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>

Mexican Living: Pasatiempo

It occurred to me one day that I needed something to do with my time when I wasn't writing. You know--something to divert myself so more writing ideas could come to mind. One cannot sit in front of the computer screen all day waiting for an idea to come knocking at the door and say,

"Here I am."

For one thing, to do so will result in your eyes eventually turning to oatmeal and melting right out of your head. And, if that happens, you won't be able to write anything.

Second, you'll just whine and cry like a baby because you cannot think of anything to write. Your wife will yell at you.

I needed a hobby.

I have never been one to seek the traditional manly hobbies. You know what I am talking about: killing small animals during hunting seasons, making beer, watching one football game, then another football game, then another, and another, and so on! Worse yet, playing football or whatever other sports men play.

So, I took up an untraditional hobby here in Mexico. I breed parakeets.

Before you laugh let me say that I am serious about this hobby. It is something I did when we lived in a small college town in the States so I knew what I was getting into. At one time, we had a bird-breeding business going and sold them to pet shops.

Now I have a backyard (back patio) area where I had a local carpenter build an outdoor aviary. It is cool and I enjoy this to no end. The birds can stay outside in this moderate climate. All the mess associated with this hobby (bird poop and I am talking a lot of it too) can be contained easily.

I am glad I got back into this bird-breeding business because it is relaxing. It gives me something other than my wife to obsess about and dote on. It's like watching fish in an aquarium except these animals can fly and talk back to me when I coo to them. They tell me things like,

"Oh, ok, you've acted like a nutty-human long enough now get me some sunflower seeds."

This is a true story: Once, when we lived in Kansas, we had a Quaker Parakeet who talked-a lot! The Jewish lady from downstairs was talking to the bird when it said to her,

"Get me a beer!"

I am NOT making this up!

Some of you may be reluctant to get into breeding parakeets because you've heard that they can give you a lung disease. Let me assure you (cough, hack, choke) that this is absolutely (gag, can't breathe, bloody phlegm spewing) not so.

It is easy to breed parakeets. All you need is a good-size cage, a pair of birds, lots of seed, and a nest box or log. Make sure they have plenty of privacy to become acquainted but once they do, you don't have to worry at all about them needing privacy to "do the deed." In fact, they will not care who is watching or what is happening around them.

This could prove to be inconvenient when company comes over. If you plan to have the parish priest, the neighborhood watch group, or maybe a book-reading club meeting, you might want to cover them with a towel during this breeding period. However, be prepared to answer questions like,

"Why is that towel moving in such a rhythmic manner?"

"Funny, I don't feel a breeze, why is that towel flapping?"

"What's going on in that cage to make that towel move like that, Mommy?"

Of course, since we have the birds in an outside facility we don't have to worry about that one bit.

It really is fun and it gives me a chance to engage is something other than writing and bugging the life out of my wife.

Doug Bower is a freelance writer and book author. His most recent writing credits include The Atlanta Journal-Constitution, The Houston Chronicle, and The Philadelphia Inquirer, and Transitions Abroad. He lives with his wife in Guanajuato, Mexico.

His new book, Mexican Living: Blogging it from a Third World Country, can be seen at <a target="_new" href="http://www.lulu.com/content/126241">http://www.lulu.com/content/126241</a>

Should I Keep Writing?

Writers are an insecure lot.

It's easy to understand why. You screw up at work and your boss jumps on your case, quick to tell you exactly what you need to do if you want to keep your job stuffing dough into that pizza press. You screw up your writing ? well, ten weeks later you receive a polite, generic rejection letter in the mail that basically says: Thanks, but no thanks. There is no boss to tell you how you screwed up or how to make it better. You're on your own, Mr. Wannabee A. Writer. Go lock yourself in your bathroom/office until you figure it out.

Unfortunately, this lack of feedback goes against our very nature as homo sapiens. If there's no stop sign at the intersection, we have to give serious consideration to whether we're willing to stop or not. That can be a real chore for those of us who are busy trying to dig a dime out between the seat cushions for that double-mocha cappuccino on the way to work. Put in a stop sign and it's a no-brainer. You stop. Then you start digging for the dime.

But for a writer, feedback comes in only one form ? if you sell the story, you did something right. If you didn't sell it, you did something wrong. There are those who will try to tell you this isn't true. That you can get good feedback from your spouse or your girlfriend or your buddies. But these are the same people who said you were feeding dough into the pizza press just fine. You can't trust the opinions, good intentions or not, of people who are only casual observers. So ? did your story sell or didn't it?

Well ? no. But why can't the editor take an extra minute and just tell me what was wrong? you wonder.

Yours is not the only manuscript the editor has to read. There are stacks of manuscripts all over the office, some higher than the desktop, with more arriving in the mail everyday. Editors don't have an extra minute. Not if they plan to scarf down a sandwich between noon and twelve-fifteen and still have time for a bathroom break. Your story has a page, two at the most, to capture the editor's interest. After that, well, there's always another story on the stack.

Another reason why the editor doesn't tell you what's wrong: your story's a nightmare. It would take more time to explain the problems than it took you to write the thing.

And the biggest reason of all: hell hath no fury like a writer scorned. Offer some helpful advice and the editor has undoubtedly learned that too often what he gets in return is an indignant letter full of obscenities.

Finally, writers need to understand that editors don't have all the answers. Yes, it's true, editors are people, too. They have their likes and their dislikes, their stern beliefs, their misconceptions. While one editor may abhor your story, another may find it brilliant. I mention all this in case you weren't already insecure enough.

And I mention it because there's another dead end request editors get thrown at them quite frequently. It goes like this:

Dear Mr. Editor: Enclosed please find my short story, titled "A Story By Any Other Name." I hope you like it. I think it's the best thing I've written. If you decide not to buy it, could you please tell me why. And could you also tell me if I should keep writing. I'd like to know if I have a future doing this.

If you have to ask, the answer is no, you don't have a future and you shouldn't keep writing.

Writing is not a pursuit for those who are weak of heart. Nor those who are thin-skinned. It is a pursuit for those who love doing it.

William F. Nolan used to say that if you want to be a writer then you sit your behind in the chair and write. Charles Grant said that he writes because he has to; he can't imagine not writing.

You want to be a writer? Don't ask editors or anyone else if you have what it takes. They don't know. They can't tell you if you'll make it or not. They might be able to tell you if you need to develop your skills more, but you already knew that. Writing is a profession you never stop perfecting. There's always more to learn.

You want to be a writer?

Persevere.

Go write ? and persevere.

David Silva
The Successful Writer
<a target="_new" href="http://thesuccessfulwriter.com">http://thesuccessfulwriter.com</a>

10 Tips To Help You Pack More Power Into Your Business Writing

1. Before you write anything down define not what you want to say, but what your message must achieve. Keep that firmly in focus at all times and use it as the main goal for everything you write. Ask yourself "does this concept/approach /clever headline/earnest mission statement/ really help the message achieve its objectives?" If the honest answer is no, alter it or rethink it completely.

2. Identify your target audience and get to know them very well. No matter how beautifully structured your message is if it doesn't take into account the real circumstances and needs of the audience, it won't work. Align your message's objectives with these circumstances and needs.

3. Study the media you'll be using; be aware of how people will receive your message and where your message will be competing for their attention, use your common sense and creativity to make it stand out in the crowd. (Or if the crowd's too big, reconsider the choice of media if that's within your power.)

4. Now develop your message based on these issues, and add in the final magic ingredient ? "what's in it for them?" Successful business messages are always based on benefits for the target audience - either actual or implied. Ensure you know the difference between features and benefits, and how to convert features into benefits.

5. Research the way your target audience speak and communicate, and phrase your message in their language - which may not necessarily be yours. Avoid corporate pomposity and unnecessary jargon. Talk to "you," not some vague third party, and keep your English as simple as possible, especially when your message is going to people who originate from other cultures.

6. Traditional grammar and even spelling mostly have been thrown out of the window. However there are still a few grammar rules you need to follow if you don't want your message to look amateurish. Your knowledge of the audience and how they communicate will dictate your writing style to a large extent. Don't let catchwords, "internet-speak," emoticons, etc. obscure your message or its benefits.

7. Time pressures and the influence of the internet have made us into a world of browsers, even when we're reading brochures and other print. Unless it's very short organise your offline text so readers who are browsing get the key points very easily. Always separate technical detail and other lengthy data from the main text so readers aren't obliged to plod through it unless they want to.

8. Never be tempted to transplant text written for print into an online environment. Online text is as different from offline text as a PC screen is from paper. Because reading from screens is so unfriendly, online text must be very short and crisp and must make it extremely easy for readers to absorb the key points. Don't let web designers talk you into flamboyant graphics that could inadvertently swamp your message.

9. When you give a speech, make sure you write it for yourself and your natural way of speaking - not your (or someone else's) idea of how an important business person should speak in public. Use a tape recorder to get an objective view of your voice, style, weaknesses and strengths. Keep sentences short with only one idea in each. Avoid telling jokes unless you're naturally funny. And rehearse, rehearse, rehearse.

10. If you think you may be out of your depth with a business writing project (e.g. a TV commercial, major direct marketing campaign, complex video or business theatre script) you're probably right - so call in a professional writer. Don't risk embarrassing yourself or your organisation with an attempt that's amateurish - there's no shame in admitting you can't be an expert at everything!<BR>

Canadian-born Suzan St Maur is an international business writer and author based in the United Kingdom. In addition to her consultancy work for clients in Europe, the USA, Canada and Australia, she contributes articles to more than 150 business websites and publications worldwide, and has written eleven published books. Her latest eBooks, "The MAMBA Way To Make Your Words Sell" and "Get Yourself Published" and available as PDF downloads from <a target="_new" href="http://www.bookshaker.com/product_info.php?ref=49&products_id=109">BookShaker.com</a>.

To subscribe to her free biweekly business writing tips eZine, TIPZ from SUZE, click <a target="_new" href="http://www.suzanstmaur.com">here</a>.

(c) Suzan St Maur 2003 - 2005

Write With Passion: 4 Steps To Emotionally Charge A Nonfiction Article

You have just completed a draft of an article. It seems flat, even to you. It needs some spunk. Needs to be more alive. Possibly you're at a loss on how to spruce it up so that it creates an emotional connection with the readers.

A flat fiction character is easier to fix with emotional language than a nonfiction article. Especially if the nonfiction article doesn't include a character or an emotional story. Keep in mind that if you have written the article from a personal experience perspective, then there is a chance you have already included some emotionally charge language. Then all you need to do is ask, "Does the article have enough emotionally charged language to touch my readers, to pull them in, to keep them reading, to move them to action or possibly a conclusion?"

Why would you even want to add emotion to a nonfiction article? It's sure easier not too. Adding emotion to your writing, any type of writing, fuels the reader's attention, helps them connect with the action. It gives the reader an experience. Experience is why people go to the movies or watch TV. More importantly, it keeps them reading.

"What does emotionally charge mean exactly?" Emotionally charged means using language that stirs the reader in some form. Not to sound flippy, but when and how frequently emotions need to occur depends on what the subject, tone, and angle. Yes, even tone matters in a nonfiction article. Is it to be terse, confident, or are you talking as an expert? Maybe it's a learning tone? From a previous student now teacher. An informing tone, usually overused in nonfiction, turns off readers if used consistently, like in a column, or multiple articles, on your web site, or in a newsletter.

Step 1: Find the Emotion

Begin by defining what main emotion you want the reader to feel or to understand. Were you peeved about something and it set off the writing of this article? Maybe you see a wrong and want to set the record straight, or to convey a different truth, a truth from your perspective. Is it compassion oriented or spiritually based? Maybe you want to convey an inspirational or motivating tone. Is it love that you want to convey? Love for a topic. Love for a hobby or something you're passionate about. Your love, someone else's, the world's, who's, and how much love do you want to send out?

You can limit the number of emotions according to the word count. Here's a common calculation:

Writer?s Web Resources

The Internet has truly revolutionized the careers of writers worldwide. Now you can work for publishers, corporations and a whole range of other clients on a truly global scale. Whether you are in the heart of a big city, or in a remote mountain village, all you need is an Internet connection to run your writing business.

The opportunity is fantastic, and so is the writer's life that you could enjoy. But where can you find the jobs you need to establish a full-time writing career?

One way to start is through working the Internet job boards. Here aAlso included and listed separately are resources for business and technical writers, editors, journalists, and translators.

Writers' Resources--General

Absolute Write - freelance writing, screenwriting, playwriting, writing novels, nonfiction, comic book writing, greeting cards, poetry, songwriting. One stop shop

Emily's Writing for the Web Emily A. Vander Veer gives professional writers the tools needed to promote, publish, and sell work to the largest and fastest-growing market in the world: the Web.

e-Writer's Place For writing inspirations, motivations and prescriptions.

Freelance Writers is a searchable database of writers from all around the world.

Freelance Writing This is the ultimate job board for freelance writers.

Freelance Writing Organization - Int'l This site hosts one of the largest free writing resource links databases in the world! It offers education, daily news, a writer's store, creativity advice and forums, to name a few of the resources. Over 2,000 free writing resources in 40+ categories of writing

FundsForWriters - A plethora of sources where freelance writers can find paying jobs

Momwriters A community of professional and new writers ... who face the unique challenges of writing with children underfoot.

National Writer's Union 'The only U.S. trade union for freelance and contract writers.' We offer contract advice, grievance resolution, health & dental plans, member education, Job Hotline, and networking. See also: Writers Union Job Hotline

Published! Articles and resources...from Marcia Yudkin, author of eleven books and hundreds of magazine articles, syndicated columnist, public radio commentator, writing coach

Published - The Directory of Independent Writers & Artists. searchable directory of independent Writers & Artists

SharpWriter Grammar. Complete writing resources. Lot of good stuff here but not geared expressly for freelancers

Suite101 This is an online community for writers. Not only is this a great site for work-at-home resources. You can apply to become an editor for them and get paid for your work.

Sunoasis Jobs for Writers, Editors, and Copywriters Employment opportunities for writers, journalists, new-media types on-line off-line in reporting feature writing reviewing editing free-lancing editorial content providing etc. ... Recently submitted job offers: Copywriter, Freelance. Monarch Design, a design and advertising agency,

The Burry Man Writers Center freelance job links, resources for fiction and nonfiction writers, working professionals and beginners

with particular support for writing about Scotland

The New Writer - the monthly magazine with the best in fact, fiction and poetry. aimed at all writers: the short story writer, the novelist, the poet, feature writer, anyone with a serious intent to develop their writing to meet the expectations of today's editors.

The Writers Home A Web Site For Writers, Editors And Lovers Of The Written Word.

TrAce Online Writing Community trAce connects writers and readers around the world ... with the focus on creativity, collaboration and training. New media writing, web development

Worldwide Freelance Writer How to sell your writing overseas. Find out where to sell your freelance work. Detailed guidelines for paying writing markets all over the world.

WriteCraft Writers Resource Center Companion to the WriteCraft Critique Group - where writers learn the trade.

writejobs Job Title. Company. Location. Proofreader/editor. Bioedit Ltd. Freelance. Digital Photography Writers ...

Writers Unbound Writing resources, Internet resources related to writing, writers, publishing, epublishing, authors and more. Articles and resources related to creative writing.

Writer's Software SuperCenter Writer's Software SuperCenter has software for writing books, articles, novels, and screenplays, including Writer's Blocks software, StyleWriter editing software, StoryCraft, and more!

Writing World - Moira Allen provides writing tips, markets, news, contests and more.

The Writer's Gazette Writing resource site for writers on freelance and publishing, including articles, job board, contests . Nice, comprehensive list of writers' job boards.

Business and Technical

Copywriter world Freelance writers bid for writing projects such as resume writing, documents in APA style or MLA style writing, poems, sonnets, research papers, business plans, your biography, free e-books, your business proposal, essays, marketing plans, web content, ghost writing, ad copy, catalogs... virtually any form of writing.

Freelance Online - a professional online service for freelancers in the publishing and advertising fields. Free for employers; freelancers pay $15.00/year for membership.

Freelance Success Freelance Success is a community of professional, nonfiction writers who subscribe to a newsletter that guides them toward well-paying markets and editors. There is not a job board located on this site.

Techwriters Employs technical writers on and off site. The pay is excellent, but you must have a lot of experience with the topics

<a href="http://writingassist.com" target="_new">writingassist.com</a> Provides local freelance technical writers for projects such as manuals, policies, software documentation, and work flow integration.

Children's Literature

Institute of Children's Literature offered the premiere writing course, books, and a newsletter to adults interested in learning how to write and be published for children and teens.

Editing

Manuscript Editing Fiction and Non-fiction; Serving writers, literary agents, and publishers since 1976.

Fiction

Fiction Factor - The Online Magazine for Fiction Writers. NEW!

International markets

Australian Writer's Marketplace The essential resource for getting published in Australia and New Zealand.

Author Network - resources for writers including links, articles, monthly columns and ePublishing services.

Canadian Writer's Journal Canada's Independent Writer's Magazine.

Freelance Spain - the online Spanish resource for editors and journalists.

<a href="http://FreelanceJournalist.co.uk" target="_new">FreelanceJournalist.co.uk</a> Helping journalists build a presence on the web. The web directory for UK freelance journalists.

<a href="http://Freelancers.co.uk" target="_new">Freelancers.co.uk</a> offers you the complete guide to freelancing for publishers as a copyeditor or proofreader.

New Zealand Writers Website Writing Resources for New Zealand writers

<a href="http://writelinkpro.co.uk" target="_new">writelinkpro.co.uk</a> WritelinkPRO is the content provider for top UK monthly newsletter and website. We pay on acceptance for writing articles, fiction, poetry, reviews. We offer free e-book workshops, free e-book on travel writing, exclusive Members Area.

Journalism

International Federation of Journalists - The world's largest organization of journalists, representing around 450,000 members in more than 100 countries.

News Jobs Network Journalisms resources and News jobs in US, Canada and Utah.

UK Links 4 Journalists the most useful sites on the web. This is the journalist's section.

Translation

ProZ: Freelance translators, translation services, agencies, jobs and directory ...

Writers' Federation of Nova Scotia Fostering creative writing and the profession of writing in Nova Scotia.

Writerfind New Zealand Linking New Zealand writers with local and global markets.

Playwriters

writernetwork. We provide dramatic writers with the tools they need to build better careers and redefine the

About The Author

Janet K. Ilacqua is a freelance writer based in Tracy, California. She specializes in academic writing and ghostwriting of books and manuals for individuals and small businesses. For more information about her services, check her website at <a href="http://www.writeupondemand.com" target="_new">http://www.writeupondemand.com</a>.

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

The Authors Life: 14 Hints on Creating a Career Plan

1. Remember publication is a business; writing is an art. Get those confused at your peril. Treat publication as you would any enterprise--as a professional. Meet deadlines, learn about the industry, and grow in your craft.

2. Know your market. You wouldn't sell meat to vegetarians, would you? Yet so many new writers don't know where to send their work. If you write mysteries, find a market that buys mysteries. It takes time but saves you the aggravation in the end. Check the recent Writers Market or similar books. Or look at your bookshelves. Which companies published authors you like or have similar stories to yours?

3. Know what you want. Do you want to be published in hardcover or paperback? Do you want an agent or literary lawyer? Do you want to work full-time or part-time? Knowing this will help you develop a roadmap to your chosen destination. You have to know what you want to get it. Remember to write it down. This will prevent you from going off track.

4. Set concrete goals. That means goals that are measurable. &quot;I want to make the best-sellers list&quot; is not a concrete goal. &quot;I will write five pages a day/ one new query letter week/ an article a month&quot; is.

5. Be realistic. Lower your expectation of making $800,000 on your first book. Build up to that. So what if some fifteen year old got a million-dollar deal? In all likelihood that won't happen to you, so don't be disappointed. Keep writing.

6. Learn the rules then make them work for you. Follow or fudge them. You can pitch a novel you haven't finished, just be prepared to write like a lunatic when they want to see the book right away.

7. Keep submitting. Every salesperson hears the word 'no'. You're selling your work so you will hear it too. Every no gets you closer to yes.

8. Think about quality control. Use a trusted reader, agent, critique partner, friend or spouse to go over your work. They'll help you keep your work in top form.

9. Forget the market sometimes. Between moneymaking projects write what excites you. It may eventually come into fashion. Aside from that it keeps your brain active.

10. Recognize frustration. You'll get frustrated and that's okay, it's part of the industry. A story that was rejected for being &quot;too hard to sell&quot; makes the bestseller's list for a new author. Your agent has stopped returning your calls, your editor leaves, your book sells poorly, or gets a nasty review or letter. Your writing friends are getting better deals than you. It is a competitive market fraught with obstacles, and there will be times you'll want to give up. Don't. Frustration will be a part of your career but it won't last forever.

11. Believe that you will succeed. Half asserted efforts will show. You don't need to be super confidence. You don't even have to think positive, but you do have to believe that you're worthy of success. You do have to write the best books you can. You do have to believe in your stories. Success is your birthright. Stay away from those who think otherwise.

12. Remember that you're enough. You don't need to change. If you can write coherently in your chosen language, you can write whatever you want to. So begin. You improve only by writing. That's it. There's no short cut.

You can secure the biggest New York agent in the business, you can get a Ph.D. in literature, you can become best buddies with a best-selling author, or know all the booksellers in your neighborhood. That will not sell your book or make you a writer. Writing does.

13. Forget about luck. Those people we consider lucky did something to receive their so-called luck. They went on the job interview (didn't know they would be hired on the spot) played the Lotto (didn't know that they would win) went on the blind date (didn't know they would meet their match) or wrote the book (didn't know that it would be a best-seller). I'm not saying luck doesn't exist; just that luck follows action. The more you do the luckier you'll be.

14. Have fun! Write without caring about what anyone will say. Remember the joy of creating.

Dara Girard is the author of three novels and a member of Romance Writers of America and Novelists Inc. You can find more articles and links for writers at her website: <a target="_new" href="http://www.daragirard.com">http://www.daragirard.com</a>

Home Business Writing Made Simple

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

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

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

Try this:

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

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

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

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

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

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

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

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

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

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

About The Author

Dan J. Fry is an independent researcher and owner of <a href="http://e-Kinetic.com" target="_new">e-Kinetic.com</a>, a site devoted to providing resources for small budget home businesses. He has a PhD in Physics and is married with two daughters and two cats. Subscribe to his free E-Zine on home business resources at <a href="mailto:e-kinetic@GetResponse.com" target="_new">mailto:e-kinetic@GetResponse.com</a> or by visiting his Home Business Resources and Tips site. He can be reached at <a href="mailto:comp@e-kinetic.com">mailto:comp@e-kinetic.com</a>.

Mama Dont Allow No Fighting in Your Writing

When you sit down to write a steamy romance, a spine-tingling horror story, or an action-packed adventure, lock the door. The last thing you need is your mother, father, coach, English teacher or pastor reading over your shoulder and giving you advice.

While mom, dad, coach, Mrs. Smith and Reverend Jones all enjoy a good story, they don't want action-packed, spine-tingling or steamy words flowing out of your pen or your word processor

What would your mother say if she saw you write, &quot;Bob chopped off Bill's ear with a rusty axe&quot;? What would your English teacher say if she saw you write, &quot;Janice discovered to her horror that reading Faulkner backwards called demons into the school library.&quot; And, heaven help you, what would your pastor say if he saw you write, &quot;When Arnold reached inside Amy's blouse, she said, 'surely you can reach farther than that'&quot;?

With a little luck, mom, dad, coach, Mrs. Smith and Reverend Jones won't be physically in the room saying &quot;tsk tsk&quot; every time you mention rusty axes, demons, and blouses. However, if you write as though they are there, then they might as well be there.

In fact, if you worry about what any traditional authority figure in your life is going to say when s/he reads what you've written, you'll never write it. The judgmental editor(s) inside your head will be so strong, your writing won't get out of the blocks because you'll be forever stuck between what you want to say and what you think you're allowed to say.

Frankly, some writers will never get the critical voices out of their heads and write anything worth reading until the people they represent are all in prison, committed to psychiatric wards, or dead. But most of us don't want to wait that long.

As your career progresses, you'll ultimately come to the point where you live and breathe novelist Leon Uris' words: &quot;There are two weapons in the writer's arsenal. The first is stamina and the second is uncompromising belief in yourself.&quot;

Until you reach that point, here are a few ideas for banishing mom, dad, coach, the English teacher and the reverend from your mind while writing:

**Whether you write in a den or a spare corner in the kitchen or family room, design a rich, inspiring, and professional space. You are a professional writer doing professional work, not a child in need of any authority figure's supervision. Some writers go a step farther and physically lock the door (if there is a door) and/or visualize their writing spaces surrounded by a force fields that repel unwanted intrusions like, &quot;I don't want you writing nothing naughty, you hear?&quot;

**Resist the urge to tinker and pick at your work while writing the first draft. Tinkering stalls the creative process and allows those unwanted internal editors time to say, &quot;No child of mine ought to be thinking about blood-spattered sheets.&quot;

**Experiment with &quot;free writing,&quot; the process of writing at full-speed (as fast as you can type or move a pen) for 20 minutes, 45 minutes, or an hour without stopping or thinking for even a moment. In this unrestrained creative rush, there's no time or space for discouraging words such as, &quot;You're not going to push that sweet woman off the roof are you?&quot;

**Take the risk and pretend you are each of the characters you're writing about as though you're playing roles in a movie. This technique will not only help you get to know your characters and make them more real, but it might just keep those internal editors out of your face. Once you become transform yourself into a villain or a hero running down a dark alley with a knife, those voices will be much to frightened of you to say, &quot;don't run with sharp objects, dear.&quot;

**Confront the authority figures inside your head directly. When one of them interrupts your work with &quot;Mama don't allow nothin' gory in your story&quot; or &quot;Daddy can't abide nothin' stronger than 'heck' or 'darn' in your yarn,&quot; stop writing and shout, &quot;Get the #@#* out of my space.&quot; Some writers draw faces on sheets of paper and tape them to pillows. Then, the next time they hear a discouraging word about the word they just wrote, they can shout at the pillow, while kicking and punching it as needed. (Don't tape the picture of a real person on the pillow without consulting a counselor!)

Internal editors-when they sneak into your mind under the guise of a mother, father, coach, teacher, or minister who claims s/he is &quot;just trying to help&quot;-will try to sabotage your work before it sees the light of day, before it embarrasses the family, before it sullies their values, before it causes black marks to be inscribed on your permanent record.

In time, perhaps, the people in your life who matter will understand that the steam in the romance, the scream in the horror story, and the mangled corpse in the adventure are not the real you. Perhaps they already know that, but you don't yet believe it and have been creating two fictions every time you sit down at your desk. One of these is the story you're writing and the other is the equally fictional story your living inside your head filled with mothers, fathers, coaches, ministers, wives, husbands, sons, daughters and teachers who are forever criticizing your work before it's half-way done.

You can speculate until the ink in your pen dries up whether injunctions like &quot;Mama don't allow no fighting in my writing&quot; have anything to do with real authority figures or represent your own concerns about what you ought to write and how you ought to write it. Either way, an important part of every writer's on-the-job training is learning which technique will silence any internal editor with the gall to say, &quot;I don't want no crooks in your books&quot; or &quot;There better not be anything risqu? in what you have to say.&quot;

The author of the mythic new age adventure novel &quot;The Sun Singer,&quot; Malcolm R. Campbell provides manucript critiques and editing assistance at <a target="_new" href="http://www.campbelleditorial.com">http://www.campbelleditorial.com</a>

Finish Your Book Already!

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

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

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

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

Tom Antion provides entertaining speeches and educational seminars. He is the ultimate entrepreneur, having owned many businesses BEFORE graduating college. Tom is the author of the best selling presentation skills book "Wake 'Em Up Business Presentations" and "Click: The Ultimate Guide to Electronic Marketing." It is important to Tom that his knowledge be not only absorbed, but enjoyed. This is why he delivers his speeches laced with great humor and hysterical jokes. Tom has addressed more than 87 different industries and is thoroughly committed to his client's needs.

Create A Dream Diary

How many times have you forced yourself to sit in front of a computer and waited for inspiration to strike?Most of us at some point, whether just starting out or even an experienced published writer, have suffered from the proverbial writers block or have struggled to kick-start their creativity.

Sometimes ideas just flow and writing our article or story is easy. Inspiration flows over us like waves and the subsequent finished piece is almost word perfect and requires very little editing. But for those times when inspiration is on holiday or worse, on strike, help yourself to master those off days by creating a dream diary.

If you are one of those unfortunate people who believe that they rarely dream or at least have trouble remembering them, a dream diary is obviously going to be a problem.But you can train yourself to remember your dreams in the mornings, but this may take time and practise.

Try leaving a notepad by your bed or invest in a Dictaphone, at least if you do wake up during or after your dream, you can leave instant notes for yourself. Just in case on falling asleep, you eliminate all memory of this wonderful plot.

Even nightmares can be a useful aid to creating a masterpiece, so next time you experience one, look to the positive, and tell yourself that this is going to help you get work published. For those interested in the meaning of dreams, invest in a good book, and not only can you create a great story but you can also work out what made you dream this particular scenario in the first place. It may well provide answers to questions in your everyday life.

As a child, I had the same recurring dream where I was in my back garden and a dinosaur type large red bird, chased me from one length of the garden right up to my back door, which I managed to slam shut and lock with only seconds to spare. Scary? Of course?but the experience helped me to be able to pace my stories and to link tension into the right places of my plot.

I have often wondered what psychologists would make of my numerous and often odd, dream sequences and it is probably just as well that they have never been analysed by anyone other than myself.Although your dream may be vivid and almost overwhelming in its clarity, in the cold reality of daylight, many flaws can be present with that creative enlightenment. But remember, your dream is there to prompt you with a possible story line, it is not set in stone and you do not have to copy it, stage by stage.

Use it to express yourself in a new and different way. It may also be useful to close your eyes and try to re-live your dream in your minds eye. Remember what you felt, sights, sounds, familiar scents, allow yourself to forget the present and immerse yourself back in your dream.

You will be amazed at how much you find you can remember and new scenarios may well fall into place as you practise this gentle meditation.I once dreamed a whole episode of Star Trek, complete with regular cast, a few new characters thrown in and of course, I took the lead role in the drama. I have never attempted to write an episode for television and one for a program, which relies on much technical input, would probably not be for my first attempt, however, the plot (if I say so myself) was exceptional and it is recorded in my dream diary for future use.

Whilst there would be very few changes to the initial plot, I was very surprised by the amount of technical knowledge sustained which proved to me just how much information our subconscious thought process retains and then subsequently uses in the course of our nightly shenanigans.If you are lucky and your creative tact needs no prompting, you will not need to refer to your dream diary all that often, however, it can be interesting to read back over your entries over a period of time and ascertain just how far your imagination has taken you.

Just remember, in your dreams you are not restricted by earthly ties and you can let your imagination loose in the knowledge that inspiration is guiding you.Using a dream diary allows you to access your creative zone deep in the dark recesses of your mind and to harness that creative power. Do not waste this opportunity to provide original thought provoking ideas, just remember to record them carefully.

Ideas are gold dust and could, one day earn you a great deal of money as well as providing an insight into a side of your personality very rarely seen.

About The Author

Annette Beveridge-Young is the Editor of the International Writers Competition Website <a href="http://www.thetwistinthetale.com" target="_new">www.thetwistinthetale.com</a>.

Annette has had a variety of articles and stories published, both in magazines and on the Internet and won various poetry and fiction competitions.

<a href="mailto:annette.be@ntlworld.com">annette.be@ntlworld.com</a>

Four Act Stories and Beyond

There are various forms of structure, including frameworks, work processes and goal setting.

A lot has been written about story structure. In my mind, understanding its value is priceless.

There is a lot of confusion around structure, creativity and innovation. You can find a good study that resolves much of the misinformation at managing-creativity.com. Ironically, there is much to learn about creativity and innovation from the business world, as there is an infinite amount of data and research out there. Top institutions, such as Harvard, take it very seriously.

The core concepts, with regard to story structure, include:

a) Structure increases the quantity and quality of creative output.

b) Novelty (commonly referred to as "originality") emerges from replication.

c) Certain structures help to meet the subconscious expectations of the audience.

By mapping your idea around an existing structural template, you can quickly expand that idea into a story. Once extrapolated, the needs of your particular story will begin to dictate your structure, hence you will cut and paste scenes until your story, in effect, becomes original. Then by working on each sequence to make it perfect, you eventually produce quality work.

But what structure?

The Western World has traditionally supported the concept of three act structure. But this is useless. Everything has a beginning, a middle and an end and, for writers, this doesn't help much.

If you analyse many versions of three act structure you find that, in effect, you really have four acts. For example, Syd Field argues that three acts consist of an approximate 30:60:30 ratio. But the 60 has a mid point, so we're really talking 30:30:30:30.

But even four acts do not help much.

You can analyse four acts to reach five or seven acts. But even they are useless. The problem is that they are too broad. OK, I agree, templates only have value if they are broad, but we need more.

A huge leap is the monomyth or Hero's Journey. The monomyth can be traced back to Gilgamesh in about the 26th century BC, through to the Shahnama around 1000 A.D. and so on. The latest incarnation is that of Joseph Campbell in his book The Hero with a Thousand Faces (1948).

Campbell's Hero's Journey consists of 17 stages. So here we have 17 acts, which is much more useful to the story writer.

But the Hero's Journey ends once the Hero has returned home and provided the Freedom to Live, whereas in modern film (call them contemporary stories) the hero returns once more to battle the antagonist. So in effect we can say that we have Campbell's 17 stages and then another encapsulated in the Final Conflict. So 18 stages.

But the 18th stage can be broken down into Preparation / Final Antagonism / Journey to the Final Conflict / Battle / Moral Dilemma / Completion / Freedom to Live. Hence we arrive at 24 stage structure.

The Hero's Journey can be extrapolated into many more stages.

The question you may ask yourself now is this: how representative is the monomyth or Hero's Journey of ALL stories? In other words, what value does it really have as a template? And as I am implying, a universal template?

The best way to answer that is to search out someone with more credibility than me, that is: read a book about it. A good start is Christopher Vogler's The Writer's Journey, ISBN: 0330375911. He compares a diverse variety of cinematic blockbusters to drive home the point.

Whether you go for the idea of the monomyth or not, the idea of working from a template is very valid, or at least helpful. And it applies not just to screenplays, but to sitcoms and novels too. What you need to do is decide which template works for you. There are quite a few out there.

From the above it follows that (most) stories are structurally derivative and yet can be very original. Watch a diverse range of films - from Midnight Cowboy to Al Pacino Scarface to Casablanca to whatever you choose, analyse them sequence by sequence and you will see stark structural similarities.

In fact, when stories are not structurally derivative then they usually turn out to be "weird" because the audience has certain subconscious expectations as to how a story should evolve. And when they are not met....well, people will just refer to it as not a proper story.

The 106 stage Hero's Journey and other story structure templates can be found at http://www.managing-creativity.com/CreativeWriting.html

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

Kal Bishop, MBA

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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>

Should You Write a Book?

One morning, you open your inbox and find several e-mails that will boost your business. There is an invitation to speak at a local group comprised of your best prospects. Several emails have arrived from people who've "heard of you" and inquire about your services.

There is a message from a potential joint venture partner who has invited you to be a guest on a teleconference that will reach 500 people, all of them prospects. Later that day, a journalist calls. She wants to write a story about your business, which she heard about on a radio interview you gave weeks earlier.

Is this a fantasy? No. This could be a typical day in your life as a published author.

More and more business people are realizing the power of writing a book to catapult their businesses to a higher level. Speakers, consultants, coaches, therapists and other small business owners are learning that publishing a book is one of the most powerful marketing strategies available.

Published authors report that their lives change, often dramatically, when their books reach the marketplace. When you become an author, you become known as the expert. When you are known as an expert in your field, whatever your field, you will find that the world will beat a path to your door.

A Book Generates Visibility and Attracts Clients

Of all the information products you can create, a book has the greatest potential to open doors. A book can give you more recognition and professional credibility than audiotapes, CDs, videos, seminars, workshops and public speaking.

Since my book Get Slightly Famous was published last year, I have been amazed at how it has transformed my business.

Publishing my book was a newsworthy event that resulted in tens of thousands of dollars in new business, high-profile media coverage, speaking engagements, radio interviews, partnership opportunities, and too many other benefits to mention.

Prospective clients now hear about me from all over the world. The media regularly call me, and I appear in newspaper articles and radio interviews.

Get Slightly Famous is not just my most effective marketing tool. It has become the core of my brand identity. My book provides a marketing platform for my business that gives all my marketing efforts a natural, sharp focus.

Best of all, marketing is not such a struggle anymore.

As a successful author you will find the stress of constantly seeking new clients can largely become a thing of the past. Clients will seek you out, ready to pay good money for your services, because you are seen as a leader in your field. You become their first choice.

It's Not Just a Book -- It's a Business!

Your book is the seed from which you can grow a multi-faceted "empire'' of related products and services, including seminars, teleclasses, reports, consulting packages, audiotapes, and other profitable information products.

Imagine selling thousands of books to trade associations as premiums for their members. Or how about creating a $49-a-month newsletter, a $995 home-study course, a $499 a year membership web site? Could you use your book as the basis for a year-long mentorship program for which individuals or groups that pay thousands of dollars a piece to participate?

The idea is to see your book as a launching pad for new business opportunities.

Barbara Hemphill used her book Taming The Paper Tiger to develop a multi-pronged branding strategy. Hemphill offers organizing skills services designed to reduce stress and increase productivity. Her business is based almost entirely on her book.

Barbara has used her book to develop Taming the Paper Tiger software, gain an endorsement by Pendaflex, and found the Hemphill Productivity Institute. Her company now employs more than 70 Paper Tiger authorized consultants across the U.S. and Canada.

You can write a book!

Me, publish a book, you ask? Yes, you. It is easier than you might think, and you don't need to be a seasoned writer to become a published author.

Writing a successful book is not the easiest thing in the world, but it is entirely possible. The talents and expertise you bring to your clients can form the basis of a successful book. If you know your subject area, and can communicate your ideas in a clear, compelling, organized manner, becoming a published author is within your reach.

A strategy that works for many is to break the process into smaller steps by writing a series of articles. They then become the basis for a book. Or, you can work with a talented freelance writer to help you express your ideas clearly and with conviction.

The most traditional route is to find a publisher who will handle the production, marketing, promotion and distribution. This involves up front work (you write a detailed proposal, a table of contents, sample chapters and a market overview). Then you shop the proposal around to potential publishers, either on your own or with the help of a commissioned agent.

Self-publishing has many advantages over traditional publishing, the most compelling being greater financial returns for the author. "When you self-publish, you keep all the profits," says Dan Poynter, author of The Self-Publishing Manual. "Additionally, you get into print quickly, own the copyright, and take all applicable tax breaks."

On the downside, self-publishing can be expensive. You pay up front for all the production and distribution costs, and if your book does not sell, you will be stuck with the leftover inventory. However, if your book is successful, you will not only have the satisfaction and advantages of being a published author, you will make more money.

Whatever publishing route you choose, the Internet provides a global marketplace for your book. Never before has it been so easy to market a book if you are willing to invest the time and energy to write one.

About The Author

Steven Van Yoder is the author of Get Slightly Famous. He teaches small business owners how to duplicate his success and become a "slightly" famous author in your field. Visit <a href="http://www.getslightlyfamous.com" target="_new">www.getslightlyfamous.com</a> to claim your FREE Slightly Famous Marketing Plan Workbook and learn how to attract more business with less effort by creating your own information empire.

<a href="mailto:steven@getslightlyfamous.com">steven@getslightlyfamous.com</a>

The Cost of Being a Writer

You are the only one who knows what being a writer means to you.

You are the only one who knows whether you consider it to be a career, or a pleasant hobby.

And therefore, you are the only one who can judge how much you are willing to invest in your writing business.

In this article, we're going to talk about cost in financial terms. Not the cost in time; not the cost in sleep; not the cost emotionally. We're just talking dollars and cents. And we're not going to discuss the cost of a writer's tools (computer, internet access, printer, software), because that has been dealt with in another article. This time, it's all about building your knowledge and expertise.

First, decide whether being a writer is, for you, a career or a hobby. Is it a business or a pleasant way of whiling away your time? If writing is just a hobby, and that's all it's ever going to be, this article is not for you. You can choose to invest money in a hobby, or not. You can pick it up and put it down. This article is for those who are serious about their writing and want to build a business, brick by brick.

1. Setting a Budget

OK. We've established that you are in BUSINESS. That means that you are prepared to invest money as well as time. If you are time-rich and cash-poor, then you can go the long way round and it will cost you less. If you are time-poor and have funds at your disposal, you can cut the learning curve by buying books, enrolling in courses, subscribing to industry magazines and attending seminars. If you are rich in both time and funds, then you're luckier than most.

Look at your income and savings and decide how much you are prepared to invest in your writing business over the course of 12 months. $500? $1,000? $2,000? $5,000?

Let's jump in and look at the biggest figure first. $5,000 will buy you a lot of expertise and networking via seminars, writing products and coaching over a year. It might seem like a lot at first - but $5,000 is just $416 a month - $104 a week. Many people pay more than that off a car loan. Many people spend that on a meal out for two once a week. And countless people spend far more than that on clothes.

At the other end of the scale, $500 is less than $10 a week. That's barely noticeable to most of us. Yet you can subscribe to writers magazines and get some quality critiquing of your work for that amount. You can attend a number of one-day or weekend workshops.

If you still are undecided, think about how much money other businesses invest in their start-up operations and ongoing training. Then look around to see what would help you grow MOST as a writer. <ul> <li>A writing course?

<li>A 2- or 3-day seminar with lots of networking possibilities and big-name writers, editors and publishers?

<li>A critique service to help you with your manuscript?

<li>Books, magazines, and software to help you grow? </ul> It's up to you. Once you have decided (a) what you most need to develop your skills and (b) how much you can allocate to your writing business, be firm about sticking to it. Nothing less than an emergency should deflect you from your course.

2. Paying for Your Business Investment <ul> <li>You can give up something that is not as important to you as your writing business. New clothes, eating out, Starbucks coffee, a gym membership... there are plenty of ways to swap one expenditure for another.

<li>You can get a pert-time job to fund your business. If you want to invest $5000 over a year, you need to make $104 a week. What can you do? Join a party-plan business and do one party a week? Offer a resume-writing service? Clean houses?

<li>Do some gardening; walk dogs; clean cars; wait tables; offer a consulting service in your area of expertise. Depending on your skills and the demand for your services, it might take you a day to make $104 or you might do it in a couple of hours.

<li>You can ask for money towards your writing business instead of gifts for your birthday, Mother's Day, Father's Day and Christmas.

<li>You can volunteer at a writers' centre in exchange for free attendance (or a reduced fee) at workshops.

<li>Join writers' organizations and volunteer to be on the organizing committee for conferences and seminars. This does not always mean a reduced fee, but sometimes does. </ul>

3. Re-invest Early Profits for a Faster Business Growth

Most healthy businesses do this. As you build your skills and start to sell your writing, money will begin to flow in instead of out. It probably won't be much at first - but think about re-investing to *further* develop your skills and expertise.

Here's just one example: I've had several writers contact me, after being to a writers' seminar or conference, to ask about writing an article for the Writing For Success newsletter. They are being smart: parlaying their new-found knowledge into income, by passing on what they've learned to others. You could try this too... and use the payment to buy an e-book on writing, or put it towards a seminar.

What if you write an article but the market doesn't pay? See if you can swap an article for a free subscription to a writers' newsletter or a membership site.

4. At The End of 12 Months, Assess and Refine Your Business Plan

It makes good business sense to track your income and outgo. At the end of 12 months, assess the following: <ul> <li>how much you have invested

<li>the return on your investment in (a) dollars, (b) increased knowledge and (c) new relationships and contacts that can help you build your writing business.

<li>decide on your next step(s) and how much you will invest in your business during the ensuing 12 months. </ul> You can, of course, check on your income/outgo/results at the end of 1 month, 3 months, and 6 months as well.

You'll find that a definite plan for investment in your writing business will give you not only a greater sense of control, but a better sense of where your money should be spent for development.

A couple of quick examples: <ul> <li>$500 spent on an intensive novel critique (from a reputable critique service or freelance editor) can save you months or even years of time muddling along on your own not knowing where you're going wrong. This can mean a faster sale and a quicker start to your career as a published writer.

<li>$1000 spent on a seminar or conference can result in your making just the contact you needed to get your novel in front of the right editor. Don't underestimate the importance of face-to-face contact. </ul>

(c) 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>

Vital Verbs

Remember back in the dark days of your school years when you had to learn the parts of speech? A noun is the name of a person, place, or thing. When asked what a verb was, you smugly answered, A verb is a word that indicates action, or some such definition. Fine. You got that straight. Since then, you've uttered or written verbs in the hundreds of thousands.

Verbs are great words. They enable us to describe actions or states of being or feelings we'd be hard pressed to convey without them. "John outside the house. John inside the house. John in bed." Primitive, to say the least. With the help of verbs, we can say, "John came home and went directly to bed." Still, if verbs are indispensable in our speech and in our writing, why do we neglect them so?

Yes, we neglect them terribly. There are countless verbs just sitting in our dictionaries that are rarely taken out and used, seldom get to feel themselves flowing out of our mouths or proudly sitting on the paper on which we write. You have to feel sorry for them.

Why are they neglected? You can blame it on the nouns and adjectives. They're the real culprits. We can't express a worthwhile thought without a noun. Without a noun (or pronoun), how do we indicate the very subject we are talking/writing about? In the example above, without nouns, you'd have, "outside the," "inside the," and "in ." It wouldn't make any sense.

Adjectives we can sometimes live without, but for the most part we have been brainwashed since those same school days to use adjectives. As writers, we use them extensively, carefully choosing, then eliminating, then choosing again, until we feel we have the perfect adjectives to describe our protagonist, our settings, our emotions. I suspect much of your time as a writer is devoted to being so very particular in the adjectives you use. That's great. That's important.

To get back to the poor, neglected verbs. Oh, we use them all right. We use the few hundred (if that many) in our vocabulary. We use what we need, we use the ones we're comfortable with, we use the same old, tired, hackneyed verbs day in and day out. What are those verbs? They're the dead verbs. The ones which may tell others that something happened, but never tell anything more than that, never give the reader an image of a special kind of action.

Let's go back to the example above. I used two verbs, "came" and "went." All those two verbs tell you is that John was no longer outside his house, and is now in his bed. What if I had said, "John flew though the front door and dashed upstairs to his bed."? You get a picture: for whatever reason, John was in a hurry. How about this: "John staggered through the front door and crawled up the stairs to his bed." Do you get the impression John is intoxicated or sick or injured?

Let's try a few other simple examples. "Mary entered the room" vs. "Mary glided into the room" or "Mary stumbled into the room" or "Mary inched her way into the room." Each of these paints a picture of more than mere transference of locale.

It's cruel for your heroes and villains to be limited to listless verbs. These characters are the very essence of your action. They should barge into, seldom just come into; they may sometimes snarl, snap, snicker, smirk, or shout, instead of just say; they're also able to punch, plunder, pillage, plow under, or pelt, but seldom merely touch. Even your minor characters should be as colorful in their actions. Just because they are not the stars of your masterpiece doesn't mean they don't play important and exciting parts. Charles Dickens knew that probably better than any other writer. His most minor characters are sometimes as unforgettable as his major players.

A suggestion: On the following list of dead verbs, notice the alternatives:

action: walk
alternatives: stroll, amble, jog, dash, sprint, stagger,
action: lie (down)
alternatives: sprawl, lounge, curl up, stretch out
action: say
alternatives: mumble, stutter, spew, shout, protest
action: look
alternatives: scan, squint, glare, study
You get the idea.

Now, try this. Go to something you've written recently. Scan through and pick out a number of dead verbs. You know the kind, the ones which just sit there and don't tell you much of anything about the action. Try replacing them with verbs which tell the reader precisely what just happened. Reread, and you'll see how your writing comes out of its coma, and begins to take on a new, interesting life.

Finally, keep in mind that in writing as in all of life, moderation and common sense should prevail. Don't have your work look like a thesaurus, using every verb ever conceived. This is especially true in sentences where you use other descriptive words. Don't let your heroine always float into a room, squeal with delight, or wither others with her sarcasm. The villains should not always bluster, rampage, or bulldoze. Remember, there are plenty of times when it's preferable for your characters to merely say, just come or go, or quietly nod, but use enough real action verbs to add color to your writing, and use them when appropriate. Those poor, listless verbs do, after all, serve a purpose, and that purpose is to vitalize your other verbs.

copyright Joseph E. Wright

Conditions of use: Editor: The following article is offered for free use in your ezine, print publication, or on your web site, as long as the content is not altered, and the copyright and author credit box at the end are also included. Notification of use would be appreciated.

Joseph E. Wright is the author of Tales from the Wrecktory (<a href="http://www.metropolisink.com" target="_new">http://www.metropolisink.com</a>}, The Bodies Out Back (A Murder Mystery) and The Remigrants (Those who come back from the dead), both published by <a href="http://www.booksunbound.com" target="_new">http://www.booksunbound.com</a>. His writing has appeared in Ellery Queen Mystery Magazine.

About The Author

Joseph E. Wright was born and wemt to school in New England and later moved to Philadelphia. He considers Philly his home town. Joe grew up addicted to the British cozies of Christie and Sayres and the American counterparts of Queen and Stout. He was a fan of the film noir of Hammett and Chandler.

His first published novel, Memorandum of a Murder (Manor Books) confirmed his determination to become a writer. A short story of his appeared in Ellery Queen Mystery Magazine.

While writing, Joe had to make a living, which he did in many ways. One period of his life, he lived in a dark, rambling, nineteenth century rectory in downtown Philadelphia. It inspired his Tales from the Wrecktory (MetropolisInk) which appeared last year.

Somewhat different from the whodunit style of novel, Joe's The Remigrants, the story of those who return from the dead, is currently in the editorial stage. The Bodies Out Back is the first in a completed trilogy starring Pat Montgomary and Phillis Toner. The next two, The Maris Cove Murders and Aisle of the Dead should be published this coming year.

Joe and his life partner spend most of the year in sunny Florida.

<a href="mailto:glpjew@excite.com">glpjew@excite.com</a>

Why We Dont Write Our Books

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

Ah, the agony of getting on with your book.

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

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

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

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

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

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

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

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

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

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

About The Author

For more information on how you can find the support to turn your book idea into a publisher-ready book proposal, go to <a href="http://www.howmuchjoy.com/selfhelpbook.html" target="_new">http://www.howmuchjoy.com/selfhelpbook.html</a>

<a href="mailto:info@howmuchjoy.com">info@howmuchjoy.com</a>

Stimulate Your Sensebuds...and Wave Goodbye To Writers Cramp!

When you get stuck for ideas, and the words won't flow, invariably it's because one, more or all of your senses aren't being stimulated.

Staring at a blank screen or sheet of paper really doesn't help. The best way to stimulate all your senses in one hit is to provide an inspirational space you can work with.

Lots of Feng Shui arrangements appear in western homes these days, and they're great, but outside those four walls of your writing space, there is another world bursting with enlightenment and inspiration.

Of course you may have to work at it a little, but hey, we all need some exercise sometimes!

Whether you have a balcony or a backyard, you can very simply build a natural living world to plunge into whenever you choose. If you have neither, consider renting a small patch of land or sharing a garden with someone.

Gardening conjures up all sorts of hard work images; tools, backache, blisters etc;. but it's only as hard as you make it. Start small and design your garden on paper first. Decide where you want herbs, flowers - and even vegetables, if you have the space and inclination!

A tiny balcony or back yard can be bordered with herbs and flowers. If you're staring at several square metres of concrete, don't despair. Plant your sensory stimulators in pots. Paint the pots different colours if you like.

Choose strong smelling, long lasting flowers, such as wallflowers ( Cheiranthus ). They will grow in some shade and do well against walls, fences and hedgerows. Climbing roses will only need a few hooks screwed into the fence, and they will happily cover your fence in blooms. Both these flowers are colourful, smell beautiful and are velvet to the touch.

Many herbs will grow in pots. Grow chives for something to nibble as you wander round the garden. Mint varieties are many , from spearmint through to the newer varieties such as pineapple or melon mint . Try them! They really do smell of pineapple and melon.

Some herbs are perennial and, once established, will need very little care. But remember to pick them to encourage growth.

The acoustics in your outside space will change dramatically when you have flowers growing. Those bees and bugs won't be able to resist.

Rub the leaves of your mint plants or other herbs and fill the air with the scent.

Now relax in a chair, listen to the humming of the insects and nibble on your chives. Within ten minutes you'll either be dozing and gaining some well needed rest, or you'll be running back to your keyboard with more words in your head than ever before!

About The Author

Linda Gray is a freelance writer and, with her partner, has spent ten years renovating an acre of neglected woodland. Drop in at <a href="http://www.flower-and-garden-tips.com" target="_new">http://www.flower-and-garden-tips.com</a> for pots of gardening inspiration!

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>

Web Writing: Create Writing Flow With Four Uncommon Connectors

Connectors -- conjunctions, punctuation, and transitional phrases -- allow readers to process information promptly by creating balance and relationships between sentence parts. The connectors are performing the same work as verbs, objects, modifiers and multiple subjects.

Here are four uncommon connections that will create an easier flow for your readers:

1. Parallel Constructions. This side-by-side structure builds the bond between multiple joined parts. Example: In the children's story, Peter Pan stresses the need "for Wendy to sew" his shadow back on, "for her to return" to Never Never Land with him to take care of the Lost Boys, and "for them to leave" before her parents returned.

2. Beginning your sentence with a conjunction. One way to divide a long sentence or several independent clauses is to make each clause an independent sentence. And, but and or are three common conjunctions used frequently. This shortens the sentence, creates a conversational level, and keeps the reader moving forward.

3. Creating A Series Without A Conjunction. Using punctuation, usually commas but not limited to them, instead of words to separate, opens the door of possibilities in the reader's mind. It allows them to "feel" the "something more" and mindfully fill in their own words. The series allows readers to sense a separateness rather than a joined relationship. Example: Tinker Bell got angry, didn't like Wendy, flew frantically around the room. Many times editors want to add a conjunction -- and, but or or -- to the last series. When actually it is intentionally not added to create the feeling of possibilities. Ask yourself, "Do I want to create this feeling, or be more adamant with the reader?"

4. Listing Your Series In Order of Length -- From Short to Long. Arranging the words of your series from short to long and from simple compound/ complex make the process easier to understand. And if you can list them in alphabetical order it expands flow. There has also been research done on how people try to memorize and slow down when they read this type of series.

In the first example, parallel construction, the listing was an exception. The complex part was in the middle because of the chronological series of events.

In the first paragraph, "verbs, objects, modifiers and multiple subjects" is listed in the short to long and create an easier reading flow. If you read the sentence this way: "The connectors are performing the same work as modifiers, multiple subjects, verbs, and objects" your mind stops and goes. Many times this causes the reader to be confused or even for them to exit.

Web writing differs from paper-printed writing because of the way it is read. People scan what they read. This is people don't blink and they approach the Net with a mind set of information overload. Additionally, this is why there are different structural rules. Using connectors is just one such change you need to make in your writing for the World Wide Web.

Catherine Franz is a Marketing & Writing Coach, niches, product development, Internet marketing, nonfiction writing and training. Additional Articles: <a target="_new" href="http://www.abundancecenter.com">http://www.abundancecenter.com</a> blog: <a target="_new" href="http://abundance.blogs.com">http://abundance.blogs.com</a>