout. Your inspiration may take the form of an object. a person, or an event that you just can't seem to forget.

3. Conceptualize your story

Think of something you want to talk about with your readers. Let's say you want to relate a story about a couple who fell in love with each other. What about the couple? What is it about them that you are interested to let your readers know? Focus on this idea and think of other concepts that you want to associate with this couple. Suppose the girl's parents discommended their relationship. What about the parents? What did they do to stop the two from loving each other? This could signal a good beginning for your story. From here, you would have the notion what to write down.

4. Map out the scenes

In order to keep your writing aligned with your pre-conceived story events, it is good to briefly map out scenes of your story on a different piece of paper. Write down the possible characters of your story and list the main events in order. You don't have to put so much detail on them because this only serves as a rough sketch of how your story will look like.

5. Chooose your point of view

Who tells the story and how it is told is very critical for a short story to be effective. The point of view can change the feel and tone of the story radically. Hence, you must decide carefully before finally resolving with the angle of vision to use for your story. But whatever it is you decide to choose as the point of view, make sure it stays constant throughout your story to maintain consistency.

6. Conceive your characters

For a short story, create a maximum of only three main characters. Too many main characters will make your story confusing since each new character will provide a new dimension for the story. Each character should be more than cardboard caricatures. Make your characters speak naturally in proportion with their traits. Make them believable but mysterious.

7. Furnish a good introduction

When you have everything planned out, start scribbling your first paragraph. Introduce your main characters and set out the scene. The scene must be some place you know much about so that you'd be able to supply the necessary snapshot for a clearly described setting. Make your introduction interesting to hold the reader&#8217;s interest and encourage them to read on to the end. It is also important to hold back significant details and the greater part of the action at this point so the mystery is kept.

8. Build up a great plot

From your introduction, draw out events that will eventually create a problem or a conflict for the main character/characters. After that, begin laying out an array of clues to keep the reader interested, intrigued and guessing. Intensify the conflict as the story moves forward. This will not only make your reader enthused to read more but will also keep them riveted to your story.

9. Show don't tell

The characters should be the ones responsible for expressing the story through their actions and dialogue and not the writer telling the reader what is being expressed. Rather than saying, "Annette was really mad at her bestfriend Christina for stealing her boyfriend", say "Annette felt an ache in her stomach and a strong pang of betrayal as Christina approaches her and flashes her with a sweet smile. She breathed hard trying to calm herself as she speaks with suppressed anger: "I hope you're happy now that you've proven yourself as a friend."

10. Use active verbs

Put as much life into your story as you can. In order to do this, employ verbs in the active voice in your story. Instead of saying,"The flower was picked by Johanna", say "Johanna picked the flower."

11. Use some dialogue

Dialogue is important in bringing your story to life. Don't just use it to pad out your characters. Use it to convey your characters to identify with the reader. Use it in direct quotes like "Go there!" instead of indirect quotes as "She told him to go there."

12. Keep references handy

A good reference such as a thesaurus or a dictionary is crucial in creating a good story. You can use them to check your spellings and to find the words which best fit your description. Instead of using one lengthy sentence or paragraph, you can utilize one or just a few words to convey what you want to say. Oftentimes, one strong word has a greater effect than a paragraph full of fancy language.

13. Conclude briefly

Conclusions are tough sledding. For a good ending, it is advisable to experiment and to add a little twist. Make your ending unique but not hanging in a loose end. Make it satisfying without making it too predictable. Keep in mind to keep it short but concise and lingering so that the reader is left with a feeling of resonance. Your conclusion should wrap up everything from start to finish.

14. Edit and revise

After fashioning the last words of your story, it is time to begin the editing cycle. Carefully go through your work and fix all your mistakes regarding sentence construction, word usage, formatting. punctuation marks, diction, spelling, grammar, and descriptive analysis. Scratch out words, phrases and even paragraphs which don't seem to contribute to the basic elements of the story. After you're done, let it sit for a while for days and even weeks, then edit it again. Reread your story over and over again at different occasions. This will make you see various things you may want to change to make your story shine at its best.

15. Let others proof read

Have your friends take a look at your work. They may just be able to see mistakes which you have missed. For instance, they may be distracted with some words or lines which you adore dearly. In this case, you have to decide on changing it or cutting it off completely.

Writing a short story may not be easy but it can surely be done. With some knowledge on the basic elements and some passion and patience, it's effortless to pull together a story with just a few ideas. Just keep in mind that you're writing not because you have to, but because you want to. Give it a go now!

Rachelle Arlin Credo is an entrepreneur and relationship coach. She also works as an image consultant and part-time writer. Formerly a contributing scribe to The Freeman and Sunstar Daily - Philippines, she writes short stories, poems, essays, and tons of articles for Writers.net, Netterweb.com, Ideamarketers.com, Searchwarp.com, and Goarticles.com. For more info, mailto: <a href="mailto:raeshylle@yahoo.com">raeshylle@yahoo.com</a>.

Become an Instant Author by Playing Well with Others

You wrote a tips booklet. Maybe more than one. Oh wait, are you one of the people who still hasn't done one yet? Not to worry. This is not leading up to any kind of guilt trip for you. This article is going in a completely different direction. Stay with me on this.

Look around you. You probably have colleagues, a circle of professional friends, people you utilize as a sounding board, as a mastermind, as a respite from your daily process. And you each like doing the work you've prepared yourself to do, whether it's being a business coach, a hypnotist, a retailer, an artist, a realtor, or endless other possibilities. Yet you also love the idea of being a published author?someday, when you get around to it, when the stars and planets are aligned just perfectly. Or the idea of expanding an existing product line appeals to you, and a booklet seems to be the perfect answer for that. After all, these are some of the things that drove you to subscribe to this newsletter to begin with, right?

What would you and your colleagues think of jointly creating a tips booklet? Each of you would contribute several tips, have someone else oversee all of the production, give you ideas for marketing it. Each colleague shares in the costs, making the entire thing not only palatable but an exciting prospect and even fun to do instead of some kind of drudgery. It's very possible this is a solution that just had not yet come to mind. I can almost see you sitting there saying some version of 'yes, that's perfect (or 'brilliant' for our friends in the UK).

Several years ago, a group of veteran professional organizers wanted to create a revenue stream for themselves so they did not have to tap the general budget of the umbrella association to which they belonged. About 100 organizers (104, to be exact) each contributed several tips. We then selected one tip from each person and created a booklet for the group. To date, the booklet has brought in quite a few thousand dollars for that group of veteran organizers. The great thing about that booklet is how it serves as both a revenue stream for the group plus it markets the business of each contributor in the booklet. You'll find their name, business name, and city right under their tip. Every organizer whose tip is in that booklet instantly became a published author. Not only that. There's more. Any booklet that a co-author distributes markets every other co-author in the booklet. Plus (and this is just so terrific) the booklet is of great interest to reporters and journalists in the media who love to interview more than one person for any article they write. It's a ready-made mechanism for getting lots and lots of publicity.

I recently started a conversation with a representative from a group of about 15 health care professionals in related areas of expertise, exploring the idea of the group jointly co-authoring a booklet. Each person in the group contributes a handful of tips, shares in the production costs (bringing that way down), and becomes a published author. This takes much less time, m0ney, and brain damage than if any one of these people wrote a complete booklet themselves. That's not to say they won't ever do one on their own. It just means they will get one done probably sooner through the collaboration of this tips booklet anthology, and they will expand their reach every time any other co-author distributes this booklet.

Collaboration is far from being a new thing. Book anthologies are done all the time. Cookbooks have been put together just this way for years and years, with each person in a particular group contributing their favorite recipe. The &quot;Chicken Soup for the ?&quot;series is probably one of the best known anthologies of recent times. It's just taken awhile to realize that the same thing can be done with tips booklets, and done within any self-contained, self-formed group rather than a publisher of an anthology gathering unrelated people together to create the book.

Has your mind started racing about who you can approach to jointly do a booklet with you? You don't have to be best pals with a colleague or love everyone in your mastermind group or agree with every pearl that comes out of every coach in your Special Interest Group, or think that each person at the recent chamber of commerce meeting was the most brilliant person you ever met. You don't even need to live anywhere near each other in order to put together a collaborative booklet. All you need is to find a group of people interested in contributing some tips in a somewhat related field. Depending on the size of the group, it may be one or two tips, or 10-12 tips. In either case, it's a minor amount of time, effort, and m0ney to instantly become a published author.

To find out more about getting started with one of these collaborations (and completed before you even realize it!), contact us.

Paulette Ensign has personally sold over a million copies of her own tips booklet, 110 Ideas for Organizing Your Business Life, in 4 languages and various formats without spending a penny on advertising. She has worked with hundreds of small business, corporate, and association clients, worldwide, helping them transform their knowledge into tips booklets. One of her association clients has made tens of thousands of dollars on their tips booklet anthology, with almost no marketing.

Contact Paulette at +1-858-481-0890 in California or visit <a target="_new" href="http://www.tipsbooklets.com">http://www.tipsbooklets.com</a> for more details about your group's tips booklet anthology.

How to Come Up with Fresh Story Ideas

How to Come Up with Fresh Story Ideas When Your Well has Been Tapped Dry

When I face the desolate impossibility of writing 500 pages, a sick sense of failure falls on me, and I know I can never do it. Then gradually, I write one page and then another. One day's works is all I can permit myself to contemplate.

-John Steinbeck

I know that it seems easier to make that extra pot of coffee, read that good book, that you have had in storage for the last ten years, and suddenly decide to make the kids that Halloween costume by hand, than it can be to make yourself sit down and write. Believe me, I have been there.

Here are some brainstorming techniques to get your brain pumping again and churning out ideas.

1) If you are having trouble coming up with characters or even a story line, try developing an action scene. One good scene to kick off your book can get the rest flowing. Develop the characters and story line around that scene.

2) Come up with a problem to solve. Is your main character the class clown or the brainiest kid in school. What type of problem would your character face in his or her normal life? Write your story around the problem and a unique way of solving it.

3)For character development use common sense. Use what is in front of you.

Look at your family and friends and see if they remind you of anything. My first Shakespearean teacher reminded me of a caveman or a husky walrus because of his whiskers. Does your Uncle Arthur have whiskers, wear glasses, and walk with a little bit of a waddle? Turn him into a know it all beaver or a store clerk, at a bookstore that sells books that you can actually climb into and live out an adventure.

Does your sister have a talent for jumping rope and blowing bubbles, with purple bubble gum? Maybe the heroine for your next book could do the same.Is their a kid in your neighborhood that is always getting into trouble? Hmm, do you think that the creator of Dennis the Mennis might have known one?

You can use your family and friend's talents and their physical characteristics to come up with tons of characters. One hint though- if you choose to make Uncle Charlie a slug or Aunt Emma a rhinoceros, keep it to yourself. They may not be thrilled with their induction into literary history.

Inspiration is all around you, waiting for you to reach out and grab for your next storyline or character. Use stories from the news, jokes that your neighbors tell you, the quirky things that your dog Buster does in the morning.

One final word - stop criticizing what you have written down. In these first stages, no one cares if you have misspelled words or if your grammar isn't perfect. Just write. The rest will follow, after your story is done.

About The Author

Caterina Christakos is the author of How to Write a Children's Book in 30 Days or Less. To get more writing tips please go to: <a href="http://www.howtowriteachildrensbook.com" target="_new">http://www.howtowriteachildrensbook.com</a>

<a href="mailto:stockoptions101@yahoo.com">stockoptions101@yahoo.com</a>

Writers Block - Melting the Ice

What does one do as a writer who loves writing and feels empty of creativity?

When the writing process stops, there is the experience of fear. There is a sense that something precious has been lost. Out of this fear comes a sense of clinging. There is a clinging to all my beautiful words. It feels as if all my beautiful creativity is melting.

I guess all writers live with this fear. That is until they remember that this flow of creation does not belong to 'me' or 'mine.' I find a wondrous freedom in such recognition. If the writing is not mine then it is a gift given to 'little me.' The 'I' in 'little me' has only to learn how to receive it.

I remember that the fear of not being able to write creatively is the very thing that gets in the way.

This writer waits and watches. He waits as anyone with a little bit of wisdom waits. He waits as anyone who has been graced this day on this beautiful earth waits. He waits at the centre which is always empty but is always full.

I write one word and then I write the next word. There is no judgement of the word. Or there is the observation of such judgement. This is the watching. It is like observing a cloud passing through the blue sky of awareness.

This discipline is the observer observing the action of writing. When the focus is deep enough this writer disappears into the flow. Then creative writing happens. Then the discipline has become discipleship. 'Little me' disappears into the timeless. Creativity flows and freedom arrives. The soul is allowed expression and re-creation arrives. The soul is allowed expression and re-creation happens. There is fullness pouring into the emptiness of the surrendered heart.

This writing becomes a dance. The Beloved knows the steps and all I have to do is learn the grace of surrender. I remember that to live a life of grace is a balance between discipline and surrender. This is the real work. This is the real life.

Tony Cuckson is an Anam Cara. This Celtic term means &quot;Soul Friend.&quot; He specializes in providing insight for the spiritual journey, Blessings for YOU, words of wisdom and finding inner peace. Visitors to Irish Blessings Matter website and Tony's Blog get the opportunity to develop a purpose driven life through articles, newsletters and other programs. Get your free report called &quot;7 ways to it's a wonderful life&quot; at http://www.irishblessingsmatter.com">Blessings for YOU</a> or go to Tony`s Blog at <a target="_new" href="http://www.irishblessingsmatter.info">http://www.irishblessingsmatter.info</a> Blessings for YOU Blog where you will find links to information related to spiritual guidance, spiritual coaching and spirit in business.

Want to start a publishing revolution?

Calling all publishers, editors, journalists and freelance <BR>writers. It's time to breathe more life into your copy. Turn <BR>your articles into living pieces that spark measurable <BR>debate, get closer to your readers and engage their mind and<BR>soul - we're talking revolution.

<BR>As it was in the beginning

Publishers have for many years relied on letters to get <BR>feedback from their readers and although email has opened <BR>up this method of communication it is still time consuming <BR>and difficult to process with only a fraction of the <BR>received correspondence ever being used.

Let's face it, as well as being an overhead for the <BR>publisher, to most people it is an unrewarding medium in <BR>terms of effort required and response received, just think <BR>of the number of letters that go unpublished and unread.



As it is now

The Internet has brought new channels of communication and <BR>has opened up opportunities that allow us to challenge <BR>traditional methods. The Internet is now a mature <BR>technology, no longer the preserve of the new fad brigade <BR>but a technology that has been embraced by a global <BR>population, young and old alike and it allows us now to <BR>re-evaluate the way things are done. Newspapers, trade <BR>journals, magazines and ezines now have the opportunity to <BR>change the mental process.

When people read an article they often would like to <BR>comment, and historically this has required them to feel <BR>strongly enough to put pen to paper; or with the creation <BR>of the Internet send an email. Sure emails are easier but <BR>it still takes time to craft an email and time for the <BR>majority, is what they haven't got. The letters page <BR>although interesting are at best a snapshot of comments; a <BR>well crafted and well written letter on any given subject <BR>may hold the view of the majority, or the minority, as it <BR>is a free text medium and difficult to measure.

<BR>As it should be

Now consider the advantages of linking articles to online <BR>surveys where as a publisher you will have the ability to <BR>obtain valuable feedback from your readers and in a form <BR>that can be easily measured. Just as important as you <BR>communicating with your readers is giving your readers a <BR>way to communicate with you where they know it will count.

Want a snapshot of opinion? Did they like that article? <BR>Did your readers agree with what was said or do they take <BR>the opposite view?

<BR>Now it's easy

In the past surveys would have taken considerable effort <BR>to design and publish and altogether was a process too <BR>long winded and therefore reserved for the niche and <BR>bigger topics.

However, using sites like <A href="http://www.SurveyGalaxy.com">http://www.SurveyGalaxy.com</A> <BR>surveys and questionnaires can be created and published via <BR>the internet by anyone who has a pulse. Professional<BR>looking surveys and questionnaires created in minutes that <BR>make the perfect compliment to articles that prompt opinion <BR>and debate.

The advantage over letters and e-mails are that all the <BR>feedback is managed and measured and sites like Survey <BR>Galaxy will provide you with a real time poll that you can <BR>either keep to yourself or share with your readers.

<BR>It's not even one or the other now

Link each article to an online survey and not only extend <BR>the life of the article as people have a channel to express <BR>their views, but involve your readers in the discussion <BR>where they now know their opinion will be counted.

You think they would rather send an email? - no problem - <BR>include the facility within the survey and get the best <BR>of both worlds.

It's fast, low cost, and easy to do; it will engage and <BR>empower the reader, provide excellent feedback and having <BR>established a dialogue you then have the opportunity to <BR>link to other related articles.

Try it now and register your opinion of this article here:-

<A target="_new" href="http://www.surveygalaxy.com/surPublishes.asp?survey_id=1065">http://www.surveygalaxy.com/surPublishes.asp?survey_id=1065</A>

<A href="http://www.SurveyGalaxy.com"></A>

About the Author: Martin Day is a Director of Survey Galaxy Ltd. For more <BR>information please visit <A target="_new" href="http://www.surveygalaxy.com/">http://www.SurveyGalaxy.com</A>

How to Publish a Book: Key Differences Between Publishing and Self Publishing

For many authors just starting out, it can be a confusing and overwhelming decision whether to self publish a book or to seek out a traditional publishing house. It is important to know that the decision you make can have a huge impact on the success, or the failure, of your book. There are many factors to consider, and the right decision is going to be different for every author and for every book.

Here are just a few key factors and publishing tips excerpted from Idea to Book to Success to help you make the decision of exactly how to publish a book:

Time:

When seeking a traditional publishing house to publish your book, you will soon discover that the book will be published according to the publisher's timeline. Publishing houses have a set production mandate and books are scheduled for publication far in advance. Often, books are signed on for publication one to three years before they are actually published.

When you self publish, the only timeline restricting the publication of your book is your own. You can take years to publish a book if you so choose. Or, if you work incredibly hard, you can have your book out on the market within months. You can take as much or as little time as you want or need to publish your book.

Control:

If you sign your book on with a publishing house, you must understand that it is now the publisher's book. As a new author you will likely be conceding to the wishes of the publisher when it comes to book title, design and cover. Also be aware that the responsibility of promoting and marketing the book will fall on your shoulders as well once the publisher has finished an initial, brief promotional push.

When you self publish a book, YOU are the publisher. This means you are solely responsible for coordinating the entire production of the book. You must find an editor, a designer, a distributor, a publicist, etc. When you self publish, you are forming your own publishing house and you are now in the business of publishing. You maintain all control and you publish the book the way you want to publish it.

Profit:

A publishing house signs books under the agreement of payment by advance and royalties. You will be paid a small sum of money up front as an advance on sales, and subsequently you will receive royalties once sales grow over and above your advance. Royalties are usually very small for new authors and are often as low as 5% of selling price.

Profit is definitely the biggest argument in favor of self publishing. If you self publish, the profits from your book sales are 100% yours. If you are willing to work hard to market and promote your book, you will reap the benefits of the sales. If you research carefully, plan properly and execute the right marketing strategy, there is no limit to the profit you can earn from your book sales.

As with any other business, you must properly research and plan to fully understand how to publish a book in order to be successful. If you publish the right way, the potential for success and profit is infinite.

? Copyright 2004 Ink Tree Ltd.

Ink Tree Ltd. helps authors publish, market and sell books. We have all the tools you need to succeed in book publishing. Let us help you make your book a success. <a target="_new" href="http://www.inktreemarketing.com">http://www.inktreemarketing.com</a>