FREE ONLINE WRITERS CONFERENCE
Category: Writing and Poetry

MUSE ONLINE WRITERS CONFERENCE – Oct. 13 - 19, 2008. No entry fee. Affiliated with the award-winning sites and Writer's Digest Top 101 Writing Sites of 2005 & 2006 The MuseItUp Club & Apollo's Lyre. REGISTRATION DEADLINE: Sept. 1st, 2008 FIRM. Join close to 2000 writers from around the world and participate in over 100 FREE workshops. Loree Lough and Robin Bayne discuss ways writers can sell articles, essays, devotionals and other works to earn money between book sales. Revising and reselling can be a profitable venture for a writer.For registration and to see the line up for our 2008 WORKSHOPS, please go to the conference site:

http://www.themuseonlinewritersconference.com

7:48 AM - 4 Comments - 6 Kudos - Add Comment

WEBSITES FOR AUTHORS
Category: Writing and Poetry

WEBSITES:

As an Author, can you afford not to have one?
If you want people to know about you and your books can you afford not to have a website? Navigating the strange world of author websites can be mind boggling. Some are set up well, and others look like a nightmare with everything possible tossed on them, not to mention blaring music that sounds like rutting hippos. Because there are so many opinions on what authors' websites should look like and what they should contain, you'll need to do serious thinking about your own. The rule? Keep it simple. Here are some areas to consider.

What do you want your Author website to accomplish? Websites offer great promise. A well-executed site can help increase name recognition, sell your books, keep your name in front of your readers between books, inform readers how/where to buy your books, reach new readers and build relationships with readers and other authors. (Authors read books, too.)

Determine your number one priority and focus your website on that. Put the most important information first. For example, if you want greater name recognition, the greatest focus should be on you, your credentials, your research, and your accomplishments. Information about you should be most visually prominent. Why are you interesting? Go back to your differentiation notes. Keep the information professional. No one cares if you had a bad day, a hangnail or your latest love interest is a skirt chasing dog. Keep it professional.

Don't overwhelm your website visitor with large quantities of diverse information or offer so many choices that the visitor loses interest after the first few lines of your bio, or the barrage of psychedelic whirlys and/or loud blaring music, nor the endless videos to bore and that take forever to download. Keep it simple.

Plan navigation of your website to keep drawing visitors back to the pages/copy that support your top priority, you and your writing.

Does your website enhance your image? Be sure your website(s) look and feel, complements the image you are creating for yourself. Consider everything from colors and graphics to content in terms of your image. If you write edgy suspense, steer clear of sweet pastels and roses. Experts recommend white space for an uncluttered, clean and inviting elegance. Avoid anything "cutesy" unless you write for children. Make sure your photo reflects the image you want to convey. Keep it professional. Porn and sexually suggestive avatars are turnoffs to other writers, and children do visit author's pages. What you have on your website, especially on your friends list, you own it. 

Does your website complement your promotion efforts? The look and feel of your website should be consistent with everything – from book covers to business cards to book marks --everything your readers see and touch about you. This is the key to creating an integrated publicity campaign. Reinforcing your writer's image consistently is the way you brand yourself. Coca-Cola is always the same red and white colors in the same font. Even something as simple as font type can support your image. Steer clear of cursive and italic fonts that can distract the reader from your message, and avoid too small fonts and pages that are dark and illegible. Stick with a standard font.

Is visiting your website frustrating or rewarding? Successful writers of genre fiction and non-fiction deliver what their readers expect. Clarity and a common sense approach to their work. They keep their promises. Let visitors to your website know what to expect and deliver. People are incredibly impatient when it comes to the Internet. Make sure your website is fast and easy to navigate. Keep graphics small and simple and minimal. Everything you add to your website requires a longer download time. Those on dial up will thank you.

Will your website help you build a relationship with your readers and other visitors? Look at your website content with the same critical eye you use when editing your writing. What does your website tell visitors about you? What you think is clever may look trashy to your readers and visitors.

Make sure to update content often so that there is a reason for your visitors to return to your webpage(s). Branding studies show the most successful brands are based on a positive relationship between the product and the consumer. A website provides an excellent opportunity to share those things that will form a positive impression with your readers.

Note: As a matter of security and personal privacy, we suggest you avoid including your family, children or specific personal information on your website. The Internet is a public forum and there are abuses. Pictures of children are often pirated and used in porn rings and on porn websites. ID thieves look for personal information. High School and sophomoric mentality is out. Be professional applies here as well.

Keep it short, limit copy to half of what you'd use in print. Your blurb should be 25-30 words or less, and no more than 50. Expound on your work, don't bore people with your (yawn) personal life.

Use bullet points or subheads to break up sections and facilitate reading.

Make sure type is large enough and easy to read.

Look at the contrast between your copy and background colors. Is it sharp and clear or difficult to read? Bright neon colors, dark backgrounds and unreadable print, and small print can kill a website. Too many pictures take enormous times to download…music adds more time to opening pages. Don't overkill with these additions. They really aren't necessary to a well designed website. If you are an author, the idea is to sell books.

Is your website a pleasant destination or a terminal one? Do you have enough interesting content on your site to hold the visitor's attention? Does copy run on and on without spaces to define? Make it easy for visitor's to access sites that help you accomplish your priorities, which is sales. Keep it simple.

"Too hard to do" category? If you don't have the time, ability, or inclination to do your own website, you'll need to consider having a Webmaster design and update for you. Interview several Website designers. Ask to see other author pages they've designed so you know what their skill level is and if you're going to like the styles they offer. Shop prices because the professional ones can be pricey.

Big, bad and expensive? Not necessarily. If your budget doesn't stretch as far as that, consider smaller designs. As long as you have an informative site that is updated regularly, this can still keep your fans satisfied. Even readers who prefer reading paper books to eBooks like surfing to their favorite author's site for updated information and contests. Think about your favorite authors. What do their webpages look like? Can you afford high-end bells and whistles? Music or no music? Make a dream sheet of what you want to incorporate into your website and keep it simple. Once you've talked with a web page designer about what you want, see if what you wish for works with your budget.

Update frequently. Once your page is up and running, keep it updated at least a couple times a month. Readers quickly get bored with sites that aren't updated on a regular basis. Target for once a month, every two months at the very least.

1:33 PM - 8 Comments - 13 Kudos - Add Comment

COPYWRITING FOR INCOME- HOW TO
Category: Writing and Poetry

COPYWRITING FOR INCOME

Aha, COPYWRITING…one of my favorite subjects. If you've read my new book 'MARKETING YOURSELF AS A FREELANCE WRITER', you will find out how easy it is to have a career in freelance writing.

COPYWRITERS are those freelancers that write the words that sell products and services. Copywriters write advertising copy and are also called on to develop brochures, provide copy for catalogs, make available newsletters, and press releases. They are also called on to write copy for radio and TV commercials.

It is no secret that companies spend a fortune on advertising to get the public to use their products and/or services. Think of the commercials at Super Bowl time. Yup…copywriters.  That pizza you are so fond of. Copywriting. A fortune is spent placing advertisements in newspapers and magazines, and printing catalogs and brochures. Those carefully crafted words carry a lot of weight with the buying public.

When you think of what it costs for a direct mail, depending on the number of pieces sent on only one promotional campaign, it makes your head spin. If you've ever had any professional printing done, you understand. It is why mailing lists are so important, and why names are farmed to provide those lists. Factor in email addresses and it becomes even more lucrative. Now, here we are speaking of LEGIT use of names, not spam. Companies rent lists of hundreds of thousands of names from brokers, and these typically cost around $100 per thousand names. These are the names culled from many sources. Every time you fill out a card with your name and address, you can count on your name being sold. If your name is in a telephone book, your name is up for grabs for marketing.

Because direct mail can be a large investment for companies, companies want to insure the words are well crafted so not to offend, but more to entice the reader to look and read further, and hopefully, dial a phone number or seek out their web link. The better the copy, the greater the response.

KNOW YOUR VALUE, and believe in YOUR value. Copywriters with experience, and good at crafting words can make $100,000+ a year. Not all copywriters reach that six-figure mark, but statistics show  40% make $40,000 and upward. Location, location, location fits in here, as to how you find your clients, how you set your fees and how hard you are willing to work at your craft. And, you get 50% of your fee upfront. A list of successful copywriters: http://www.powerwriting.com/fees.html

VISIT copywriting WEBSITES to see how things are done, and to pick up any helps you can. Keep notes until you feel secure in your own abilities. See links below as to how copywriters set up their websites.

To begin, LOOK around you FOR OPPORTUNITIES. Look at brochures, catalogues, sales letters and advertisements. Which do you think are effective? What do you trash when you see them? What works for you? Which ones would be fun to write? And, which ones could you improve upon?

Next, WRITE SOME SAMPLES of the ones you think you can improve on.

Then, start working on a BROCHURE for your own copywriting business. Have a clever logo and own it. Brand yourself with your writing skills. Become a copywriting business. Choose the right legal status and you can set yourself up for big tax savings. This isn't complicated, and it's not hard to do, but it's very smart.

Learn to NEGOTIATE fees. No subject is more volatile than money. It's vital that you know how to negotiate fees with your clients, especially in the beginning when you're building your business. How successful you are financially as a copywriter is solely determined as to how hard you want to work. Time Management and Motivation are your motors. Having your own business gives you a lot of freedom. Use your time wisely.

http://www.michelfortin.com/how-to-negotiate-better-copywriting-fees
http://copywriterunderground.com/2007/02/01/how-to-negotiate-copywriting-fees-
without-turning-into-an-asshole-a-nine-step-short-course

Set up a webpage ADVERTISING your services. Develop a business card to go along with that new brochure of yours. One of the easiest and most potent forms of self-promotion is building a modest website and then linking it to a wide range of search engines.

NETWORK. In order to grow, you've got to have your name and face in front of the right people. Writers tend to isolate themselves to write. With copywriting, exposure is important to draw clients. Attend business meetings. Many are posted in the FYI section of newspapers. Get to know the business people in your community. Be a guest speaker, touting what else? Your copywriting business and its importance in the business community. Visit your local college. Offer to teach a workshop on writing. Pass out your brochures and business cards.

IDENTIFY POTENTIAL CLIENTS. Write down a list of local businesses to approach. If you live in a small town, you know the penchant for "home-made" local commercials that are too loud, too crude, too over the top, in desperate need of help. Contact these folks with a sample brochure stating your services. Sports clubs are a good venue in larger cities. List charity groups, hospital groups, self-help groups, and think of charity events in your area that are willing to pay a small fee for your copywriting services. These groups do have budgets and look for help to raise extra funds for their pet projects.

Send a letter or VISIT those ORGANIZATIONS you've identified, and let them know you are there, give them YOUR brochure and tell them about your copywriting services. Follow up with a telephone call to discuss whether there is anything you can help them with. Don't negate beginning in a small way to get your foot in the door.

As with anything in the writing profession, your first assignment may take a while until you find your feet. Consider developing something "on spec" where you agree with a client that you will go ahead and write it, and the client only pays you if they like it and decide to use it. Once you begin working as a copywriter, if your services are good, you may be surprised  Word of mouth of a satisfied customer works wonders opening doors to other opportunities.

Some links to show you how others developed their copywriting webpage. Each is worth a look.

http://www.copy.pro
http://www.silberware.com
http://www.gordoncreative.net
http://www.copywriting.net
http://www.knight-writer.co.uk/copywriter_terms.htm
http://www.susanlandry.com
http://www.powerwriting.com
http://www.ediwriter.com
http://www.writedirection.com/rprt300e.htm
http://www.rightclickwebs.com/pricing.php
http://www.wexdirect.com
http://www.tscopywriting.com/fees.html
http://www.rswarren.com
http://www.profitboosterscopy.com
http://www.kyletully.com
http://raisersedge.ca/faq.html

http://www.wordfeeder.com/articles.htm (Some great hints and helps.)

http://www.andrewlinickdirectmarketing.com/CCAFeesTerms.htm (Fee Schedule)
http://www.ediwriter.com/fees.html  (Fee Schedule)
http://angelabooth.com/services/webfee/webfee.html  (Shows fee structure)
http://www.writedirection.com/fees.htm  (Fee Schedule)
http://w4r.ca/fees.php (Fee Schedule)
http://www.sonipitts.com/services.phpServices (Fee Schedule)
http://www.customcopywriting.com/copywriting-fees.htm  (Fee Schedule)
http://www.4siteusa.com/copywriting.asp  (Fee Schedule)
http://www.lgroup.addr.com/CCAFeesTerms.htm (Fee Schedule)
http://www.jamesmpalmer.com/fees.htm (Fee Schedule)

1:27 AM - 0 Comments - 2 Kudos - Add Comment

RADIO & TV MEDIA TRAINING
Category: Writing and Poetry

DO YOU NEED RADIO & TV MEDIA TRAINING?

If you've got hundreds of radio interviews under your belt, many of them on major shows, AND they are continuing to invite you back, then media training isn't needed. If not, then it's probably a good idea.

Radio and TV guests need to understand that their job, first and foremost, is to put on a great show and make a good match with the host of said shows. If you sound like a 30 minute infomercial, the producers will not be happy. They want to keep their listeners. They live and die by the ratings books that come out every 3 months.

A good media trainer will teach you how to put on a great show. That's what they're there for. A good media trainer should be or have been a host of successful, major radio show for at least a couple of years. Many "publicity experts" offer media training services. Ask if they've ever been a host on a show. They are not qualified as trainers unless they've been a host at some point in their career.

Everyday, nearly 11,000 guests appear on some 4,250 local news, interview and talk shows across the U.S.

These shows need interesting guests to attract listeners and viewers. Most of the guests booked on these shows are authors, and so your book is actually your entrée onto the airwaves. Nearly 95% of these guests do NOT have recognizable names.

Keep in mind that advertising products on the air is expensive, and since people are skeptical of advertising, they tune it out as a matter of course.

That is why interviews are MORE effective than advertising and they are free. This can be an inexpensive way to sell books.

A search of "media training" will give you an overview of what is offered and a peek into how it is done.

Many authors confuse MARKETING with PUBLICITY, though some of the activities can overlap, and many of the activities can be done by the author. Once sales peak, you will need some professional help. Both marketing AND publicity are important, but very different. The thing to remember is that Marketing and Publicity should complement each other. 

MARKETING campaigns involves advertising. The public may view your marketing message negatively, recognizing advertising as an attempt to persuade or manipulate.  Anyone can buy an ad in the local newspaper or mail a flyer to 10,000 homes. However, it's not that easy to convince a local reporter to write a story about you or your book.

MARKETING is:
Advertising in publications like Publishers Weekly, Kirkus Reviews, etc.....
Book signings....
Speaking engagements....
Attending conferences, trade shows....
Direct mail campaigns....
Bookmarks, postcards, in-store posters, flyers....
In-store floor displays....
Website/blog promotion....
Email newsletters and online e-marketing....
Contacting libraries, non-profits....
Search engine optimization....

MEDIA/PUBLICITY activities focus on the editorial content in the media. Earned media has more credibility with readers because it isn't paid for and is often written by independent, objective reporters. The key to any media promotion is being newsworthy. What is news? The news is new and timely information adding to the debate of you and your writing. What you have to say and how you say it impacts many people's daily lives. It's a time to choose your words carefully with a planned agenda of words that is honest and dependable.....

MEDIA PUBLICITY is:
Strategic planning....
Press conferences  ....
Press releases....
Author biographies....
Media relations/ Media tours....
Coordinating media photo shoots....
A media/publicity person acting as the client's spokesperson....
Providing media training to the client to be his/her own spokesperson....
Being interviewed on radio/TV....
Being interviewed by newspapers and magazines, resulting in coverage....

FREE download helps:
http://www.emediacoaching.com....
http://www.mediatrainingfreevideo.com ....
http://www.rickfrishman.com ....

Be sure to check out the "color" associations chart.

.

6:46 AM - 2 Comments - 2 Kudos - Add Comment

MICHAEL TURNER, COMIC BOOK ARTIST DIES
Category: Writing and Poetry

MICHAEL TURNER, COMIC BOOK ARTIST DIES

Michael Turner, a comic book artist who drew covers for major titles such as "Superman/Batman," "The Flash" and "Civil War,'" has died of bone cancer. He was 37. Turner had battled bone cancer for eight years.

Through his company, Turner created online comic adaptations for the NBC series "Heroes" and published his own titles, including the best-selling "Fathom," a deep-sea story about a female superhero. He also drew covers for large projects such as DC Comics' "Justice League" and Marvel's "Civil War" and was a regular cover artist for "Superman/Batman" and "The Flash."....

Turner's name was synonymous with special-edition covers that often became collectibles. The milestone 500th issue of "Uncanny X-Men," due out next week, will feature a special-edition cover by Turner. Turner was also known for drawing female comic book characters that evoked both innocence and sex appeal and exuded energy. Turner co-created "Witchblade," a comic about a voluptuous female detective who fights evil after discovering a mystical glove. The comic went on to make Top Cow's name and set the standard for Turner's future work.....

Our sincere condolences to Michael's family.

....

8:42 PM - 1 Comments - 8 Kudos - Add Comment

THERE IS CREATIVITY AT ANY AGE (Part Trois)
Category: Writing and Poetry

THERE IS CREATIVITY AT ANY AGE  (Part Trois)

Parts 1 & 2 at http://www.myspace.com/elizabethlucastaylor

MILTON BERLE, age 93, an Emmy-winning American comedian and actor in movies, radio and TV. Berle began as a child actor. His last works, Driving Me Crazy (1991), at age 82, Storybook, age 89, and Two Heads Are Better Than None, in 2000.

YVES SAINT LAURENT, age 71, legendary designer, the most influential and enduring designer of his time. His ready-to-wear label, Rive Gauche, sold to Gucci in 1999, still has boutiques around the world. Nowhere was Saint Laurent's gift more evident than the valedictory fashion show that marked his retirement in January 2002.

FRED ROGERS, age 74, venerated public TV series "Mister Rogers' Neighborhood" still airs. He believed when it came to being a parent, "the best gift you can give is your honest self."

QUENTIN CRISP, age 90, flamboyant writer and gay campaigner was expected to begin a new run of his long-running one-man show, before touring five other British cities with "An Evening with Quentin Crisp," a few days before he died.

BO DIDDLEY, age 79, a founding father of rock 'n' roll whose distinctive "shave and a haircut, two bits" rhythm and innovative guitar effects inspired legions of other musicians. He was still touring until a few months before his death. Diddley's Chess recordings stand among the best singular recordings of the 20th century. "Seventy ain't nothing but a damn number," he told The Associated Press in 1999.

REX HARRISON, age 82, English Academy Award and Tony Award-winning theatre and film actor, continued to act on Broadway until the very end, in 'The Circle' by W. Somerset Maugham, opposite Glynis Johns and Stewart Granger,

SIMONE DE BEAUVOIR, age 78, French author and philosopher. She wrote novels, monographs on philosophy, politics, social issues, essays, biographies, and an autobiography. She is now best known for her metaphysical novels. In 1979 she published 'When Things of the Spirit Come First', a set of short stories centered around and based upon important women to her earlier years. 'Adieux: A Farewell to Sartre' was published in 1981, when she was 73.

DICK MARTIN, age 86, of Rowan & Martin Laugh-In fame, became one of television's busiest directors, and worked until a few months before his death..

ANDREW WYETH, age 91, active artist and patriarch of a family that includes hundreds of artistic works by three generations of Wyeths.

FRANK LAUTENBERG, age 84, U.S. Senator, the chamber's third-oldest member at 84, easily won nomination for a new term in June, 2008, over a challenger who sought to make an issue of his age. "If you count on vigor, vitality and effectiveness, I think I rank pretty high," he said.

HARVEY KORMAN, age 81, an American comedic actor who performed in television and movie productions beginning in 1960. In 2006, at age 79, two years before his death, he was still working and produced "Together Again: Conway & Korman," with Tim Conway.

LAWRENCE WELK, age 89, a musician, accordionist, bandleader, television impresario, hosting The Lawrence Welk Show from 1951 to 1982. After retiring his show and from the road in 1982, the maestro continued to air reruns of his shows, repackaged first for syndication, and starting in 1986 for public television. Welk also starred and produced a pair of Christmas specials in 1984 and 1985, at age 82.

SIDNEY POLLACK, age 73. Pollack became a prolific producer of independent films in the latter part of his career. With a partner, he ran Mirage Enterprises, a production company whose films included "Cold Mountain" and the documentary "Sketches of Frank Gehry," released in 2006. Most recently, Mr. Pollack portrayed the father of Patrick Dempsey's character in "Made of Honor." Pollack never stopped acting; in a recent episode of "Entourage," the HBO series about Hollywood, he played himself.

VIDAL SASSOON, age 80, retired from the beauty industry and now spends much of his time on philanthropy. He established a charitable foundation and supports the Vidal Sassoon International Center for the Study of Anti-Semitism at Hebrew University in Jerusalem. Sassoon, whose career spanned more than four decades, became famous for his modern, low-maintenance styles and is the founder of the worldwide brand of shampoos and salons. At age 80, he is helping build Habitat homes for Katrina victims.

KERMIT LOVE, age 91, the costume designer who helped puppeteer Jim Henson create Big Bird and other "Sesame Street" characters. Love was a designer for some of ballet's most prominent choreographers, including Twyla Tharp, Agnes de Mille, Jerome Robbins and George Balanchine. Love designed costumes and puppets for film and advertising, including the Snuggle bear from the fabric softener commercials. Love always insisted Henson's famous frog wasn't named for him.

ANGEL TAVIRA, age 84, a one-handed violinist who dedicated his life to Mexican folk music and won a Cannes Film Festival award for his first movie at age 82,

You are never too old…to be, to give, to receive, to create, to contribute...to live in the NOW.

9:50 AM - 2 Comments - 8 Kudos - Add Comment

HOW-TO PITCH YOUR BOOK, MUSIC, WHATEVER
Category: Writing and Poetry

HOW TO PITCH YOUR BOOK, MUSIC, WHATEVER

THE SHORT PITCH
You might be the most talented writer on the planet, but if you can't describe your story in a moving, stirring way that keeps your listener riveted to their seat, asking for more, you're in trouble. Not a soul will trip over you in your own backyard, scramble to buy your book or whatever, unless you do some pitching for your product. If you are waiting to be "discovered," you will wait, and wait, and wait…

Can you use a 3-word phrase to describe your story? How about a short sentence? Can you capture the essence of your tale in 25 words or less?

When your listener wants to know more about your story, do you know what to say and, more importantly, what not to say?

Do you know how to keep them asking for more?

Do you know the biggest benefit of having an agent or editor appointment at a national, regional or local writing conference?

EVERY writer on the planet needs to learn how to pitch, to be able to present their story ideas within query letters, synopses, and during what can be crippling, frightening agent and editor appointments at writing conferences. The pitch is also important for submitting your freelance stories to magazines and journals.

If you are asking yourself why a pitch LETTER instead of a phone call, since everyone these days seems to have a cell phone glued to their ear, consider this: if you call, you'll have only one chance to convince an editor your idea is worth the time. Your phone pitch can take no more than 15-30 seconds before you are tuned out as a matter of course. A letter, however, gives you the opportunity to organize your thoughts, list your credentials, and provide a small bit of your writing style.  It also gives the editor/producer the opportunity to digest, ponder, and re-read what you've written. A letter gives you time to grab the reader with key words. So why risk being tongue-tied, or reaching a crabby editor/producer who really doesn't want to…or has time…to talk to you?

With a written pitch letter, you can get in front of an editor/producer twice—once with the letter, then again when you make your follow-up phone call. (What is ideal is that they call YOU saying 'what a great idea!'.)

A pitch letter doesn't need to tell the whole story. All it needs to do is attract the interest of an editor or producer. Editors and Producers are willing to be seduced, amazed, charmed, or moved, but YOU have to do the seducing, the charming and the moving…and leave them amazed.

THE PITCH LETTER
Can you see yourself pitching your book or music on Oprah? What about chatting with Larry King? Or, how about Jenny Jones? How about pitching to your local radio or TV stations? The idea can be just as daunting if you've never pitched before, and believe me, even if you have, it is still daunting.

Consider too, if you think Oprah and Larry King are out of your realm of reality: even Oprah and Larry need guests and so will many producers across the country and in your own city, as they scramble to find quality guests for their shows.

So, how do you get on a show?

Write a Pitch Letter. Pitch letters are very different from a media release or the short pitch you use when anyone asks about your literary work. Pitch letters aren't mass-distributed like press releases. Pitch Letters are more personal, addressing individual editors/producers. Pitch letters are generally shorter than press releases, because it's what it is, a pitch saying why something should be covered, as opposed to a press release which has to give more background details.

A media release can be targeted toward a particular industry or type of talk show, but a pitch letter is specific to: a TV show; a TV show audience; the targeted TV show segment; and more importantly, the TV show producer reading it, and then the host of said show.

A pitch letter must make a convincing argument YOU will be an entertaining TV show guest, as well as an "expert" on whatever topic, and whose message will appeal to the demographics of the show. It's important to target your pitch letter as closely as possible to the radio or TV show you want to approach. If the show is actually Oprah, speak in the tone of the TV show (educated, somewhat sophisticated, female-oriented, literary, interested in current events, interested in self-help ideas).

If the TV show is Jenny Jones, be sure to capture the TV show's tone, which is high drama, conflict, lots of emotion, and shock-value to keep the audience squirming on their seats.

Think of a pitch letter as an audition. The more elements you already have in place (i.e. a copy of your book or album, promotional packets, etc.) the easier it will be for the producer to say yes to your pitch.

Before you write your pitch letter, watch the TV show enough so you know the various TV Show segments inside and out, and you can pinpoint exactly which segment of the TV show your "pitch" will be appropriate for. And, know the right TV show producer to send your pitch to (AND the correct spelling of his or her name). After checking for the name of the producer (call their switchboard) and the show address, call the show before sending out the pitch letter to make sure the producer is still there. In the entertainment business, people change jobs very quickly. The whole profession is like musical chairs, same as in the publishing industry.

In your pitch letter, convey the value of your product, book, and/or music…you will give the audience. Be confident but not boastful. Believe in yourself and your message.

Think of visuals for the show. For example, if you've written a book on women's' issues, Oprah would be a natural for you. If you're a world famous psychic with a new book, you could do Oprah - or Larry King. Local TV and Radio shows would love you. The key issue is realizing which show is more of a natural fit for you and your work, and targeting that market.

FOLLOW UP WITH A PHONE CALL
People are tied…physically leashed to their electronics and phones are no exceptions. No one can walk out their doors or leave their driveways unless they are plugged into something that ticks, clicks, snaps, pings or woo-woos and offers access to wireless something. As annoying as it can be, remember, the best way to follow up on a pitch letter is through a simple phone call. With that phone call, the idea is to offer additional information without turning the call into its own sales pitch. If your idea/book/music is turned down, there's no need to try to pressure someone, but it's perfectly acceptable to try to find out why your pitch wasn't appealing, so the pitch letter can be re-worked before sending it to additional media outlets. NEVER re-send the pitch letter to a editor/producer that already rejected the story, even if it's re-drafted with a somewhat different angle. It's the kiss of death.

SOME HELPS:
http://www.anniejenningspr.com/pages/pitchingtips.htm
http://www.nhlbi.nih.gov/health/hearttruth/material/pitch.htm
http://101publicrelations.com/pitchingstories.html
http://tldp.org/LDP/Linux-Media-Guide/html/pitching_media.html
http://www.prinfluences.com.au/index.php?artId=476
http://www.prinfluences.com.au/index.php?artId=693  
http://www.bluemooncommunications.com/white_papers/tools_of_trade.htm
http://www.greenmediatoolshed.org/training/PitchingAndSpokespeople/Pitching.adp
http://nonprofit.about.com/od/nonprofitpromotion/a/pitching.htm
http://www.aboutpublicrelations.net/ucgreera.htm
http://www.generatorland.com/display.php?id=31
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WHEN A PARTICIPLE DANGLES
Category: Writing and Poetry

WHEN A PARTICIPLE DANGLES
For those readers who have forgotten the term "participle" from your grade school English classes, the American Heritage Dictionary of the English Language defines it as "A form of a verb that in some languages, such as English, can function independently as an adjective... and is used with an auxiliary verb to indicate tense, aspect, or voice..."

How can a verb be an adjective, in simpler terms, and then, how can a participle dangle?

It sounds almost obscene.

Well, the participle can be used as a simple adjective or as the beginning of a clause.

PARTICIPIAL PHRASES can be found anywhere in a sentence. When placed after a noun, it is, as a rule, used correctly.

Teacher and author William Strunk, Jr., in his classic text "The Elements of Style" shows us some funny examples of dangling participles (3rd Edition, 1979: p.14).

"Being in a dilapidated condition, I was able to buy the house very cheap."
(Says the person is dilapidated, not the house.)

"Wondering irresolutely what to do next, the clock struck twelve."
(Says the clock as wondering what to do next, not the person.)

ADJECTIVES ending in -ing (and sometimes -ed) are called participles.

Consider the following sentences:
The robber ran from the policeman, still holding the money in his hands.
(Says the policeman is holding the money, not the robber.)

After being whipped fiercely, the cook fried the egg.
(Says the cook is being whipped not the egg.)

Flitting gaily from flower to flower, the football player watched the bee.
(Says the football player is flitting gaily from flower to flower, not the bee.)

The grammatical problem, the -ing and -ed words used in these sentences: "holding," "being whipped," and "flitting" are all PARTICIPLES, a type of verb modifying nouns.

The ANTECEDENT—the NOUN the participle refers TO—must be clear to the readers in order for them to understand what is being said. The form is called a "dangling participle," because it's left "dangling" without a clear antecedent (or noun).

It makes no difference whether you write fiction or non-fiction, dangling participles can cause problems. Imagine translating a sentence like that into another language, and you can see bigger problems for a translator attempting to stay true to the text.

A PARTICIPLE is one of a class of verb forms known as "verbals." VERBALS are derived from verbs, but because they are non-finite verb forms, they cannot serve as the predicate of a clause. The three types of verbals are infinitives, gerunds, and participles. Participles come in two tenses, present and past, and the present participle looks identical to the gerund. The only difference is the way they are used in the sentence.

A GERUND is the "ing" form of a verb used as a noun, (Running is good exercise.), while the present participle is the "ing" form of a verb used as a modifier,(Are those new running shoes?).

The PARTICIPLE of a verb is also the form that is the last word in a verb phrase. If you remember any of your grade school grammar, you may recall a verb phrase consists of a main verb and its auxiliary (helping) verbs: "could have been"; "will be going"; "was breathing"; "had gotten." In each of these examples, the last word of the verb phrase is in the participial form. Both "been" and "gotten" are past participles, while "going" and "breathing" are present participles.

The thing is, in school we had this stuff drummed into our heads, so for the most part, even though we've forgotten the "why" of it, we do structure our sentences correctly, though there are always slips. That's what a good editor is for, to get us back on track. We read what we THINK we wrote, not what we wrote.

The reason why you want to avoid dangling a participle or a participial phrase is all modifiers, participles breed when you least expect it. They don't care what you want them to modify--they will attach themselves to the nearest sentence element that they could grammatically modify, even if that turns your sentence into nonsense.

EXAMPLE:  Walking along the beach, the sun rose majestically over the ocean. 
Now, that's a nice trick, even in a green conscious world.
(This sentence has the sun walking along the beach.)

CORRECTED VERSION:  Walking along the beach, we saw the sun rise majestically over the ocean.  Now the participial phrase modifies "we," as it should.

PARTICIPIAL PHRASE:  Singing for all she was worth, we hoped desperately Elizabeth would win the competition.  In this sentence, "Singing for all she was worth" ends up modifying "we" rather than "Elizabeth," because "we" is closer to the modifier.

This participial phrase is not precisely dangling. A dangling participle doesn't have anything in the sentence to attach to, but "Singing for all she was worth" is actually a misplaced modifier that ends up attaching to the wrong word.

CORRECTED VERSION: We hoped desperately Elizabeth, singing for all she was worth, would win the competition.

PAST PARTICIPLES are also capable of being dangled:
Exhausted, starting the housework at such a late hour seemed ridiculous. 

There is nothing in this sentence for "exhausted" to modify.
(BTW, "starting" is a gerund in this sentence, not a participle.)

CORRECTED VERSION:  Exhausted, Elizabeth felt that starting the housework at such a late hour would be ridiculous. Now the participle "exhausted" modifies "Elizabeth."

With those examples, it is easy to see a dangling participle is one that either has no proper element in the sentence to modify (as when the observers were omitted from the sentence about the sunrise, and when "Elizabeth" was omitted from the final example), or else is not close enough to the word it is supposed to modify to prevent it from attaching to another element, as in the sentence about Elizabeth and her competition.

In either case, the sentence is both ambiguous and reads as nonsense. Even if a sentence is not rendered nonsense by a dangling participle, it will still be ambiguous.

And that is why editors have gray hair and bad moods.

 
http://www.grammartips.homestead.com/articleindex.html
http://www.usu.edu/markdamen/WritingGuide/00intro.htm
http://andromeda.rutgers.edu/~jlynch/Writing/d.html
http://owl.english.purdue.edu/handouts/grammar/g_verbals.html

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PREPARING FOR AN INTERVIEW
Category: Writing and Poetry

PREPARING FOR AN INTERVIEW
As a writer, musician, whoever you are in the arts, you will be approached at some point in time for an interview. Indeed, you should be looking for any and every opportunity to get yourself name recognition.

Interview questions SHOULD be a part of your press kit. Interviewers like to be as prepared as you are. Prepare a list of 10-12 questions about you and your book. These should be questions you'd like to be asked in an interview, and you must have great answers to these. Put this list in your press kit or save it to send to interviewers before your interview. Reporters and radio/TV hosts don't always have time to read your book before the actual interview and tend to wing it on the air or in person. Make sure your press kit is updated and ready.

Never turn down an interview, no matter how small, or non-industry specific the publication is. Many trade publications have circulations of more than 30,000 readers, so while you may not have heard of the magazine, you never know where your next call may come from. Interviews are more effective than advertising and they are free. This can be an inexpensive way to sell books. Interviews can be over the phone for a live radio show, or in person on TV (and radio). Interviews can be online, etc. Go for it!

There are several things you can do to prepare yourself for an interview, which will make the interview a much less stressful experience. Visualization and role-playing will prepare you and be your key.

Know what you're getting yourself into. If you pitched the TV/radio show to get the interview, then you probably have a good idea of the show's tone and format. If not, do your homework. Listen to the program. Watch and note how things are done, how the shows segments are broken up, and watch how the other guests perform.

Will there be other people on the set in addition to you and the interviewer? This can be distracting, so you need to be prepared.

If it's TV, look at the set the interviewer will use. Where will the interview take place? This is important when picking out what to wear. If you will be sitting in a low chair, you should consider wearing a pantsuit rather than a short skirt; that way you can concentrate on your interview rather than worry about whether the TV audience can see up your skirt.

Wear plain colors, no busy patterns or stripes; the cameras go crazy. If you are a man, make sure your fly is closed, and that your socks match and your shoes are shined. And shave! Have a fresh haircut. All guests should look professional, polished, clothing clean and well-pressed. Wear subdued or soft colors and simple styles that compliment your appearance. You don't want your outfit or your unkempt hair and chin, to be more memorable than you are.

Women should wear daytime makeup. Heavy evening makeup, especially heavy eye makeup, detracts from your appearance and distracts the audience. TV lights will wash out some color in your face, so enhance your features with a light hand at makeup.

The questions below are just a sample of questions that can be used and feel free to borrow. The idea is to make yourself as interesting as you can during the interview process. You may find you have other questions you'd like to be asked. Write them down.

EXAMPLE QUESTIONS:
What were you like as a teenager?

Who is the man/woman behind the author/musician, etc.?

Do you enjoy writing?

What is it about this art form that enchants you the most?

Why have you chosen to write in the genre in which you write?

In what ways does your writing benefit from your training as a __________?

Do you feel the skills you possess help you approach writing in a unique way, if so, how?

Could you describe your path that led to publication--any stumble along the way?

Is there anything you'd do differently, knowing what you do now?

Have you ever suffered from what is called 'writers block'?
How did you 'cure' it?

Do you always know a story's ending when you begin writing?

The premise for "____________," how did you arrive at it?
And how did you then transform it into a novel?
Did you outline the plot, do character sketches, etc.?

How much of your hero and heroine's life is planned out in your head?

How do you know where you will go next with any of your characters?

What challenges/obstacle did you encounter while writing and creating _________.

How did you overcome these challenges?

What can fans look forward to, from you, in the coming months (year)?

Now that you've been published, do you feel "successful?"
Do you still feel a need for validation?

Have any of your books (or work) been optioned for film yet?

Do you express your inner self in your writing or do the personas you create exist only in your imagination?

Do you let anyone read your manuscript, before you send it to your editor or agent?

Was there anyone who really influenced you to become a writer?

What is a typical work day schedule when you are in full writing mode?

Would you tell us a little about your process for editing, revising, and novel development?

How long did it take you to write '__________' including the time it took to research the book?

Many writers describe themselves as "character" or "plot" writers. Which one are you?

What do you find to be the hardest part of writing?

Are you armed with notebook and pen at all the times?

Was there anyone who really influenced you to become a writer?

Can you share with us some of the challenges you faced to publish "__________?"

Is there anything you would do differently, knowing what you do now?

What is your response to the public perception about your creative insight with your book?

How much of your characters personalities is planned out in your head?

How do you know where you will go next with their story?

What was your biggest challenge in creating your characters?

What is the premise of your new work/story/music?
Can you give us a sneak peek?

What's next for your fans?
Is there another book in the works?

Would you like to give your readers any writing tips?

Would you like to end your interview with a writing tip or advice for young aspiring writers?

 
KEEP IN  MIND WHY YOU ARE DOING AN INTERVIEW
You want to effectively and efficiently communicate your writing talent, your book, (or music) and your interests. For inspiration, go back to your media pitch points. Review them, memorize them. Add some new information for the interview. It is absolutely terrific if you can provide some facts or statistics that relate to writing or the subject of your novel.

Gauge and anticipate the kinds of questions the interviewer asks if they deviate from your prepared list of questions. Keep that in mind as you prepare responses to your own potential questions. Does the interviewer interrupt his guests or treat them with respect? Knowing this can help you gauge the length of your responses and some good (positive or funny) comebacks when you are interrupted or the interviewer is rude or into "attack" journalism. It happens.

How do you tackle those direct, sometimes tricky questions interviewers like to ask out of the blue? First of all, you want to control the interview and communicate your key points. If you're asked a tricky question, you have two options.

1- Respond with a question, giving yourself some breathing time to think about your answer. For example, "I'm not sure I understand what you mean by that. Could you give me an example?" While the interviewer is trying to clarify his/her question and come up with an example, you can think about how you want to respond.

2- Respond without answering the question. Politicians do this all the time. "I'm really glad you asked that question. Let me first explain that..." and then spend two or three minutes talking about whatever YOU want to talk about. More than likely, the interviewer won't remember the original question or will be savvy and go on to another question. (Note: PR firms teach this technique to executives and politicians during Media Training.).

Not all TV or radio anchors are out to get you with embarrassing questions, and most appreciate the list of questions you provide. If the questions become too personal, just say your personal and professional life are separate, and good manners just  don't allow you to respond to personal questions. YOUR PERSONAL LIFE is private. 

If you can anticipate some questions they might ask you which could be embarrassing, plan your answers ahead of time. If you can come up with an amusing anecdote or can lightly poke fun at yourself, it is very effective and earns you the support of your audience. Cultivating audience support is paramount.

Be controversial, or humorous, or talk about a controversial topic relating to your book. Producers LOVE anything that gets their phone lines going, and nothing does the trick like good dialog and a winning personality. Be entertaining. If you can make people laugh and tell them fascinating stories, you'll always be in demand as a guest.

Be informative. Give people useful, timely information. Give them information that makes them say, 'Wow! That's amazing! I didn't know that!'

Be energetic and enthused in your manner of speaking. Media hosts and producers HATE dull, boring, monotone, lifeless guests. Radio shows must engage the listener's attention, not put them to sleep. When you're a lively, energetic guest, with a well modulated voice you'll get lots of bookings even if your topic is boring! If in doubt, get your self a tape recorder and turn it on in a conversation, to hear how you sound, then do your homework.

What will you GIVE their audience? Media hosts and producers shudder when they ask a guest a question and the guest responds, "Oh that's in my book,' or "You'll find out if you come to my seminar." You will certainly never be invited back. Give all that you can, except for the ending. When you do this, not only will the host love you, but so will the audience. The listeners will be much more likely to order or buy whatever it is you're selling because you've just given them a lot of valuable information and they know there's probably a lot more where that came from.

Media producers and hosts don't care what you're promoting. They only care about what you're going to tell their audience and if you are going to be a good, entertaining subject. It means ratings for them; it's an opportunity for you as well as them. So ask yourself ... what do I have to say or share that is so riveting that no one would even think of changing the station? When you figure out what this is ... radio producers will be begging to have you on their shows.

Talk radio (and TV) is valuable means for promoting your book, product or service. If you plan to make radio/TV appearances when your book is released, start putting together your audio/video clips from past interviews to pitch to the media and show them what a good guest you can be. Start with small, local stations to practice your promotion techniques.

On radio, particularly local radio, whether in a studio or over the phone, be conscious of a local angle or make an effort to make a local observation. I have found that this is received very warmly by most local hosts, who feel you have made an effort on their behalf to reach their listeners. It helps the