How to Write Words Worth a Thousand Pictures

Sometimes picture can express a thousand words. Glenn will told us how to use words express a thousand of pictures. Enjoy writing :)

How to Write Words Worth a Thousand Pictures
by: Glenn White


Our Image-Driven Society

We live in a new image-driven society. It can be hard on writers unless they learn to connect with today’s readers. Writing that connects is easy when you keep a few basic writing principles in mind. Let’s face it, as a writer, you are competing with the greatest influence in our image-driven society, the film and television industry. So, let’s take three well-known words in film making as cues for effective writing. Ready? Lights! Camera! Action!


Lights!

Catch the reader's attention. You catch your reader's attention when you know who they are and what holds their interest. Yes, write what you know but also write for who you know. For example, avoid using abstract words and concepts when writing for children. Kids won't understand and you won't grab their attention.

The effective writer writes about what interests the reader using words the reader relates to and understands. When you write fiction or even creative non-fiction; develop catchy titles, contemporary themes, strong heroes, good plots, intense conflict, and create interesting characters. When you do, lights go on for your reader.

Camera!

Describe, describe, describe! Use specific, concrete, and concise words. Write to describe but avoid using too many adjectives. Mark Twain said: "When you catch an adjective, kill it." Strong words from Mr. Twain but when you cut out adjectives and use descriptive nouns, your writing comes to life. Instead of writing "big, beautiful house," try writing "mansion," "villa," "castle," "palace," or "chateau." Use a thesaurus and find image-driven nouns to replace superfluous adjectives. Sorry, I couldn't find a noun to replace "superfluous adjectives." But you get the idea.

The contemporary writing advice, "show don't tell," echoes in the ears of most writers. And for good reasons. The writer must "show" readers rather than "tell" to grab their image-driven attention. For example, use vivid detail instead of vague generalizations when describing emotions. Write, "sweat dripped from his forehead," not "he was nervous." Let the images come alive in your story.

Action!

Use action verbs, avoid "to be" verbs. Put your reader in the middle of the action in your story. Describe the action with the senses of sight, sound, smell, taste, and feel by using action verbs. Use moving images and carry your reader along, don't let your story become a study in still-life. Don't sprinkle your story on your readers; dunk ‘em in over their heads! Go ahead, get 'em soaking wet with the action in your story. They will love you for it.

Lights! Camera! Action! will connect your story with your readers. Go ahead, give ‘em pictures they’ll never forget!

Copyright 2002 © Glenn White

About The Author

Glenn White is a freelance writer, editor and content manager at his web site for Inspirational and Christian writers at: http://www.WriteToInspire.com
editor@writetoinspire.com
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Write Your Life

Many times I and maybe all of you might feel that why shouldn't I do that or those. Life is so short, please don't look back.

Let's see what David wants to say :)

Write Your Life
by: David Leonhardt


Take out a white piece of paper and place it on your kitchen table. You now have two choices. You can write or draw on it, or you can leave it there.

If you write or draw, you control the paper's destiny, the words or images it will express, the character it will display, the very meaning of its existence.

If you choose to leave it on your kitchen table, it will remain white. Over time, if left undisturbed, it will slowly turn yellow, old and weary, with no character and no meaning. But wait. It will not be left undisturbed. Surely something will spill on it. If your kitchen table sees the kind of abuse ours does, it won't take a day before there's a strawberry stain on it, perhaps a few drops of milk or syrup, or maybe some stray mashed potatoes.

That paper is your life. We can let fate take its course, splashing the splendor of life's stray mashed potatoes across our lives, or we can define our own meaning. It's up to each of us. What's your choice?

Isn't this a great little exercise to pass along to your friends?

About The Author

This inspiration was first published in Your Daily Dose of Happiness at http://TheHappyGuy.com/daily-happiness-free-ezine.html . The author is David Leonhardt, The Happy Guy, author of The Get Happy Workbook at http://TheHappyGuy.com/happiness-workbook.html. Visit his web site at http://TheHappyGuy.com.
info@thehappyguy.com >>Read more...

Writing Without Style

Writing Without Style
by: Joseph E. Wright

WRITING WITHOUT STYLE

Style manuals are all well and good, and in fact, highly desirable for newspapers. The average reading level of newspaper readers is the sixth grade. Over the years it became imperative that newspaper writing be simple, consistent, and use basic punctuation, even when that violated some elementary rules. The end result has been that borderline idiots may now understand today's papers.

I feel that these manuals should not be taken as carved in stone for fiction writers. Imagine, if you will, someone dictating to Picasso, Dali, or the French impressionists which colors of paint they may use, which strokes, which perspective, etc. Unthinkable, yet there are many people who insist that fiction writers must abide by the (sometimes) arbitrary grammar and style rules in the popular style manuals.


There are certain rudimentary dictates we must all follow, otherwise our writing would be chaotic. However, fiction writers should, more than any other writers, be allowed enough freedom of expression to create a style that is special to them. In other words, a style that is peculiar (in the correct meaning of that word.) In the editing process of my book, TALES FROM THE WRECKTORY, I had an incident with the editor (He won, I lost.) over the use of the word, "tenebraephobic." (Tenebrae is the service used during Christian Holy Week, and the Latin word, "tenebrae" means shadows, hence darkness.) I wanted to use it to convey a particular kind of fear of the dark. Now, there is more than one word for this condition: nyctophobia and lygophobia, to name two. The individual I was writing about was afraid to be alone in an old, multistory, rambling house in the dead of night. I ask you, which word conveys the impression I wanted to create: one of the two clinical names I mention, or the one which speaks of fear of shadows?

The editor objected to my "tenebraephobic" because he said there was no such word, that I had made it up, and, of course, he was right. There wasn't and I had. Damn it all, if a fiction writer is not allowed to coin a word, who is? Political speech writers? Computer nerds? Or, as we see happen every day, the intelligentsia who, through ignorance or sloppiness, take a perfectly good word or phrase, misuse it, and give it a whole new meaning. Others follow the bad example and it suddenly jumps up the ranks in today's parlance. "Impact" is a perfect example of that.

The same editor then pointed out that most people would not know the meaning of the word, "tenebrae." My answer to that was: "Then, let them look it up. If they want simple words that won't strain their poor brains, they should stick to newspapers (or television) for their entertainment. Fiction should do more than entertain; it should also broaden the mind."

Another editor (I quickly changed this one) tried to correct my grammar and spelling in dialogues. Now, to me, dialogue is sacrosanct. Apart from obvious typos, no one fools around with it. Words in dialogue are, after all, not my words, not the editor's words. They belong to the character speaking. You wouldn't say, "Just between you and I" but one of your characters certainly would. You'd die rather than say, "Me and my friend did..." Would one of your characters? You betcha.

Years ago, I was responsible for training several would-be writers for an international corporation. It was hoped that what they wrote would convince those who read it to buy our products and services. These young writers soon became sick of hearing me say, "We don't write the way we speak, any more than we speak the way we write. Writing is a visual medium; speaking is an audible medium." I convinced them (I think) to throw away the style manuals (or at least leave them on the shelf most of the time), and concentrate on what was important: getting a message across, a message that was brief, succinct, and easy to read.

When it comes to the final showdown, who wins, editors or you, the writer? That's an easy one. Editors. Certainly you have the right to take your work elsewhere. My rule on this is quite simple. If I have any doubt whatsoever of the suitability of what I wrote, I don't mind giving in, especially to an editor who is usually cooperative. Such an editor deserves my cooperation. On the other hand, if I believe I could not go on living with myself by abandoning my precious words, I'll insist it stay as written and accept the consequences. Quod scripsi, scripsi.

The test of fiction writing is not whether it conforms to any style manual, but whether or not it works for you, the writer. Unless your words move you to laugh or cry (preferably both), it isn't likely to affect anyone else. How do you make your words work? The formula is simple, although not easy. You must make your words flow as though they were about to run off the page. The nonfiction writer must be careful that all facts are correct, make sure the writing conforms to the publication for which it is written, and for the intended audience. You, as a fiction writer must do the very same, but only as a starting point. You must go on become a poet, a word-painter, a strummer on people's emotions. The person who originally said one picture is worth a thousand words had it all backwards. A thousand words can conjure up as many pictures, as many emotions as there are people who read them.

As a writer of fiction, you need only keep one eye on your style, and only an occasional eye on the rules set down, but you must at all times keep both eyes wide open and directed towards that which you hope to pursue, and by that I mean pursue that noblest of trades: the writer who leads others to far-off lands in this world and in other worlds; the trade of Dickens or Tolstoy; of Bradbury or Poe, of Cartland or Hemingway; and above all, the trade of ________(please insert your name here.)

copyright 2003 Joseph E. Wright

Joseph E. Wright is the author of Tales from the Wrecktory (http://www.metropolisink.com}, The Bodies Out Back and The Remigrants (both published by http://www.booksunbound.com). 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.

glpjew@excite.com
>>Read more...

Vital Verbs

Vital Verbs
by: Joseph E. Wright

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

Joseph E. Wright is the author of Tales from the Wrecktory (http://www.metropolisink.com}, The Bodies Out Back (A Murder Mystery) and The Remigrants (Those who come back from the dead), both published by http://www.booksunbound.com. 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.

glpjew@excite.com
>>Read more...

Writing Good Dialogue.

Writing Good Dialogue.
by: Nicole Murphy


There’s nothing that kills a scene like hackneyed dialogue. Just stop and think about the average B-Grade Hollywood Movie. Sure, at times the plot is bad and the characterisation woeful but most of the time, what stops it from being a good movie is the dialogue. Cringe-worthy dialogue.

So, how do you write good dialogue? There are a number of factors and the most important one is: don’t try too hard. Not every thing out of a character’s mouth has to be scintilating. Sometimes, the best dialogue comes about because it’s so simple and normal. So relax.

You need to let your characters speak. If they are highly educated, they will probably speak with great grammar and have a high vocabulary. If they left school at fourteen and have worked for five years in the local abottoir, their language is likely to be more colourful. If your character is a chatterbox, let them ramble. If they are the strong and silent type, let them be silent. Don’t force words into their mouths and don’t try to make them conform to your own views of good communication.

Good dialogue flows. The characters react to what another character has said. For example:

“I went to the show the other day.”

“Really? Was it any good?”

“Not bad. The dogs were cute but the cows were too noisy.”

“I was talking to George the other day.”

Huh? How did talk about the show bring George into the conversation? To make it flow, it needs something more like:

“I went to the show the other day.”

“Really? Was it any good?”

“Not bad. The dogs were cute but the cows were too noisy.”

“Speaking of dogs, I was talking to George the other day...”

If you aren’t sure if your dialogue flows, the classic way to test it is to read it aloud. You’ll hear any problems, just like you do in the bad Hollywood movies. Better still, get your family and friends to act it out for you. It gets them involved in your writing and you can stand back and really observe and listen to what is going on.

The other thing dialogue needs is connection to the action of the story. Stop and think about the conversations you have. They are always related somehow to the action of your day, whether it’s a conversation you’re having as you catch the bus to work or a conversation with a work colleague or catching up with your partner at the end of the day.

Keep the dialogue connected to the characters, the setting and the plot by surrounding it with action. The example above is quite bland. But surround it with action and it comes alive.

Carrie sat down, opened the sugar packet and sprinkled it in her tea and then stirred it. “I went to the show the other day.”

“Really?” Sophie took a long sip of her coffee. “Was it any good?”

Carrie shrugged. “Not bad. The dogs were cute but the cows were too noisy.” She poured milk into her tea.

Sophie put her coffee cup down and leant forward, eyes sparkling. “Speaking of dogs, I was talking to George the other day...”

Now the dialogue seems real, because we can picture the characters and their setting. We also get an idea of how they’re feeling. Carrie’s shrug tells us the show didn’t really thrill her. Sophie’s sparkling eyes tell us she’s got something exciting to say.

So spend a bit of time developing your dialogue, and your stories will be much more successful.

About The Author

Nicole R Murphy is a writer and copyeditor. You can take advantage of a free trial of her copyediting by visiting www.yourbestwork.com.
nicole@yourbestwork.com >>Read more...

Dialogue Tags - A Study in Common Errors

Dialogue Tags - A Study in Common Errors
by: Jennifer Turner


Verb and Subject

Incorrect:

"I bet you two had a fine time," said Ben.

When using tags, it’s unusual to have the verb before the subject. The general rule of thumb is to use this construction sparingly, as a rare change in pace or flow. In addition, many editors are asking this construction not appear at all in a manuscript.

Correct:

"I bet you two had a fine time," Ben said.

The Comma and As

Incorrect:

"Do you kiss toads often? Or are you just a little weird?" Betty asked, wrinkling her nose in distaste.

"I often find the little green guys cute. You should try it sometime," Bertha said as she giggled.

In both instances, the comma after asked, and the ‘as’ after said, indicate the dialogue tag isn’t necessary. Each is greatly improved by removing the tag and allowing the following sentence to stand on its own.

Correct:

"Do you kiss toads often? Or are you just a little weird?" Betty wrinkled her nose in distaste.

"I often find the little green guys cute. You should try it sometime." Bertha giggled.

Unnecessary Tags

Incorrect:

Mary scoffed at the idea. "I don’t think you want me at your party," she replied.

Since we are firmly in Mary’s head at the point of her dialogue, it can be assumed it is her reply. If you use a tag like this, ask yourself if it’s really necessary. Is it obvious this is her reply? Then you don’t need it. New writer’s struggle with the idea that every bit of dialogue needs to be accredited to a character, otherwise the reader will be confused. The idea is to write so well from one character’s perspective, that the reader will immediately tell who’s dialogue it is.

Correct:

Mary scoffed at the idea. "I don’t think you want me at your party."

Over Explaining the Tag

Incorrect:

"I don’t care if you kiss all the frogs in the world, you aren’t bringing that toad to my party," Shelly warned, her voice rising.

Ask yourself these questions when you find yourself hunting for words to explain the dialogue in the tag:

Is Shelly’s dialogue showing her warning?

Is it clear from what Shelly says that her voice is rising?

What am I trying to show Shelly feeling with this tag?

You won’t need to ask yourself these questions as you discover your own style more, but in the meantime, it’s a good idea to look through your tags to see if any of them could be replaced, or simply deleted. Her outrage could have been shown much better by this sentence:

Correct:

"I don’t care if you kiss all the frogs in the world, you aren’t bringing that toad to my party." Shelly glared, hands on hips.

Conjunction Tags

Incorrect:

"You look lovely in that dress," Biff said, "and I think you’re going to be the belle of the ball."

Although this break is all right occasionally, it should be used with extreme caution. A better approach is to lend depth to the moment at the break.

Correct:

"You look lovely in that dress." Biff leaned closer, his words a whisper against her flesh. "I think you’re going to be the belle of the ball."

Showing Impact

Incorrect:

She wanted to scream, to run for help, but she remained frozen, like a trapped animal. "You killed him for money?"

"Exactly," he said.

"How could you?" She asked as adrenalin rushed movement back into her limbs and she backed away.

Obviously this is an excerpt from a larger scene. By the time the reader finds this exchange, they’ll be familiar with all the players. To add impact to a statement, it’s sometimes best to leave a tag off entirely, especially with a two-character exchange.

Correct:

She wanted to scream, to run for help, but she remained frozen, like a trapped animal. "You killed him for money?"

"Exactly."

"How could you?" Adrenalin flooded her limbs and she backed away.

Multiple Tags

Incorrect:

"You have to understand," Sean said as he clenched her wrists tighter. His eyes darkened with a menacing plea as he stated, "He was evil, I had to do it."

In this paragraph, we are firmly in Sean’s head by the action described in the middle, there is no need to explain he is still speaking.

Correct:

"You have to understand." Sean clenched her wrists tighter. His eyes darkened with a menacing plea. "He was evil, I had to do it."

As with any rules in writing, there are always exceptions. However, once you’ve changed any of the problematic tags in your work to these more active and exciting tags, you’ll find the pace of your work becomes faster and the work overall is much cleaner.

About The Author

Author of dozens of articles and award winning short stories, Jennifer Turner offers caring and concise critiques for aspiring authors without the high cost of big business editorial services at, ROTO-WRITER CRITIQUE SERVICE http://jturner.00books.com/index.html
jturner4@charter.net >>Read more...

Learn to Write Like a Pro

Learn to Write Like a Pro
by: Caterina Christakos


Many writers write for the experience. Others dream of having a number one best seller. Both are wonderful reasons for writing. What many fail to realize is that these two do not have to be mutually exclusive. With a little research, you can enjoy writing incredible stories and see to it that they generate a profit.

The first thing that is needed is a business like attitude toward the process. From day one you must:

1) Know your niche.

Research which books are popular in your genre. Go to bookstores and start reading popular authors in your field. Also pick up writing magazines and see what publishers are looking for today.

2) Know your audience. If you are writing for children, for example, know the developmental stage that a child reading your book needs to be and cater to them.

Ex. A five year old would not be a good candidate for a chapter book.

You can also talk to your future readers and find out what really sparks their interest.

Ex. If you are a sci-fi writer, you can go into sci-fi chat rooms and ask what books are the most popular and why. Also ask what they feel is missing in this field. Do they want a return to some of the earlier styles of sci-fi books are an even more futuristic approach?

3) Write from this knowledge.

Once you know what your audience wants, create your story and characters around that theme. Give them what they want, what they crave and you have a better chance of creating a book that they and publishers will love.

4) Pre - market. If you are self-publishing, you can give away a free chapter of your book on hundreds of sites to spark an interest and get feedback. You can also send out press releases right before your book is about to be releases. Prweb.com is a great place to send out free press releases.

Those are just a few examples of pre - marketing. There are hundreds, if not thousands, of other free ways to gather interest and get feed back.

The more information that you have before you write, before you market and before you go to press, will determine your chances of creating an enjoyable and profitable book. Remember you can be creative and profitable. Just start from a place of knowledge and the rest will follow.

About The Author

Caterina Christakos is the author of How to Write a Children’s Book in 30 Days or Less. For more writing tips and articles go to: http://www.howtowriteachildrensbook.com
CCHrist896@aol.com >>Read more...

Don't Rely on your Spellchecker - or - The Importance of Good Proof Reading

Don't Rely on your Spellchecker - or - The Importance of Good Proof Reading
by: Tony Murtagh


Weather posting a page to your Website, writing a letter to a customer, or submitting an article for publication, it is extremely important to demonstrate how professional you are. Not only does a series of spelling and grammatical errors show a discourtesy to your readers, it makes you look amateurish. Potential customers will lose any trust they may have had in your business. Only a week or so ago, I read a classified ad asking me to visit their "sight" - needless to say I did not bother. If someone does not take care over their advertising, how reliable is the rest of their business?

Perhaps you are not very good at spelling - or typing - and your articles and letters are riddled with mistakes (probably when you were working for an employer you had a secretary to type your male) so, what are you going to do?

The first thing, but NOT the only thing, is to use your spellchecker. This is fine to get rid of the typos and obvious spelling mistakes, but does not correct any instances of you typing in the wrong word e.g. there (denoting a place) or their (belonging to them).

So, read your work back after you have written it. Many people find that actually reading out loud is a great way of spotting errors. If it is an important item, print it off and read it a little while after you have typed it. Ideally, get someone else to reed it and mark off any errors. When I was involved in publishing, it was always a strict rule, even with the most experienced writers, to get someone else to check their work. It is surprising how often one is unable to spot one's own mistakes.

So to summarise, use your spellchecker, re-read the item yourself, print out and proof read and ideally get someone else to do the proof reading.

One last point, make allowances for the fact that some articles are written in "British" English, as opposed to "American" English. So if you see colour spelled color, or centre spelled center, the author has not misspelled the word, he is just likely to be American (or at least has the American version of English on his spellchecker.)

And finally, there are three deliberate mistakes in this article where I have intentionally used the wrong word (at least I HOPE there are only three!!) in order to demonstrate the point I am making. The first three readers to email me detailing the errors will each be given a FREE ad in my newsletter and in the classified sevtion of my Web Site. murtagh@bigfoot.com?subject=TAD

About The Author

Tony Murtagh has spent all his career involved in sales, sales management, marketing and PR. He was a UK National Sales Manger (Major Accounts) for a mobile communications company, had his own publishing company producing a monthly Business to Business magazine and has acted as a PR consultant for a number of small businesses. He is now sharing his wide experience of sales, marketing and promotion in his new web site: - http://DevelopYourWebSiteAndYourself.com and in a weekly e-ezine Aardvark Marketing, which you can subscribe to from the site. >>Read more...

Tips For Better Writing

Tips For Better Writing
by: Kent E. Butler


It is certainly true that we don't get a second chance to make a first impression. As the impression we make on the Internet is almost always with the written word, is it unfortunate that there is so much poor writing bouncing around in cyberspace. The following tips are intended to help you make a better first impression.

Speaking of first impressions, I don't want to present myself as "the Final Authority". Dave Barry readers know that would be "Mr. Language Person". I'm just a guy who's been writing marketing and training materials for a couple of decades and I've picked up a few things. If they are of value to you, I'm glad I could help.

1. Know your audience. Who are you trying to reach and what is the best approach to accomplish your goal? Should you be informal, strictly business or something else?

2. Plan what you want to say before you type the first word. Make a few notes. You will stay on message better and present a more readable piece.

3. No matter how extensive your vocabulary, resist the impulse to dazzle your readers. You may impress some but you'll lose many more. Common, everyday words work just fine - that's how they became common.

4. Avoid jargon whenever possible. Yes, almost every undertaking has its own language, just write at the level most appropriate for the vast majority of your readers. If in doubt, see 3. above.

5. Syntax (sentence structure) matters. When I hear something like, "Me 'n' John went to..." it's like fingernails down the chalkboard! People who speak that way probably write the same way, I figure. If your word processor has a grammar checker, use it - the spell checker won't help in this kind of situation.

The other person always comes first, so it is "John and I went to...". The trick for determining whether to use I or me is to drop the other person and say it. I doubt you'd say "Me went to...". Right?

6. Short sentences are more powerful than long ones. They are easier to read and hold the reader better. It might just be two words: Janet smiled. Depending on what preceded it, those two little words could be very powerful indeed. Think how important this sentence can be: I do.

7. If you're writing ads and you'd like them to stand out, avoid using the same approach "everyone else" is using. Look at how many ads use some variation of "Make $16 Million Before Lunch!!!!!!!!!" and then do something else for yours. Nobody really buys that stuff anyway, do they? Use your imagination.

8. Some words simply cannot be modified, so don't. Among these,for example, are unique and pregnant. Nothing can be "very unique" because unique means something of which there is only one. And a woman is either pregnant or she isn't. She cannot be "somewhat pregnant".

9. Punctuation is critically important. If you don't think so, study the following sentence. It can be punctuated to create opposite meanings: Woman without her man is nothing.

I think the most grossly overused punctuation mark is the exclamation point! There is a school of semi-thought that seems to have concluded that a thing is more important, or exciting, or urgent if multiple exclamation points are used, as in: Buy NOW!!!!!! Actually, it just means the writer doesn't know much about punctuation.

10. Use comparative suffixes (-er, -ier, -est) rather than "more". The weather is getting cooler, not "more cool". She is happier, not "more happy".

Enjoy your writing, it can be a real adventure!

About The Author

Copyright © Kent E. Butler/Butler Marketing Group
Kent Butler has been in marketing and sales since just after the discovery of dirt. He has written a great variety of things, from sales letters to screenplays. If this piece was helpful to you, he's happy. You are cordially invited to explore his Internet Resouce Center at http://www.ButlerMarketingGroup.com If you became a customer, of course, he'd be even happier (not more happy). >>Read more...

Step on Writing Novel

Writing Tips For Novice Authors
by: Patty Apostolides


If you are reading this article then you probably have asked yourself at some point in your life, "Do I have what it takes to become an author?"

I believe that successful authors, those who actually write and finish that novel, or book of poetry, or even that book of short stories, and see it all the way to publication, have certain characteristics.

Characteristics of Authors

1. They like to sit for hours in front of a computer screen (or with pen and paper), typing (writing) away.

2. They think about their book, even when they're not writing.

3. They are motivated to finish their book.

4. They are motivated to proofread, edit and revise their finished book until it is the best it can be.

5. They are motivated to publish their book.

6. Once they publish the first book, they are already working on the next one.

If you answered yes to anyone of the above, then you have a good chance of attaining your dreams of becoming an author. Don't listen to those people who say it's a competitive market out there. Don't listen to those people who say they've written five books and haven't had one published yet. And don't listen to those people who send you back your manuscripts! Listen to yourself. Listen to that inner voice, the one that is whispering now. But wait until you get started. Once your book is written and published, that inner voice will be roaring! And the whole world will hear about it.

I know, I know. I tend to be the optimist. But we have so many pessimists in the book business, we sure need some more optimists around!

For you, the novice writer who would like to start writing that first book, the best way to begin is to start writing. Yes, just sit down and do it. Stop the other activities, the television, the reading, the shopping, the chatting on the telephone, and find the time to devote at least one hour a day to writing.

What’s one hour a day in the scheme of things? It comes and goes like this, poof! What do you have to show after an hour of television? A lazy yawn? If that same hour were spent on writing, then there would be a product in your hands, something that will be shared, hopefully, one day with others.

So, go ahead, shut the door to the rest of the world for one hour (or more) and make yourself comfortable in front of the computer screen (or pen and paper). Let’s take the first step to becoming an author.

How To Begin

Foundation

Just like a construction company which builds a foundation to a home, you also need to prepare a foundation for your career in writing. Don't skip this step, it's important.

Your "foundation" will consist of basic writing skills. Remember those English courses you took in high school and college? If you don't remember anything from those courses, then it wouldn't be a bad idea if you found your old English textbooks, dusted them off a bit, and looked through their pages to refresh your memory.

If you haven't taken any courses in creative writing, you might consider signing up for one. Check with your local community college. They often offer weekend and evening classes, and sometimes even online classes. If you're on a budget, then visit the public library and sign out books relevant to writing.

In addition, it would be very useful to join a writing group (online or in your local area) that critiques your work and gives you the opportunity to critique also. The group provides wonderful support and an avenue to sharpen your skills as you gain experience in writing, as well as exposure to other people's writing. For example, Writing.com is a good example of an online resource that provides many opportunities to share your writing, and get your work rated and reviewed. If you want to join a critique or review group, it offers that also.

The second step to becoming an author, is to have the right tools.

Tools Needed

Besides a comfortable chair, plenty of lighting, and a quiet room, you will need a computer with a word processing program (e.g., Microsoft Word), a printer, and plenty of paper.

Why a computer? First of all, publishers typically will request a copy of your files sent to them on a floppy disk. More importantly, working with a word processing program will aid you in many ways towards becoming a published author. It will provide the opportunity to save your work as a Word file, without having to use up tons of paper (as with a typewriter). This greatly aids you in keeping your work organized. It also gives you the flexibility to edit and re-edit large sections of your work quickly by allowing you to utilize the copy and paste functions.

Other advantages of using a computer word processing program is that it provides spell check capabilities, and also helps you count the number of words per page. In addition, when you want to spice up your vocabulary (For example, if you like to use the word "walk" often, and are getting tired of that word), place your cursor on the word "walk", hit shift F7. It will give you a list of synonyms you can choose from - like stroll, amble, etc.).

The time saved by using a computer is very valuable. It gives you more time available to write! Of course, if you don’t have the above materials, don’t let that stop you from writing that book! Using a pen and paper is perfectly fine. Books were written with these two basic tools for centuries.

Let’s assume you are using a computer and a Word processing software. First of all, before you begin writing, form a subdirectory that you can add all your chapters to. Maybe you know the title of your book already. Fine, then form a subdirectory using the name of the title. After you finish writing that first chapter (oh joy!), just save it as Chapter 1 under the subdirectory. If you are writing a book of poetry, then you might want to save each poem as a separate file.

When I write my chapters for my novel, I format them in double space mode, with a Times New Roman 11 font. All the margins are at least one inch. This way it will be ready for manuscript submission.

Try not to add your page numbers until the very last revision. Page numbers constantly change when you’re revising, so wait until the end.

Finally, another reason for having a computer is for Internet access. As a writer, you will have opportunities to submit your fiction online, such as http://www.Writing.com, or even your articles online for e-zines, such as http://www.articlecity.com. Any chance you can get to write online, do it. As long as it doesn't take too much time away from your book. It's also a free way of promoting yourself before the book is even published.

So you need to balance your time in writing that book, honing your writing skills, submitting your work along the way for others to critique, and promoting yourself. Can you do it? Of course you can!

The third step to becoming an author is:

What to Write

If you are planning to write a novel, it would help to know what general category your book is going to be in. Will it be in the romance, mystery, or science fiction category? If you don’t know, take some time and think about it. Read some books in those genres. Which books seem to attract you the most? It’s highly likely that you’ll be writing in the category that you like to read. My preference is romance because I read those types of books the most. Once you decide the category, then you are closer to writing that novel!

For poetry, you might start by writing a poem and submitting it to a poetry journal, or a poetry contest. Gain exposure for your poetry. Join a critique group so you can sharpen your poetry skills. A chapbook usually consists of about 25-35 poems. For a poetry book, you'll need at least 60 pages of poetry, if not more.

Types of Novelists

I have found over time, that there are two types of novelists. The first type is the writer who prefers drawing up a proposal or plan of what they will write about. The second type prefers to write whatever comes into their mind at that moment.

You decide which writer you will be.

Type 1 Novelist

They begin by describing the characters, their names, personalities, and sometimes their motives. Then they decide when and where the setting will take place. When will it take place? If it takes place before the 1900’s, then it will be considered historical. Also, will the setting be in the country, in a city (which city?), in a house (whose house), on a cruise ship? That needs to be defined also.

Once those decisions are made, they write brief sketches of each chapter. It could be a page or two long. Once all this is done, then the real writing begins. If this method works for you, then feel free to use it. It may take some time, but you will become more confident about what you’ll write once you go through this initial process.

Type 2 Novelist

What if you’re the type of person who doesn’t want to spend all that time writing proposals and character sketches? What if you’re like me, who prefers to just write whatever comes into your head? Then do it! Sit down and start writing. Write anything.

As the story develops, something wonderful begins brewing in your mind. Something called creativity. I’ve caught myself hours after I finished writing a chapter, and I’ll be preparing dinner, or walking somewhere, and a scene from my novel will begin to unfold. It’s called creative problem solving. My mind is working to solve the problem that the writing presents it, even though I’m not actively writing. When I get those urges, I immediately stop what I’m doing and jot down my thoughts. It’s helped me many times, particularly when everything clicks together.

How Long Will It Take?

It took me almost two years to write and find a publisher for my first novel, Lipsi’s Daughter. For other people, it may take longer or shorter, depending on the amount of time they allow for writing and how many pages they are writing. I know of authors that took six, seven, up to twelve years to write their first book. I also know of a famous author who writes two novels a year!

So unless you begin writing that first page of your book, you'll never know how long it'll take you to write it. Go ahead, make that first step, and good luck!

About The Author

Patty Apostolides is an author and poet. She has written several articles as well as published the novel "Lipsi's Daughter." More information can be found on her website: http://www.geocities.com/10500bc/index.html
Liendou@Writing.com >>Read more...