It’s unfortunate that this specific solution is marginally more high-priced since it’s mostly implemented when working on batches of about 10 thousand or fewer. Also, it provides a moderately reduced value when compared to the recommended option for DVD packaging i.e. production via replication. Hence, do take care to select your approach carefully. Packaging DVDs and CDs through replication indicates that the info is processed by imprinting everything onto the DVDs or CDs. They’re subsequently run through the printing press and eventually finished off with a special lacquer. In most cases, this is done for a great lot of discs, and the quality attained is indeed extraordinary.

You will also want to determine whether to deploy conventional cases or possibly the a good deal more extravagant digipacks. Standard cases are the large plastic ones which have a set of guides for the cardstock inlets. They are available in diverse patterns. They can hold several CDs or DVDs, and are well-liked as they give you a little extra protective cover for that discs they will come with. Having said that, they may be more costly and certainly not ecologically friendly, if you don’t want to pay extra for cases produced with recycled stuff.

By contrast, digipacks are typically manufactured from cardboard employing a small plastic holder within. These are completely different – they stick out, and are still better for the global climate. Contemplate turning creative within your DVD and CD packaging. Equipped with nowaday’s techniques, you have the opportunity to go far further than conventional photographic and design work to go for something less boring or perhaps fun for your CD product packaging. Popup art, a wide range of components, cut-outs, and other artistic devices could certainly do the trick making your media or data, information, videos or perhaps MP3s are sure to get splendid attention in their respective retail framework. Freebies and prize draws have additionally become preferred bonuses going with standard product packaging CDs and DVDs. Everybody enjoys picking up posters, vintage photo cards, autographs, along with other things you can add to your CD. Or just give them some codes people can type in over the internet to access secret video clips or songs, participate in competitive events, or receive price reductions. CD and DVD packaging could have a sizable effect on profits along with the view consumers form of your DVDs or CDs. Always take care your DVDs won’t disappoint by leveraging good quality packaging and, of course, design factor. And in case you’re concerned, this won’t invariably blow up your expenses- you can easily hire lots of great creative talent online at extremely affordable fees…

One thing you need to comprehend in terms of CD DVD packaging – there’s a considerable distinction between replicating media and duplicating them. There’s a significant difference, never mind that both seem to be the same. Copying works via the same method go for at home if you burn CDs, though at a much faster execution rate. On the other hand, it’s rather regrettable that this particular approach is considerably more expensive because it’s frequently applied when running smaller batches of about 10 thousand or less. Also, it boasts a slightly lower quality compared to the alternate process for CD and DVD packaging, namely replication. Product packaging DVDs and CDs through replication means the media data will be copied by imprinting it all onto the CDs and DVDs. They’re then properly printed in addition to being worked over with a protective lacquer. This is typically done for 1000s of CDs, and the quality is indeed awesome. Then of course you’ll want to consider whether or not to deploy regular cases or digipacks. The regular cases would be the larger recycled plastic types with a set of holds for your cardstock cover and booklets. They are available in different kinds. They can take several discs, and are widely used since they furnish a little additional stability for that discs within. Regrettably, they are really quite expensive and not particularly eco friendly, unless you cough up more for ones made with reused stuff. Contemplate becoming resourceful in your CD and DVD packaging. Equipped with our present-day technological innovation, you have the opportunity to go way further than conventional photos and graphic work to choose something more less insipid or perhaps interactive for use on your disc product packaging. Popups, numerous raw materials, cut-outs made from paper, as well as other artistic styles might do the trick and help make your media or data, intel, video clips and/or song tracks stand out on the shelf.

As was to be expected, freebies as well as prize draws have also become well-liked bonuses coming with average DVD CD product packaging. People love getting prints, treasured cards, autographs, along with other items you could add to your DVD. Or maybe feature some codes folks will key in online to gain access to top secret videos or music, enter challenges, or grab mark downs.

Packaging DVDs and CDs will most likely have a massive effect on your conversion rate and the personal opinion customers form of your CDs. Make sure that your DVDs or CDs do well by insisting on superior packaging and, of course, design factor. No cause for worry, this won’t invariably increase your production costs too badly, either: you can easily find a lot of great creative talent via the web at highly reasonable rates in other words the option is totally yours to take.

It is based on writing principles first proposed by two giants in the publishing field, science-fiction writers Ray Bradbury, and Robert Heinlein, over thirty years ago. And no, you don’t have to be a science fiction writer. No matter what your ULTIMATE goalnovel, screenplay, playwright, or poet, you can adapt this method. It is designed to address literally every major problem you have or might encounter as a writer.

1) Write a story a week, or a story every other week.
2) Read 10X as much as you write.
3) Put your stories in the mail. Keep them in the mail until they sell.
4) Never re-write except to editorial request.

And there you go. Now let’s look back at the steps for a bit of further explanation.

1) Write a story a week, or a story every other week. These can be as short as you wish. No, it doesn’t matter if you want to write novels, or your ideas tend to emerge from your subconscious in long form. If you’re a newbie runner training for a marathon, you’d start by running around the block, wouldn’t you? You wouldn’t start by running twenty-six miles, that’s for sure! Everything you need to know to write a book is contained in a short story, and writing 100,000 words of short stories will improve your writing far more than that same 100,000 words devoted to a novel. Scriptwriting? Before you can write a script, you need to be certain you understand storytelling. I mean REALLY understand it, subconsciously. Short stories give you a chance to hone your skills. Poetry? Well, in this case, write a poem a week! Non-Fiction? Sure! Write an article a week!

2) Read 10X what you write. There is nothing sadder than a young writer who doesn’t read for fear of “contaminating his style.” This is complete self-delusion. A writer DESPERATELY needs to read everything she can get her hands on…and of the very best quality. Personally, I read one act of Shakespeare aloud each morning, to simultaneously improve my writing and speaking ability.

3) Put your stories in the mail. Every week, or every other week, one of your stories should be submitted to an editor who pays money for publication. Frankly, it doesn’t matter how much. Money is a very cold equation, something different from pats on the back, cheers, contributors copies or even awards. When an editor cuts you a check, there is a lack of warm fuzzy feelings, and a down-to-earth “will my readers like this” that is completely different from the accolades or criticisms of your writing group or class. THIS is the feedback you need: a check that clears the bank. Get your stories out! And web publication is just fine in this regardas long as there is money. Even a penny a wordor less!–is just fine.

4) Don’t re-write except to editorial request. Once your story is finished and initially re-written, move on. Don’t re-write endlessly, trying to get it “perfect.” You’ll learn more by writing a new story than re-writing an old one endlessly.

If you’ll do this, I promise you your first sales within fifty stories. At the story a week level, that’s one year! Just one year from today, you could be a paid author. And for any real writer, that should be an idea exciting enough to keep them up late, and get them up early, typing away, knowing that that first acceptance check is less than 365 days way.

NY Times Bestselling writer Steven Barnes has published over 3 million words of fiction, and wrote the Emmy-winning “A Stitch In Time” episode of the Outer Limits. He is the creator of the Lifewriting performance system for writers. WWW.Lifewriting.biz

A study in Common Errors and Their Quick Fixes.

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

I can’t resist… I have to say it. “How long is piece of string?”

Of course, that smart-aleck answer is of no use to you whatsoever if you’re sitting there, frozen over the keyboard, wondering where you should end Chapter One and start typing ‘Chapter Two’.

Fact: Some books have chapters that are only a page or two long. These are not necessarily short storybooks for children, either. I just plucked “Cat And Mouse”, a thriller by James Patterson, from my bookshelves. This 342-page novel has 130 chapters. Most chapters vary from just over one page to 3 pages in length – on average, 2 pages per chapter. There’s a lot of white space at the end of most chapters, too! Patterson’s chapters are actually very short scenes (or sequels to scenes).

Fact: The length of your chapters may depend on whether you’re following genre guidelines. For example, check out several category romances by Harlequin, and you’ll find that they tend to have around the same number of chapters. Educational publishers often are very prescriptive about chapter length (e.g. “These books will be approximately 3,500 words long, divided into chapters of 350-400 words”).

Fact: Some books don’t seem to have any chapters. They are divided into “Part One”, “Part Two”, “Part Three” etc and each “Part” consists of a series of scenes. You may get 100 pages and 20 scenes, with a space between each scene, but no chapters at all. Some readers find this very annoying – they like to stop reading at the end of a chapter! (Consider your own reading habits. How often do you slip a bookmark in at the end of a chapter, rather than at the end of a scene?)

Think “Scene”, Not “Chapter”

Unless you are working to a set of guidelines issued by the publisher, stop fretting about chapter length and start thinking in terms of scenes. You plan each scene to move the story forward (like scenes in a movie). You don’t finish a scene until you have achieved what you set out to do.

A chapter, however, can begin and end anywhere you like. You can break a chapter in the middle of a conversation. This is one way to get your reader turning the page instead of stopping for the night – they *have* to find out how things played out!

An example:

“I have no idea who he was,” Kane insisted. “He just came up to me in the car park and started asking questions. Thought I was someone else.”

Jasmine stared at his open, concerned face; at the complete puzzlement in his eyes. “You’d never seen him before? Not ever?”

“Never.”

Jasmine swallowed hard. He was one of the best liars she’d ever encountered. Even now that she knew his real background, she couldn’t shake the feeling that somehow she must have got it wrong. Not Kane…

“Jas?” Kane’s eyes had narrowed slightly. “What is all this?” She glanced down at his hand on her arm, numbed. If she couldn’t be just as good an actor as he was, she was in the worst trouble of her life.

CHAPTER TWO

“Jasmine?” Kane’s grip tightened.

She glanced up at him, raw fear making it easy to summon tears. “I’m really sorry. When he started raving about that girl, I thought…”

“You thought what?” Kane’s mask slipped for a fraction of a second, and a glint of ice in his gaze made her blood freeze before he covered with a familiar baffled grin. “What?”

“I thought you must have been having an…” she bit her lip, “…an affair.”

“An affair?” Back on sure ground, Kane laughed and folded her in his arms.

And so on. In this case, it was effective to put a chapter break in the middle of their scene of dialogue, because Jasmine has just realised that Kane is not what he seems and she’s in big trouble. It’s likely the reader will turn the page to see if she can get herself out of trouble.

Should Chapters All Be The Same Length?

No. Chapters can vary enormously in length. It can be very effective to have a 20-page chapter followed by one of just two pages, if you need to establish a quick bit of background or briefly show what another character is up to.

Children’s books are more likely to have chapters of similar lengths than adult novels. The length of your chapters will depend on the finished length of your book. If I’m writing an early reader of, say, 2,000 words, I’d probably aim for about 7 chapters of 300 words each. However, it might work better to do 5 chapters of 400 words. I usually write a book of this length as a short story, then go back and look for good places to break the text. One chapter could be 350 words, and the next 420 words.

If I were writing a book for older children – say, 20,000 words – then 10-15 chapters between 1500 words and 2000 words could work well.

Chapter length is not really important. What *does* count is how well you keep the reader’s attention in the current scene. Again, tap into your own reading experience. If the story has you totally absorbed, you’ll keep reading no matter what length the chapters are.

How Do You Decide Where To Put a Chapter Break?

This is easy, really. If you’re writing a short book for children, go through your story and draw a line across the page at a tense moment. Look for places where some sort of question is raised, where a decision has to be made, or action is about to happen. Obviously, readers will want to keep reading to find out what happens! You may have to rewrite the last few lines before and after a chapter break, or add a line, to make it read more smoothly.

What if you find that there are not many places where you can do this?

This is a good thing. You have probably discovered that there is not enough tension or conflict in your story. Go back and put it in. This way, you’re working out the chapter breaks and improving the pacing and plot as well.

For adult novels: if your chapter seems to be interminable, go back and look for a good place to break it. The same applies here as it did to writing a children’s book. If it all seems too ‘even’, you probably need to work on the pacing anyway.

You’ll find that after a while, you develop an instinct about where to end one chapter and begin another. Don’t forget the value of research – grab a couple of books by your favourite authors and see how they have handled this. It isn’t necessary that every chapter end with a cliff-hanger, but you should ‘write up’ to the end of a chapter – leave the reader wanting to know more.

Simple, really. End your chapter in a place that is guaranteed to have your readers asking the age-old question that keeps popular authors rich and readers buying books: “What happens next?”

(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 http://www.writing4success.com/

Are they telling us they cannot compete with a bunch of amateurs? Why? The way I see it is this is sour grapes and I believe that; When Liberal Excuse Making Writers Attack they make themselves look stupid indeed. Now some believe we should open up positive dialogue with this professional writer who wrote such a dastardly piece.

You see she opens with such snide, persnickety and rude comments why should us amateurs cut her any slack? If she cannot compete, freely admits that, then why should we give her credence or help her see the light?

Her mind is made up now and so when asked to have empathy and see her perspective on this issue when she attacked us, well I say; No Way! Hokum walks and she deserves NO professionalism, understanding, empathy or anything else. That is pure unadulterated poppycock and political correctness. Consider this in 2006.

“Lance Winslow” – Online Think Tank forum board. If you have innovative thoughts and unique perspectives, come think with Lance; http://www.WorldThinkTank.net/wttbbs/

Focus on solving one problem or explaining one how-to in each article. Implement the following tips and you will be admitted to the winner’s circle of frequently published article writers:

6) Know your audience’s purpose and focus your article’s purpose just for them.

Author’s Tip: To make your copy even more attractive, personable and compelling. Choose a friend or family member to write instructions or how to just for them. Have this person in mind as you write.

7) Write a thesis and outline with 5-6 major points you want to illustrate before you write.

Compose your thesis before you write using 1-2 sentences. Then write with it nearby so that your article will always stay on track to answer the problem presented in your article.

Compose each paragraph of about 4 standard sentences (15-17 words.)

To power punch your copy, write 1-2 short sentences. One paragraph contains approximately 100 words.

10) Create 4-6 paragraphs from your outline.

Write compelling paragraphs that support your thesis, explain and give examples. Use action words and colorful nouns. Cut the passive voice. Your result will be copy that is easy to read because its focus is tight and active.

11) Review and self-edit your article.

To tighten and shorten your copy, shorten examples. Cut redundant sentences. Use bullets to clarify. Cut superfluous adjectives, adverbs, and words like “that”. Use active 1-2 syllable words for readable compelling copy.

Finally, include a short summary. Don’t leave your readers hanging. Write only a sentence or two to sum things up. Point out the benefits of your information. Use the Speedway Formula to article writing and publish faster so your prospects and clients will read them and buy from you.

============

Earma Brown, 11-year author, entrepreneur and web developer eBk: Article Speedway – Put Your Articles in the Fast Lane to Sales Helps small business owners, infopreneurs and writers create effective articles. Send any email to easyarticles@articlespeedway.com to receive free 7 lesson mini-course Put Your Articles on the Speedway to Success and free article creator software or visit http://www.articlespeedway.com for more article writing resources.

An ezine article is usually composed of approximately 500 words on a single subject that would be of interest to your target market. At the end of the article, you should include a “resource box.” This box should provide such things as your name, the name of your company, your web site address, email address, and a small blurb about your product/service.

Writing an article is not hard work. All it requires is some research and note taking. Use any of multiple sources to find information about the topic that you choose to write about. Then write your article in your own words using the notes that you took during your research. It’s not difficult and it’s something that you learned to do early in school (grade school probably). Write in a conversational tone. Write like you are talking to your best friend.

Now, I’ll answer the second question. The reasons to submit this article to an ezine are varied, but not difficult to understand. They all boost your bottom line.

1. The submission of the article will help identify your business (web site) in the Internet marketplace. This is normally called “branding.”

2. Article submission provides publicity, virtually free.

3. Someone may like your writing style and hire you to write articles or ebooks for them.

4. The published article will drive traffic to your web site.

5. If the publisher of the ezine that you submit your article to maintains an archive, your article may be read many months later. Traffic may still be driven to your site this way.

6. People will come to know you as an expert on your subject.

7. You might get your article published in free ebooks that are distributed all over the web. This will drive more traffic to your web site.

8. This will help you become a trusted vendor of information.

9. If you allow anyone to publish your article or email it to a friend, you will gain further exposure for free.

10. Webmasters may read your article and display it on their web site. You get additional free exposure.

11. If you send out an ezine, you could offer to swap articles with other ezine publishers for free. This provides more publicity without expense.

So, there are quite a few benefits that you could receive from publishing small articles like this one. If that isn’t enough reasons for publishing your own articles, I don’t know what else you’d need. Don’t forget to provide enough valuable information. The more knowledge you supply, the more valuable you become. Provide real value and you will always have people clamoring for more.

And then, for the next 15 or 20 minutes, I clicked on one article after another, blissfully reading each one without any purpose other than pleasure.

What a luxury, especially when you consider that the articles I read were all mine!

This wasn’t my plan; it just worked out that way.

Do you read your own writing?

Better yet, do you ENJOY your own writing?

Why do you think some people can’t stand looking at their own creative output?

I think this is a very provocative question. Some of the great writers, like Hemingway, were beset by the belief that their work was hopelessly flawed.

I know there are some actors that refuse to watch their dailies or even to see the finished films that they’ve been in.

Perhaps, somewhere, there are painters who never want to look at their own works, once they have put down their brushes.

I don’t want to take away a thing form these folks. They could be geniuses.

But I think they’re missing perhaps the greatest satisfaction of all; pleasing themselves.

Certainly, I don’t like seeing typos that I’ve negligently scattered here and there, but on the whole, I’m reaching that point where I can be a stranger to my work, and accept these offerings as beings in themselves; as breathing, independent messengers.

Instead of wanting to snuff them, I don’t mind kicking back and getting to know them a little better, over a cup of Joe.

Dr. Gary S. Goodman, President of Customersatisfaction.com, is a popular keynote speaker, management consultant, and seminar leader and the best-selling author of 12 books, including Reach Out & Sell Someone and Monitoring, Measuring & Managing Customer Service, and the audio program, “The Law of Large Numbers: How To Make Success Inevitable,” published by Nightingale-Conant. He is a frequent guest on radio and television, worldwide. A Ph.D. from USC’s Annenberg School, a Loyola lawyer, and an MBA from the Peter F. Drucker School at Claremont Graduate University, Gary offers programs through UCLA Extension and numerous universities, trade associations, and other organizations from Santa Monica to South Africa. He holds the rank of Shodan, 1st Degree Black Belt in Kenpo Karate. He is headquartered in Glendale, California, and he can be reached at (818) 243-7338 or at: gary@customersatisfaction.com. For information about coaching, consulting, training, books, videos and audios, please go to http://www.customersatisfaction.com

The results were highly encouraging; the book leapt from nowhere on Amazon.co.uk to position 194 out of 3123 competing titles and eventually grabbed the No.1 spot for its core keyword (retirement) where it remained for nine months.

I am shortly to repeat the broadcast exercise for my newly published tome “How to Earn Money in Retirement” (How To Books ISBN 1845281128) but before doing so I am already off to a head start…

Although this title does not hit the bookstores until Friday 5 May 2006 it already ranks at No.47 out of 3453 competitive titles on Amazon.co.uk – which means of course that it is already selling in big numbers online – thanks largely to the success of its predecessor and the initial boost it got from radio promotion.

These promotional interviews are arranged by my publisher’s media consultancy and I do not require to visit a single studio to take part; they are all conducted over the telephone, sitting at my desk at home.

So what if you self-publish your output and you don’t have a publicist to arrange radio interviews?

Does that mean you are excluded?

No way; I have self-published several books in the past and managed my own promotion.

Here is what you do…

1. Wherever you live in the world you’ll find that the majority of local radio stations are banded together into a single network for cost-effectiveness;

2. Identify the controlling network;

3. Visit the corporate website containing links to all subsidiaries;

4. Pick out those stations within a 500/1000 mile orbit;

5. Visit each local station website individually;

6. Scan the daily programming schedules;

7. Highlight those programs that might identify with the topic of your book;

8. Note the presenter’s name;

9. Email him/her with a well-couched request for a live interview;

10. Follow that up with an identical snail mail request;

11. Follow that up with a telephone call (you’ll get to speak to someone in authority);

12. You know your topic inside out; speak up with confidence and you’ll get your interview; maybe not straightaway but, if you sell yourself and your project professionally, you’ll be logged into and up-and-coming slot in the station scheduling.

Go for it…it’s free!

In truth though there is more to creating bestselling books than spieling about them on radio and if you’d like to learn how I manage to produce bestsellers consistently, visit the website featured in the resource box below.

Jim Green is a bestselling author with an ever-growing string of niche non-fiction titles to his credit. http://1st-creative-writing-course.com