One of the most effective ways to present your work to prospective clients is by having an online presence. As the world shrinks through the use of the worldwide web, you will find clients on an international basis may be interested in your work and in your ability to work for them.
First Step
By creating a website you have the opportunity to place testimonials, pricing structure, examples and a list or services you provide.
Because most writers have problems with self-marketing it is important to remember you are not necessarily marketing yourself, you are marketing the time-honored skill of writing. In many cases this assists writers in understanding that they don’t need to be prideful they have been given a skill. Writer should be careful to make wise use of their skills for the mutual benefit of writer and client.
Blogging
The use of blogging has become a highly prized self-marketing tool. A blog will allow visitors to see you as a person and enjoy your personal approach to passing along information.
A blog can allow you to pass along services you can provide. You can also use a blog to pass along success stories and provide general examples of recent work you have accepted. You don’t want to be too specific and should keep client confidentiality uppermost in your thinking.
Discover Your Strengths
If you are especially gifted in one type of writing make sure you list it as a specialty service you can provide. Never stop learning and improve on even your greatest skills.
Improve Your Weaknesses
If you are weak in an area of writing you can do one of two things, 1) give up and tell clients you can’t do the work or, 2) learn the skills needed to become proficient in the skill.
Your clients don’t want to hear excuses, they want to perceive you as their go-to writer who can get things taken care of in a professional and timely manner.
Research
Never be afraid of research. In an indirect way research can be used as a marketing tool. This tool can provide information on writing styles and markets to pursue.
Final Word
A writer should never stop learning. Understanding the usefulness of self-marketing is a means of learning a skill that will allow you to write with confidence knowing the skills you possess are connecting with others and fulfilling a genuine need.
One of the most effective ways to present your work to prospective clients is by having an online presence. As the world shrinks through the use of the worldwide web, you will find clients on an international basis may be interested in your work and in your ability to work for them.
First Step
By creating a website you have the opportunity to place testimonials, pricing structure, examples and a list or services you provide.
Because most writers have problems with self-marketing it is important to remember you are not necessarily marketing yourself, you are marketing the time-honored skill of writing. In many cases this assists writers in understanding that they don’t need to be prideful they have been given a skill. Writer should be careful to make wise use of their skills for the mutual benefit of writer and client.
Blogging
The use of blogging has become a highly prized self-marketing tool. A blog will allow visitors to see you as a person and enjoy your personal approach to passing along information.
A blog can allow you to pass along services you can provide. You can also use a blog to pass along success stories and provide general examples of recent work you have accepted. You don’t want to be too specific and should keep client confidentiality uppermost in your thinking.
Discover Your Strengths
If you are especially gifted in one type of writing make sure you list it as a specialty service you can provide. Never stop learning and improve on even your greatest skills.
Improve Your Weaknesses
If you are weak in an area of writing you can do one of two things, 1) give up and tell clients you can’t do the work or, 2) learn the skills needed to become proficient in the skill.
Your clients don’t want to hear excuses, they want to perceive you as their go-to writer who can get things taken care of in a professional and timely manner.
Research
Never be afraid of research. In an indirect way research can be used as a marketing tool. This tool can provide information on writing styles and markets to pursue.
Final Word
A writer should never stop learning. Understanding the usefulness of self-marketing is a means of learning a skill that will allow you to write with confidence knowing the skills you possess are connecting with others and fulfilling a genuine need.
May
2
There are at least sixty different types of rhetorical devices in English literature. The English language is an odd mixture of truth and symbolism and most often exhibits this propensity in the form of various figures of speech. Of all the types of symbolic or rhetorical devices used, hyperbole is the most common. The use of hyperbole may remind you of William Shatner and his propensity to overact.
Worsley Online School asked visitors to come up with examples of hyperbole. Here are a few of the best examples from school-aged children. (Source: .worsleyschool.net)
“My sister uses so much makeup when she smiles her cheeks fall off.” Ed
“My Teacher’s so old she’s mentioned in the Old Testament.” Kaysie
“My dog is so ugly the fire hydrants disguise themselves!” Cara
“My city is so isolated it takes three days just to get to the grocery store!” Ashley
“Your sister is so dumb, she walked by the YMCA and thought they spelled MACY’S wrong” Alicia
“My history teacher’s so old, he lived through everything we’ve learned about ancient Greece” Ryan
“Saskatchewan is so flat, you can see your dog run away for 4 days!” Jenna
“It was so cold, even the polar bears were wearing jackets.” Elizabeth
The opposite demonstration of this rhetorical device is called ‘Understatement’.
This method draws the reader in by providing a statement that does not seem to fully appreciate the impact of event or situation.
Situation: The temperature outside is 10 below zero.
Hyperbole: It is so cold outside your words freeze. No one can hear you until the spring thaw..
Understatement: It might get a little cool today.
Situation: A chef prepares a wonderful dinner.
Hyperbole: The food was so good it got time off for behavior.
Understatement: The food was tolerable.
Situation: Viewing a NASCAR race.
Hyperbole: The car was so fast I heard a sonic boom.
Understatement: The cars drove at a fair clip.
Authors use hyperbole and understatement in both fiction and non-fiction writing, however it is safe to say that the use of hyperbole is much more widely used. Hyperbole is often used excessively and may not be as clever for the reader as we imagined when we devised the hyperbolic line.
As with almost everything in life the use of hyperbole and understatement are best used in moderation. The use of hyperbole may help define a character in a storyline but there is a significant amount of hyperbole that has been relegated to colloquialism and often becomes clich
May
2
There are at least sixty different types of rhetorical devices in English literature. The English language is an odd mixture of truth and symbolism and most often exhibits this propensity in the form of various figures of speech. Of all the types of symbolic or rhetorical devices used, hyperbole is the most common. The use of hyperbole may remind you of William Shatner and his propensity to overact.
Worsley Online School asked visitors to come up with examples of hyperbole. Here are a few of the best examples from school-aged children. (Source: .worsleyschool.net)
“My sister uses so much makeup when she smiles her cheeks fall off.” Ed
“My Teacher’s so old she’s mentioned in the Old Testament.” Kaysie
“My dog is so ugly the fire hydrants disguise themselves!” Cara
“My city is so isolated it takes three days just to get to the grocery store!” Ashley
“Your sister is so dumb, she walked by the YMCA and thought they spelled MACY’S wrong” Alicia
“My history teacher’s so old, he lived through everything we’ve learned about ancient Greece” Ryan
“Saskatchewan is so flat, you can see your dog run away for 4 days!” Jenna
“It was so cold, even the polar bears were wearing jackets.” Elizabeth
The opposite demonstration of this rhetorical device is called ‘Understatement’.
This method draws the reader in by providing a statement that does not seem to fully appreciate the impact of event or situation.
Situation: The temperature outside is 10 below zero.
Hyperbole: It is so cold outside your words freeze. No one can hear you until the spring thaw..
Understatement: It might get a little cool today.
Situation: A chef prepares a wonderful dinner.
Hyperbole: The food was so good it got time off for behavior.
Understatement: The food was tolerable.
Situation: Viewing a NASCAR race.
Hyperbole: The car was so fast I heard a sonic boom.
Understatement: The cars drove at a fair clip.
Authors use hyperbole and understatement in both fiction and non-fiction writing, however it is safe to say that the use of hyperbole is much more widely used. Hyperbole is often used excessively and may not be as clever for the reader as we imagined when we devised the hyperbolic line.
As with almost everything in life the use of hyperbole and understatement are best used in moderation. The use of hyperbole may help define a character in a storyline but there is a significant amount of hyperbole that has been relegated to colloquialism and often becomes clich
Do you like to write letters to those who have meant something to you? Do people like receiving your letters? Have others said they always look forward to your letters?
If you answered yes to any of the above questions you could be an Epistolary Novelist.
This novel approach to fiction writing is unique in that the entire novel is composed with letters written between main characters or a solitary writer.
One of the classic Epistolary Novels in Christian fiction is the Screwtape Letters by C.S. Lewis. In this work two demons are conversing by letter to learn ways to frustrate Christians. These letters provided unique insight into the lives of Christians and how we respond to the world around us and the frustration we sometimes feel when dealing with other Christians.
One element that is totally removed from an Epistolary Novel is the narrator. Each chapter is composes specifically of a letter from of the novel’s main characters and presents a perspective unique to that author. There is no tool to lead the reader in any particular direction; they are influenced only by the words of your fictional character.
Another benefit of an Epistolary Novel is that you can present many unique points of view because each letter contains a prospective unique to the fictional author.
It may be difficult to think about how to manage a series of letters, you must learn how to take your plot and direction through the use of one or more voices. You have to work at keeping the characters and voices separated so each letter (chapter) bears the unique stamp of the character you have developed.
It is possible to develop an Epistolary Novel using only one character. In this scenario the novel may read much like a journal with an entire series of events being passed along in a time stamped dateline.
You will find there are several issues in the story that may not be resolved in subsequent letters. It may be several letters before an issue addressed in one letter is finally clarified. The intent is to present a realistic representation of the manner in which letter writing takes place.
A few authors have used the Epistolary Novel approach using email correspondence instead of standard form letters, but the truth is you can set your work of fiction in virtually any time period you choose.
Do you like to write letters to those who have meant something to you? Do people like receiving your letters? Have others said they always look forward to your letters?
If you answered yes to any of the above questions you could be an Epistolary Novelist.
This novel approach to fiction writing is unique in that the entire novel is composed with letters written between main characters or a solitary writer.
One of the classic Epistolary Novels in Christian fiction is the Screwtape Letters by C.S. Lewis. In this work two demons are conversing by letter to learn ways to frustrate Christians. These letters provided unique insight into the lives of Christians and how we respond to the world around us and the frustration we sometimes feel when dealing with other Christians.
One element that is totally removed from an Epistolary Novel is the narrator. Each chapter is composes specifically of a letter from of the novel’s main characters and presents a perspective unique to that author. There is no tool to lead the reader in any particular direction; they are influenced only by the words of your fictional character.
Another benefit of an Epistolary Novel is that you can present many unique points of view because each letter contains a prospective unique to the fictional author.
It may be difficult to think about how to manage a series of letters, you must learn how to take your plot and direction through the use of one or more voices. You have to work at keeping the characters and voices separated so each letter (chapter) bears the unique stamp of the character you have developed.
It is possible to develop an Epistolary Novel using only one character. In this scenario the novel may read much like a journal with an entire series of events being passed along in a time stamped dateline.
You will find there are several issues in the story that may not be resolved in subsequent letters. It may be several letters before an issue addressed in one letter is finally clarified. The intent is to present a realistic representation of the manner in which letter writing takes place.
A few authors have used the Epistolary Novel approach using email correspondence instead of standard form letters, but the truth is you can set your work of fiction in virtually any time period you choose.
Apr
10
In the 1600’s most cultured socialites considered chapbooks vulgar. These ‘flimsy’ booklets were often sold in less than reputable establishments and contained a variety of less than quality poetry, stories, ballads and political dissent. Often filled with spelling mistakes, factual blunders and little in the way of quality assurance these chapbooks often connected with the uncultured alone.
Today you will find several colleges that are working to collect copies of aging chapbooks. International universities have collections of hundred and even thousands of these manuscripts.
What are chapbooks?
This type of literature provides a relatively small grouping of thoughts or poetry in a booklet form that is generally unacceptable in traditional book markets. The length of a chapbook rarely exceeds 50 pages and can be assembled using a home printer and publishing software or using an office supply store that provides copying services.
Chapbook History
In the past these booklets were sold by peddlers to others who enjoyed the simplified nature of the work.
Some chapbooks were purchased if only because paper was scarce and the pages of the chapbook were used to wrap food items for transport.
Chapbooks have historically received very little respect and ultimately faded away for a time with the advent of mass produced newspapers and other periodicals.
In many respects historical chapbooks are now considered desirable folk art and are appreciated in ways the original authors would find surprising.
Chapbooks Today
In the twenty-first century chapbooks are seeing a prominence they have not seen in the past.
Today chapbooks are successfully used to promote an author’s poetry or short stories. They are marketed online and in specialty shops. Some chapbook developers have used the work for philanthropic purposes while others have funded group projects and the distribution of personal writings.
A fundraising effort for families involved in the Sego Mining Disaster in West Virginia saw a poetry chapbook used to provide needed finances for those dealing with loss.
With the advent of easy-to-use publishing programs and printers who can mass-produce a chapbook at reasonable prices, there are more people than ever looking to impact others through the distribution of chapbooks.
Chapbook Future
Some chapbooks may be downloadable through PDF technology while other writers of chapbooks may move solidly toward ebook technology in the future in an effort to distribute their chapbooks thus avoiding paper distribution entirely.
It is safe to presume that the time-honored tradition of chapbooks will see these little publications delight, encourage and challenge readers for centuries to come.
Apr
10
In the 1600’s most cultured socialites considered chapbooks vulgar. These ‘flimsy’ booklets were often sold in less than reputable establishments and contained a variety of less than quality poetry, stories, ballads and political dissent. Often filled with spelling mistakes, factual blunders and little in the way of quality assurance these chapbooks often connected with the uncultured alone.
Today you will find several colleges that are working to collect copies of aging chapbooks. International universities have collections of hundred and even thousands of these manuscripts.
What are chapbooks?
This type of literature provides a relatively small grouping of thoughts or poetry in a booklet form that is generally unacceptable in traditional book markets. The length of a chapbook rarely exceeds 50 pages and can be assembled using a home printer and publishing software or using an office supply store that provides copying services.
Chapbook History
In the past these booklets were sold by peddlers to others who enjoyed the simplified nature of the work.
Some chapbooks were purchased if only because paper was scarce and the pages of the chapbook were used to wrap food items for transport.
Chapbooks have historically received very little respect and ultimately faded away for a time with the advent of mass produced newspapers and other periodicals.
In many respects historical chapbooks are now considered desirable folk art and are appreciated in ways the original authors would find surprising.
Chapbooks Today
In the twenty-first century chapbooks are seeing a prominence they have not seen in the past.
Today chapbooks are successfully used to promote an author’s poetry or short stories. They are marketed online and in specialty shops. Some chapbook developers have used the work for philanthropic purposes while others have funded group projects and the distribution of personal writings.
A fundraising effort for families involved in the Sego Mining Disaster in West Virginia saw a poetry chapbook used to provide needed finances for those dealing with loss.
With the advent of easy-to-use publishing programs and printers who can mass-produce a chapbook at reasonable prices, there are more people than ever looking to impact others through the distribution of chapbooks.
Chapbook Future
Some chapbooks may be downloadable through PDF technology while other writers of chapbooks may move solidly toward ebook technology in the future in an effort to distribute their chapbooks thus avoiding paper distribution entirely.
It is safe to presume that the time-honored tradition of chapbooks will see these little publications delight, encourage and challenge readers for centuries to come.
There are two specific, yet lofty goals writers strive for every time they commit words to paper. That goal is to write in such a way as to draw their readers into the written word.
If this goal is in fictional writing the author wants the reader to become so absorbed in the story that they are both satisfied, yet sad to see the story end.
If this goal is in non-fiction the writer accomplishes the objective by relating details in a way that leaves the reader interested in the subject and with a desire to learn more.
For the successful fiction writer the term most often applied to this principle is Active Participation. When a consumer steps up the book display they are looking for certain things such as cover design, color schemes and just enough information to allow them to make their choice in thirty seconds or less. Once the reader has the book in hand they desperately want to be an active participant in the work. They want to identify with your characters and involve themselves in the plot line. They want stay up till 2 o’clock in the morning loosing themselves in a world you created. They simply want to know if you are going to be able to make that possible for them.
For the non-fiction writer the goal is to connect the reader to Active Learning. This process has seen non-fiction books include bullet points, ‘did-you-know’ segments and a link between facts and famous individuals that were involved. School textbooks are full of color and sidebars as they try to connect with students to bridge the gap between factual information to innovative ways to encourage active learning.
It is possible for both Active Participants and Active Learners to approach the written word with an inborn desire to learn and/or participate in the storyline. In this scenario the majority of the work is already done.
If a student comes to a textbook with a refusal to learn, then the best textbooks available may not be able to break through the student’s self-imposed learning barrier. Similarly, if an individual purchases a novel with an ‘impress me’ mentality and are only interested in finding any inconsistency or flaw they may have difficulty participating in the work of fiction. Then again, they didn’t really come to participate.
Ultimately what this means to the writer is there is a need to work hard in the removal of any stumbling block in an effort to allow your readers to become the active participant and active learner they want to be.
There are two specific, yet lofty goals writers strive for every time they commit words to paper. That goal is to write in such a way as to draw their readers into the written word.
If this goal is in fictional writing the author wants the reader to become so absorbed in the story that they are both satisfied, yet sad to see the story end.
If this goal is in non-fiction the writer accomplishes the objective by relating details in a way that leaves the reader interested in the subject and with a desire to learn more.
For the successful fiction writer the term most often applied to this principle is Active Participation. When a consumer steps up the book display they are looking for certain things such as cover design, color schemes and just enough information to allow them to make their choice in thirty seconds or less. Once the reader has the book in hand they desperately want to be an active participant in the work. They want to identify with your characters and involve themselves in the plot line. They want stay up till 2 o’clock in the morning loosing themselves in a world you created. They simply want to know if you are going to be able to make that possible for them.
For the non-fiction writer the goal is to connect the reader to Active Learning. This process has seen non-fiction books include bullet points, ‘did-you-know’ segments and a link between facts and famous individuals that were involved. School textbooks are full of color and sidebars as they try to connect with students to bridge the gap between factual information to innovative ways to encourage active learning.
It is possible for both Active Participants and Active Learners to approach the written word with an inborn desire to learn and/or participate in the storyline. In this scenario the majority of the work is already done.
If a student comes to a textbook with a refusal to learn, then the best textbooks available may not be able to break through the student’s self-imposed learning barrier. Similarly, if an individual purchases a novel with an ‘impress me’ mentality and are only interested in finding any inconsistency or flaw they may have difficulty participating in the work of fiction. Then again, they didn’t really come to participate.
Ultimately what this means to the writer is there is a need to work hard in the removal of any stumbling block in an effort to allow your readers to become the active participant and active learner they want to be.