For example, as a kid I recall visiting a former champion figure skater by the name of Red McCarthy.

He was a friend of the family and his proudest possession was his own invention: a home gym that he housed in a special place of honor in his garage.

I don’t have to tell you what a home gym is. You’ve seen countless commercials for Soloflex and Bowflex, and you’ve used similar devices at health clubs and exercise studios.

But back in Red’s tinkering days, home gyms were unheard of, and his device was cutting edge.

Sadly, the world didn’t embrace his machine, and it took another two decades for the exercise revolution to reach us. But Red was on the right track, and given just a little more time, the quality of his work, and the thinking that went into it, would have been embraced and even celebrated.

Simply put: The world cannot ignore quality, forever.

If you doubt this, read a book by Dr. Srully Blotnick: GETTING RICH YOUR OWN WAY.

Blotnick studied hundreds of people over the course of decades, and then he compared the successful to the unsuccessful, and he found one significant characteristic that was more important than formal education or nearly anything else.

The winners found some work that they loved, and they stuck with it for the long haul. Finally, and often quite quietly, they grew better at what they did than most others, and the world acknowledged their achievements.

The best butchers, bakers, and candlestick makers grew rich, slowly but surely. It didn’t matter what field people chose for themselves according to the author, higher pay was their due when they were simply the best in their occupations.

So, Red didn’t make it, because he was a little too far ahead of his time.

But I, and some others, remember him fondly and with admiration, which I suppose is some small part of the world paying attention to his quality, at last!

Campbell is simply the latest person whose labels have become common currency.

There are two easy-to-use evidences:

a) An analysis of any successeful story since before his time reveals the pattern. Therefore the makers of those stories / films knew the pattern (Casablanca (1942) is decostructred below).

b) You cannot write an effective story simply by using Campbell’s structure. Knowledge many more structural elements is required by screenwriters.

Casablance (1943) deconstructed

• FADE IN: visuals and narrative set the context [World War 2, imprisoned Europe, escape to America, Casablanca 's place in the refugee trail].

• Introduce the Antagonism [the officers round up the usual suspects and nonchalantly shoot a suspect].

• Characters in this Ordinary World. Back story of this Ordinary World. It’s a place to be wary of ["vultures everywhere;" the pickpocket sequence].

• Visually demonstration of the desire to escape the Ordinary World [the aircraft flying overhead sequence].

• Meeting the Antagonist and Shape Shifter [Renault greets Strasser]. Reference the Hero [Rick] and the Magical Aid [Letters of Transit].

• Introduce the Hero’s Ordinary World and the allies and characters that inhabit it [we enter Rick's bar].

• Hero’s status [through the impressions and conversations of other people].

• Meeting the Hero, his nature and capabilities [We meet Rick, he is king of this world with the power to let people in or out; he bars the Nazi sympathiser].

• Meeting with the Supernatural Aid / Mentor and receiving a Magical Gift [Rick meets Ugarte, who gives him the Letters of Transit].

• Hero Tested. Rick given the chance to sell the café and leave with the Letters of Transit [Ferrari offers to buy the café]; Loyalty of Allies Tested [Sam won't leave despite the salary rise offered to him].

• Hero’s Inner Challenge demonstrated [Rick cannot love women as indicated by the indifference to Yvonne].

• Hero’s True Nature demonstrated [Rick ensures Yvonne gets home safely].

• Develop Hero and Shape Shifter relationship [Rick and Renault outside the cafe]. Reference the hero’s back story.

• Foreshadow of the Call to Adventure and the Refusal [Renault refers to Victor; Rick explicitly states his Outer Challenge - "I stick my neck out for nobody."

• Call to Adventure [Renault explicitly tells Rick not to sell Victor the Letters of Transit; foreshadow of the arrival of Romantic Competitor and Romantic Challenge; on the way to the safe sequence].

• Develop Hero’s backstory and capabilities for the Journey [we learnt that Rick fought for the resistance].

• Refusal of the Call [Rick refuses to aid Ugarte; "I don't stick his neck out for anybody"].

• Interdiction [Strasser threatens Rick with his past if he helps Victor].

• First Threshold. Arrival of the Romantic Competitor and Romantic Challenge [Victor and Ilsa].

• Foreboding [Sam distressed at seeing Ilsa].

• Warnings at entering the First Threshold [Ilsa feels they shouldn't stay].

• Romantic Competitor’s status [Berger reveals himself and is "at his service."]

• Meeting Allies. Romantic Competitor and Romantic Challenge meet the Shape Shifter. [Victor and Ilsa meet Renault]. Referencing the Hero, the coming adventure.

• Inner Cave. Confrontation between the Antagonist and Romantic Competitor [Victor and Strasser face off]. A future confrontation between them is established [Strasser demands that Victor comes to his office].

• Fearful of the Journey [Ilsa afraid for Victor].

• Physical Separation [Victor finds out what Berger knows; Ilsa and Sam recognise each other and talk].

• Warnings against the Journey [Renault watches over Victor; Sam asks Ilsa to leave Rick alone].

• Hero pulled into the Journey [Sam "plays it again," Rick sees Ilsa, Rick joins Renault and Victor for a drink].

• Hero and Romantic Challenge backstory referenced [Rick and Ilsa note their past]. Hero affected by the meeting [Rick joins them for a drink and foregoes the bill].

• Foreshadow of the Road of Trials [Renault reminds Victor about the Meeting].

• Hero’s Inner Challenge made explicit [Rick can't get over Ilsa; drunk in the bar]. Warnings by Ally to avoid the adventure [Sam tells Rick to forget Ilsa]. References to the back-story between the Hero and Romantic Challenge.

• Hero and Romantic Challenge back-story illustrated (we see them in Paris ).

• Conflict between the Hero and his Romantic Challenge established [Ilsa comes back to talk to Rick].

• Antagonist and Shape Shifter enhance their plans [Renault and Strasser make plans for Victor and Rick].

• Trial 1 (Victor) [Victor confronts Strasser]. Antagonist demonstrates evil [Ugarte is dead].

• Trial 1 (Rick) [Ferrari wants the Letters of Transit from Rick]].

• Trial 2 (Rick) [Rick meets Ilsa in the market; she tells him Victor is her husband].

• Trial 3 (Victor and Ilsa) [Ferrari offers a single Exit Visa. Ilsa refuses to leave Victor].

• Meeting the Oracle. Ferrari directs Victor and Ilsa toward Rick (toward the Sword) .

• Rest Break before the Seizure of the Sword: we meet the pickpocket again; antagonist appears at Rick’s and Renault and Rick relate; Yvonne returns.

• Conflict on the Journey to the Sword [Rick breaks up the fight in his bar].

• Time Pressure [Strasser and Renault debate killing Victor].

• Comedic element ["what watch? Such watch? sequence"].

• Learning about the Ideal and the Sword (Rick) [the Bulgarian girl asks Rick to help].

• Hero Metamorphosing [Rick is now more amenable to the Victor and Ilsa; allows Sam to play "as time goes by…"].

• Hero seizes the Sword [Rick helps the Hungarian couple win at Roulette].

• Reward. [Rick gets a hug from the Bulgarian girl].

• Antagonists react at Seizure of the Sword [Renault deflated that Rick has spoilt his romance].

• Celebrating the Seizure of the Sword [ everyone notices and approves of Rick helping the Hungarian girl; the barman pours him a drink].

• Seizing the Sword (Victor) [Victor asks Rick for the Letters of Transit].

• Near Death Experience (Rick) [Victor leads the opposition anthem; Strasser closes Rick's bar].

• Resistance to the Near Death Experience [Rick protests to Renault].

• Antagonist triggers a Time Pressure [Strasser warns Ilsa that Victor is in danger].

• Warning against the Night Sea Journey and the Near Death Experience [Ilsa warns Victor not to go to the meeting].

• Building up to the Atonement [Victor and Ilsa discuss Rick].

• Hero survives the Near Death Experience. [Rick can keep going for a few weeks]. Hero’s True Character illustrated under pressure [everyone still gets paid].

• Atonement with the Father [Ilsa confronts Rick and asks for the Letters of Transit; pulls a gun on him].

• Apotheosis [Ilsa reveals that she thought Victor was dead when she met Rick; Ilsa prepared to sacrifice herself for Victor].

• Ultimate Boon [Victor survives his Near Death Experience [returns from the meeting]. Rick learns that Victor is prepared to sacrifice himself for Ilsa – he realises what love is].

• Refusal of the Return [Victor arrested; Renault resists letting him go].

• Magic Flight [Rick lies to Renault; says he wants to escape with Ilsa].

• Rescue from Without [Ferrari agrees to buy the bar].

• Crossing the Return Threshold and First Catharsis [Rick gives Victor the Letters of Transit; Rick pulls a gun on Renault; forces him to arrange a flight].

• Time Pressure. Strasser alerted.

• Master of the Two Worlds and Overcoming Romantic and Inner Challenges [Rick lets Ilsa go and explains why; says farewell to Victor].

• Time Pressure [Strasser in pursuit].

• Romantic Competitor Overcome [Rick and Victor interaction].

• Hero and Shpae Shifter confrontation [Renault confronts Rick].

• Final Antagonism. Strasser almost prevents Ilsa and Victor escaping.

• Second Catharsis [Rick shoots Strasser].

• Antagonist’s lieutenants pursue Hero [Renault's men see Strasser's body]

• Third Catharsis. Shape Shifter turns [Renault diverts his men: "round up the usual suspects…"]. Link to the beginning of the story.

• Freedom to Live. Hero and Shape Shifter Union [ “the start of a beautiful friendship”.

Learn more…

The Complete 188 stage Hero’s Journey and other story structure templates can be found at http://www.clickok.co.uk/

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

Kal Bishop, MBA

**********************************

You are free to reproduce this article as long as no changes are made and the author’s name and site URL are retained.

Kal Bishop is a management consultant based in London, UK. His specialities include Knowledge Management and Creativity and Innovation Management. He has consulted in the visual media and software industries and for clients such as Toshiba and Transport for London. He has led Improv, creativity and innovation workshops, exhibited artwork in San Francisco, Los Angeles and London and written a number of screenplays. He is a passionate traveller. He can be reached at http://www.clickok.co.uk/

One thing I learned as an Athlete, a Track Star in High School and College is that sometimes if you set your goals too low, you indeed can achieve them, yet it is not anywhere near what you are capable of, in fact it does not represent your best efforts. Did you know that if you really press yourself you can always beat your previous “personal best” in the future?

Have you ever heard the saying; No matter how good you are there is always someone better than you? Well that is somewhat true, but I have revised that saying to help propel me in online article writing; “No matter how good you are today there is someone better than you, even if that someone is you too!”

In other words you can always push yourself to better. In running I often found myself at the top of the field for my, age group, category, etc., yet no matter how good I was, I always knew I could beat whatever I previously achieved.

What I recommend is that you run your own race and write as many articles as you have time for, but readjust your rates of article submission, as you develop you skills as a writer. Just because you chose 1 article a day and you are achieving that does not mean with some work you cannot double that in the future. So, just please 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/

Here are three crucial elements of a good fiction book:

Well-developed characters: The characters in the book must be well developed and believable. The characters should remind you of your teacher, your lawyer, your doctor, or maybe even your best friend. Even though they are fictional, they come alive for us in the story.

Action: A good fiction book needs to be filled with action. The good guys are after the bad guys, the doctor needs to find a cure. From the beginning to the end, the reader can’t bear to stop reading because the action just keeps coming.

Great Plot: The writer keeps the reader guessing right to the end by using surprising, realistic plot twists. Just when we think we know “who did it” – bam – a new twist creeps up and a story involves more. As we near the end we wonder if there is time to solve it. Will it have a happy ending? Most readers long for a good ending to their story as they grow fond of the characters in the book and want to see the best happen to them.

For those looking for a good fiction book to read, one that stands out is the fiction thriller, Sledgehammer, by Paulo J. Reyes, M.D (http://www.pauloreyes.com). This book has a well-developed story that takes place in an ER in Los Angeles. The author, an ER Doctor himself, depicts the ER setting perfectly as patients appear and seek treatment and case after case of medical drama unfolds. The story takes you hour by hour through life in this ER until the unthinkable happens and one of the patients appears with smallpox symptoms. What happens next is fiction at its finest and leaves you eagerly asking, “Could it happen today?”

Writers write about what they know. They can bring the sounds, colors, and images of their world to life in their story. Fiction is where writers get the opportunity to bring you into that world and keep you there until, “the end.”

Diana Ennen is the Publisher of the fiction book, Sledgehammer, http://www.pauloreyes.com and http://www.virtualwordpublishing.com

I was curious as to what makes this soulful horror writer, who focuses on vampires as people (much like Anne Rice and Brandon Massey as well as Laurell K. Hamilton), tick, and he kindly sent me his own dream interview:

Kristin: What makes your work in horror different than already established horror writers?

David Conlin McLeod: “I try to illustrate different shades of what is evil, what is horror, and what is terrifying. In the realm of fiction where anything is possible, I try to base much of what I do on shades or varying levels of reality, to not only give the fear or horror plausibility, but to give my readers points of reference. I also try to inject elements of common ground and twist them around to get fears we least expect. I want to try and take what you know and show you something about it that you wouldn’t want to know, twist it and make it somehow more frightening than what is on the obvious surface.”

Kristin: So pretty much the old saying, “Things are not as they seem”?

David Conlin McLeod: “Basically, but I apply it with heroes as well as villains and situations. That’s another difference I inject in my stories. Even the heroes of my stories have a little shade of evil, taint, or impurity. As in reality, nobody is perfect. I want to show dimension in my characters. I’m tired of cardboard, carbon copies of stereotyped heroes and villains. Even my villains have a lighter side to them or at least a cause or motivation behind their evils–as opposed to being evil for the sake of being evil.”

Kristin: It seems you like writing about underdogs, mostly young children or teenagers. It also seems as though these characters share some very common traits, is there a reason behind it?

David Conlin McLeod “Well, what happens to get published of my work is only a percentage of my total works, but generally I do tend to work with patterns, themes, and symbolism. I tend to identify most with children and teenagers, partly because it’s my own opinion that they have the most to be afraid of. They seem to face the most challenges when I think about it. They live in a big world where everything is sort of coming at them all at once, and seldom can they exert any kind of real control. I mean, they have parents telling them what to do, teachers dictate to them, bullies, childhood fears, their own development into adulthood, peer pressure, violence, and all that. I want to tap into that fear, because it makes no sense having heroes or protagonists facing death and not having felt fear. The full-grown macho, gun toting hero who fears no evil has been done too many times to count. I also like to write about kids and teens because there are so many ways to approach them. They are really at the Crossroads in their lives. They could be innocent, jaded, cynical, or whatever. I find adult characters to pretty much have set issues and personalities and motivations. They are what they are and seem too old to change much of who they are. They have too many experiences that have shaped them.
“Now about patterns, most of my main characters happen to symbolize innocence and people with struggles that are both ordinary and also extreme. It is their innocence that is generally in danger. The other common trait I inject in these characters is that they have dreams, wishes, or secrets. They have something worth fighting for and something intimate that they can draw inspiration or strength from. Unlike a hero with weapons or guns, these heroes rely on the strength that resides within them.”

Kristin: I have noticed that in the books, “Dancing with the Moon”, “Two Past Twilight”, and “The Audition,” there are main characters mostly drawn to ballet or gymnastics. Is there something behind that too?

David Conlin McLeod: “There’s a lot behind the characters’ interests and loves of ballet or gymnastics. In the case of the story “Wish” as featured in ‘Two Past Twilight’, I injected gymnastics for the character Alyssa based on a dare among some friends of mine. I normally write strictly vampire stuff, and they dared me to throw in the subject of gymnastics. So I did, but with a twist. I turned gymnastics into something innocent, but also the antagonist’s tool. It became the focal point of struggle. Also with gymnastics in that story, I sort of shed some light on the inherent fears some girls have when approaching that sport for the first time. With ballet, I find ballet beautiful and fascinating. I use ballet as a tool to bolster the imagery of innocence, grace, poise, and things that are fragile. This is very much the case with Amy in ‘Dancing with the Moon’. She’s innocence incarnate. Everything about her is extremely innocent, beautiful, playful, and fragile. She is the heroine of that book and that series that will develop who has the most to lose, but what she does have keeps her strong and persistent. Her life revolves ound ‘dancing’ around the evils she encounters. She tries to avoid pain suffering, and things that hurt. It is very much the same for Paige in ‘The Audition’.

Kristin: Why female main characters? Is there some reason why all your heroes are female?

David Conlin McLeod: “For some bizarre reason beyond my own understanding, I find them challenging to write about, but also more enjoyable to create and build situations around. I guess as a guy, it seems strange and seemingly unnatural for my fascination with female characters, but if my work had mostly male heroes, I think I would get sort of bored with my efforts. I write challenging characters. Male heroes don’t generally challenge me enough. I mean I don’t want to fall into a rut where I inject some male stereotype into a hero role. With females, I don’t readily think of stereotypes I am familiar with. With writing male heroes, it seems like all I can think about are archetypes that have been done to death.”

Kristin: I have also noted that you seem to inject the theme of child abuse in much of your works. Is there something to that? Why do you choose to base much of your characters in abusive environments?

David Conlin McLeod: “Well it’s a tad complicated. Mostly it’s because I want to illustrate that whole ’shades of evil’ thing. Evil and hurt can come from many sources and not all of them are entirely fictional. I try to establish contrast. Here’s where the character comes from and why she has what she has and why she relies on the strength she manages to save. Then you see where she’s going and can see that there are greater evils or lesser evils or whatever have you. You see where she succeeds and what made her motivated to succeed. But I want to stress that it is all about character development, how my characters deal with the environments that shape them. How do they deal with extreme situations, or everyday life? How do they deal with cruelty? I suppose I also want to show or illustrate that child abuse is a real danger, not something to be taken lightly. It is the kind of danger that is not only found in fiction. The main characters who happen to be children are sending the message, ‘This is how we suffer, and this is how we deal with it. If parents don’t stop, this is how we rise up or fall.’ So I guess my stories have some moral lessons in them. I do find myself wanting to write stories that make the readers think, feel, and get something to carry with them for a while, why not some messages about taking care of the young kids among us?”

Kristin: Okay, simple question. Where do you get your ideas for your stories?

David Conlin McLeod: “Well they all spawn from ‘What if’ situations. What if a girl’s wishes were granted, but granted by someone possessing a dark, evil sense of humor? That was the basis for ‘Wish’. ‘What if a girl’s grandmother was a vampire?’ That was the basic, basic premise behind ‘Dancing with the Moon.’ ‘What if a ghost story was in fact told by the ghosts themselves?’ That is where ‘Ghost Story’ came from. Lots of these questions and scenarios get their start from ideas I conjure up from shows like ‘The Twilight Zone’ or ‘Night Gallery’. I also get some ideas from fiction I have read and generally find some way to bend situations and plot ideas around my own personal experiences and preferences.”

Kristin: Who are some of your literary influences and why?

David Conlin McLeod: “Stephen King, right off the bat. He, in my mind, taught me everything I know about honest stories and honest characters. He taught me through his many works what it takes to share a story with the reader and not just dictate it or tell it. I want to walk you through the story, be there by your side and let you explore and roam around a bit. I want to make horror stories that frighten you based on your human experiences and reach you at your level, eye-to-eye, and I think Stephen King has always done this the best. I can only hope to be a fraction as talented as him. Then there is Anne Rice. If Stephen King is my godfather, Anne Rice is the godmother, especially for someone who writes mostly about vampires. She helped me understand that there are no such things as stereotypical vampires. Vampires can be heroes, they can have redemptive values. They can be just as human and humane as us. They can feel. So often that is ignored. Of course I should really be giving credit to Bram Stoker! Without him, we wouldn’t have the vampire at all in contemporary literature, and with Bram Stoker as an influence, he gave history and vampires a direct link. He made me want to believe that vampires do exist. He gave the vampire a solid point of origin. Now as far as other influences are concerned, I have a deep jealousy and respect for J.K. Rowling. I wish I could have some of what she’s got. She has a gift for the imaginative and she is so prolific and makes wonderful worlds and stories. She came from nothing and has become an icon in children’s literature, and yet…she produced works that even adults can enjoy and become engrossed in. She has huge appeal and she deserves every accolade. It’s because of her though that I look down at my efforts in shame half the time. I long for her kind of talent.”

Kristin: What made you decide to choose vampire horror?

David Conlin McLeod: “I regard vampires as the best villains, best tragic heroes, and I find them so fascinating. There are so many stories I could write just based on vampires. I love them. I find so many possibilities in their existences. They deal with so many challenges. They have so much potential for good, as well as evil, and I want to explore more of that potential for good.”

Kristin: Are vampires all you write about? Aren’t you afraid of being typecast?

David Conlin McLeod: “It worked for Anne Rice for the most part. But no, I do plan on writing dark fantasy and maybe one or two erotic thrillers or some science fiction, but in between projects or on the side perhaps. I go where my muse takes me, and she hasn’t let me down yet.”

This article is also available at http://www.poemsforyou.com/davidmcleod.html

Movie reviewer/screenwriter Kristin Johnson composes personalized poems, speeches, toasts, vows, and family memories. Visit http://www.poemsforyou.com to order your personalized memories. She is also co-author of the Midwest Book Review “enthusiastically recommended” pick Christmas Cookies Are For Giving: Stories, Recipes and Tips for Making Heartwarming Gifts (ISBN: 0-9723473-9-9). A downloadablemedia kit is available at our Web site, http://www.christmascookiesareforgiving.com, or e-mail the publisher (info@tyrpublishing.com) to receive a printed media kit and sample copy of the book. More articles available at http://www.bakingchristmascookies.com

Before I pass on to my tips though, perhaps I should warn you against building your expectations too high! Naturally, this mini article cannot turn you into the best poet that you know. This article can only be a guide. Writing is, after all, a little bit like skiing. If you’re not experienced, you will need a ski instructor to accompany you and ease your fears; yet, you are the one who must eventually complete each manoeuvre. You can learn tips from your instructor but he cannot ski for you — you have to do it yourself. I know it looks scary but only so at the beginning! If you ski a lot, you can become a good skier. If you write a lot, you may or may not become a good poet, but at least you will learn to listen to your inner voice, face the “contents of your heart” and enjoy this special and fulfilling activity! Here are my tips. Ready? Steady? Go!

1. Dare it!

Although there are many sources that claim they can teach you how to write poetry (such as this very article!), keep in mind that there is no perfect recipe that anybody can give you for a good poem. This is excellent news because it means you will be free to experiment on your own (mostly in a sink-or-swim fashion) and produce your own unique poems. This is crucial as each poem will be both a process and a product of exploration and discovery – not only of your “self” but also of the world around you. Exploration is a difficult thing but as author Octavia Butler points out: “Poetry forces you to say what you have to say”. Indeed! So a good tip to start with is: Dare to say what you have to say and do not be shy or intimidated. Your poem is unique, it is an exploration of yourself and the way you see the world. Nobody but YOU can produce this particular poem! Dare it!

2. Write it!

Remember that content comes first! The rhythm and rhyme and other stylistic features will arise later if you write from your heart. Choose a topic that provokes your thoughts and emotions because otherwise you may find it difficult to be sincere.

So, you have a good topic now, what next? Are you going to sit around and wait for the muse to appear and give you the magic formula for your poem? By all means, NO! Start writing this very minute! Write systematically. Write freely. Write even though you run out of ideas. Close your eyes and try to visualize your topic. Then play around with it in your head. Look at it from different angles. Write freely any thought and any feeling it inspires in you. You do not have to use all of these ideas in your poem later but remember that you need ideas and free-writing is a good way to generate them. Also, ideas are sneaky. They can (and mostly do!) come to you when you least expect them and then they go away quickly before you even know it. So when an idea comes to you, note it down. Do NOT rely on remembering it later because you may not. Go around with a notebook that you can fill with ideas and NEVER discard an idea because it is not good enough. All ideas are important -some of them will just need more time to grow. So treat your ideas with respect, write them down, play with them often, and let them grow.

When you feel you have enough ideas, draft your poem. (Yes! A poem needs multiple drafts too!) And go on doing that until you feel comfortable with your content, word choice and language. Once you have a draft that you are happy with, the next step will be styling your poem.

3. Style it!

When you have a draft, read your poem out loud and remember that a good poem sounds at least as good as it looks on paper. So read it out loud and listen to your words. David Mc Cord, the poet, says “a poem, like rain, should fall with elemental music”. Decide if your poem does that. No? Then the best thing to do is keep your content but play with the words and their order to achieve rain-like music. But do not get caught up too much in this. The only true concern here should be your own feelings about the poem. Does it sound right to you? Yes? Voila! You have finished your poem.

Before I close, a few final words by Ruth Gordon from her anthology of poems Peeling the Onion:

“Like the onion, poetry is a constant discovery. Peel the onion, layer after layer, until its very heart is reached . . . it adds taste, zest, and a sharp but sweet quality that enriches our lives”.

So are you ready to add your life that extra zest? If so, ready, steady, go…

Aylin Graves is a teacher trainer and writing instructor. She owns MaviZebra Communications, an online writing and editing center. Visit MaviZebra at: http://www.mavizebra.com.tr.

I read somewhere that writing a book is like conceiving a child. You start out with and idea of what you want to create but that idea soon takes on a life of its own and the product that emerges several months later will likely bear little resemblance to what you originally had in mind. It may even lead to a “multiple birth” if the work becomes a series as so often happens with fiction.

I have discovered that writing articles can also take on its own identity and may lead to the birth of something much larger. Like a book!

I began writing articles for www.tlc-leadership.com my own website and later submitted several articles to e-
zines in an effort to boost traffic to my site. My field is Executive and Corporate Coaching for Leadership Development, Team Building and Change Management and as the number of articles grew it occurred to me that I might be able to assemble them into a book for that niche market.

In the process of searching for information about writing and publishing a book I discovered an old book, “Acres of Diamonds” by Russell H. Conwell together with a series of articles entitled “Russell H. Conwell, His Life and Accomplishments” written by Conwell’s friend Robert Shackleton. Both of these had been published in the 1920’s and are now in the public domain, i.e. copyright expired.

I had read this book many years ago, likely in the 1950’s when it was on every bookshelf and recognized it now as a still valuable contribution to the field of inspirational and motivational literature. I realized however that the style and grammar were much out of date and many of the historic persons, organizations and events would mean nothing to a modern reader and might even cause confusion.

An idea was conceived – re-incarnation! I would bring the grammar up to date, research people, organizations and events that I didn’t recognize or knew little about – on the theory that if I didn’t know, a lot of other people wouldn’t know either.

My original intent was to publish this as an ebook — but then I came across AuthorHouse — America’s leading self publishing house – and wham, I gave birth to “Acres of Diamonds Revisited”. The cover reads, Acres of Diamonds Revisited – Including “Acres of Diamonds by Russell H. Conwell” and “Russell H. Conwell, His Life and Accomplishments by Robert Shackleton” – Modernized, Edited and Annotated by Len McNally. The book is available through all major online bookstores as well as from AuthorHouse.

While all of this was happening, I continued putting together information for a book on Motivation and Leadership Development and again the project assumed its own identity. While that book is still in the works, another book on making a major career change began to develop.

Prior to becoming an Executive and Corporate Coach, I worked as a Career Consultant and over the years, in both capacities, I have met many, many people whose lack of productivity is rooted in having made the wrong career choice. I see a lot of evidence that most people have chosen a career by abdication rather than by conscious choice. A person leaves school, finds a job and becomes locked into a career path dictated by promotions, transfers and successes in that field. Few people have ever sat down and earnestly asked, “What do I really, really, really want to do with my life?” The result is that a lot of people are working in a field where, although they may have achieved a certain amount of success, they have never had the chance to develop and utilize their dominant, innate skills and abilities.

The result is, all too often, a life with little or no challenge or excitement, a life of boredom, frustration and lethargy – a mind is a terrible thing to waste.

Re-Careering will soon be ready for publication and I must soon decide whether to publish as an ebook or to once again avail myself of the considerable help and expertise of the people at AuthorHouse.

Then I will re-turn my efforts to the Coaching and Motivational book – although I am now prepared for it to once more take on its own personality and direction.

So – if you are writing an occasional article for publication – don’t be surprised if one day you realize you have 180 or 200 pages about something very different from what you started to write!

Len McNally

Len McNally is President of The Leadership Centre http://www.tlc-leadership.com through which he offers Executive and Corporate Coaching via telephone, webcast or, geography permitting, in person. For more information about Len’s re-incarnated book visit; http://www.acresofdiamondsrevisited.com

Whether you laugh, cry, or use industrial-strength profanity, the result’s the same for the writer: a form rejection slip.

The writing guidelines for most publications advise prospective contributors to read the publication first and learn about its style, focus, viewpoint, and previously covered topics before sending in an unsolicited article.

Many writers skip this step. It takes time. Copies of the publication cost money or require an online registration. It delays completion of the article the writer wants to write.

Haste makes waste.

If it looks like you don’t even know what kinds of articles a magazine (or Ezine) uses, then the editor is not only going to reject your work out of hand, but he’ll also wonder if you know what you’re talking about.

Generally speaking, most novice writers don’t sell many articles without demonstrating that they: (a) know the publication, (b) know the subject, and (c) are willing to pitch an article idea to the editor rather than sending it in blindly.

Knowing a Publication

Volumes can be written about this. What does a typical issue include? What have they already covered? Do they have theme issues each year that dictate what some or all of the articles are going to be about? Do they have an editorial calendar that maps out plans for the upcoming 6-12 months? Do they use long, serious articles or do they use light, how-to articles, or both? Do they use freelancers?

Knowing the Subject

Let’s suppose you’ve read every issue of Sex Under the Fir Trees and know their style, focus and requirements pretty well. You decide to submit an article called “Subalpine Firs and Grand Firs in Glacier National Park.”

Assuming that the editor doesn’t think this is too narrow (or too obscure) a focus for his magazine, he’s still going to ask: WHAT ARE YOUR QUALIFICATIONS FOR WRITING THIS ARTICLE?

Do you have a degree in forestry? Do you work for the National Park Service at Glacier as a ranger, forest management specialist or in a related field? Have you developed an expertise in the subject through years or research and personal experience?

If not, why should the editor publish your article? Why would the readers want to read it, much less trust it?
Whether you send an article in blind or whether you pitch the idea first, demonstrating your credentials is always priority number one.

Asking for an Assignment

Most editors depend on a trusted, dependable group of staff writers, guest experts, and often-used freelancers for most of their material. They don’t sit around waiting for somebody they’ve never heard of to send in exactly the thing they are looking for at the exact moment they need it.

If you are psychic or if you have planted a bug in the magazine’s office, you might know months in advance that the editor of Sex Under the Fir Trees wants to publish an article later this year about the identification of flat needle conifers.

If you’re not psychic, not adept at wiretapping, and have no credentials in the world of needles and cones, you’re either not going to know what the editor wants, or knowing it isn’t going to help you.

Once you know a publication that fits into your areas of expertise and experience, pitch your article idea to the editor rather than writing something up and sending it in.

First, when you pitch (propose) an article idea to an editor, s/he immediately sees that: (a) you’re approaching the magazine as a professional, (b) you aren’t wasting your valuable time researching and writing something the s/he may not use, (c) you’re asking the editor “what do YOU want in your magazine” rather than assuming s/he will like something randomly sent in.

Next, let’s say you’ve sent the editor a well-written cover letter that demonstrates why your proposed article is vital or interesting, how you will approach the topic, and why the magazine’s readers might use or enjoy such an article. And let’s say that you’ve included a writing sample and some great information about your expertise and experience, now what?

You want the editor to say, “yes, write the article.” But you also hope the editor will offer valuable guidance that helps ensure the article really will meet the magazine’s needs.

Perhaps you’ve proposed an article about pine needles AND pine cones: the editor might say, leave out the pine cones, we’re already working on that one. The editor also might suggest a slightly different focus or a longer article than you initially planned. Show your openness to the editor’s ideas in your cover letter.

The first time an editor says, “yes, send me your article,” s/he will probably stipulate that you are sending it in on speculation, that is, without a guarantee that it will be used. Once an article or two is published, the editor will see that you can deliver what s/he wants. Then, the next pitched article may result in a more formal assignment.

In time, the editor might start pitching ideas to you: “Bob, we need an article about the Douglas-fir. How would you like to send us about 2,000 words on the largest examples of this tree in Oregon and Washington?”

Now you’re where you want to be.

Malcolm R. Campbell, a former college journalism instructor and corporate communications director, is the author of the mountain adventure novel “The Sun Singer.” His writing tips are posted regularly on Writing, Montana & More.

Go to your word processor and write in html italics “b” and “/b.” Between them write “Unknown Article.” When you get your article idea, replace the title.

Now leave your computer and read the morning newspaper. In the first section of the newspaper, look for the hottest controversies, most exciting news stories, and that stinging editorial against cloning or gang rape.

Go to your computer, bring up Notepad and jot down the few ideas you found even though you have no plans to develop any of them in the present article. A bad idea for an article today will become a good idea when you are really hurting for article ideas. Take my word for it.

Now you are going to need some help here. Here are some stories in our daily rag this morning followed by a possible article idea or two:

Committee OKs raises for some state workers: State of Idaho Unfair to Most State Workers, Idaho Favors Some State Workers over Others, State Thinks Prison Guards More Important than School Teachers.

Guards foil terrorist strike at the heart of the Saudi oil industry: Gunfight at the Ol’ Saudi Corral, Saudi’s Fake Attack to Raise Oil Price, Phony Oil Price Raise, Saudi Refinery Guards Outshoot Terrorist Suicide Bombers.

Wild in the Classroom: Teacher Threatens Students with Dangerous Reptiles, Idaho Snakes Don’t Kill, PTA in Uproar about Snakes, Serpents Invade Classrooms Worldwide.

Castleford arsenic plan too expensive, state agency says: State Says, “Let them Die,” $500,000 Grant Declined to Castleford, State Abandons Castleford, State Says to Drink Arsenic laden water is Okay if you Live in Castleford.

South Dakota Legislature passes abortion ban to challenge Roe v. Wade: Rape Pregnancy Okay in South Dakota, South Dakota Says the Bodies of Women are not Temples of God that Sometimes Need Purifying, State of South Dakota hates women and Okays incest, Planned Parenthood Fights South Dakota Governor.

Our local rag is rich in article ideas today. Here are some other article ideas generated from Section A:

Child Turns into Old Lady and Dies (from obits), Paratroopers Discharged for Bad Jump (from sex scandal), U.S. Against Civil War They Caused (Iraq article), Great Statesman Says Gays Bring Diversity, Utah Cans Polygamist Judge, BSU Wants More Blacks, Smoke Money Chokes Legislature, Idaho Legislature Favors Candy Machines in Schools, McCall “Fines” State, Cameras in Grade School will Thwart Gangs, Attorney Gets Caught in Internet Trap, Water Beds Good for Dairy Cows (I’m not kidding), Mouse Virus Causes Prostate Cancer, Bush Administration Drifts Back toward Port Deal, Gulf not Ready for New Katrina, Judge Backs Libby.

Hey! Where did you go!

We’ve got three more sections to cover.

There’s more to this article than just the newspapers. There are other ways to generate article ideas.

Oh, well.

The End

John T. Jones, Ph.D. (tjbooks@hotmail.com, a retired VP of R&D for Lenox China, is author of detective & western novels, nonfiction (business, scientific, engineering, humor), poetry, etc. Former editor of Ceramic Industry Magazine. He is Executive Representative of IWS sellers of Tyler Hicks wealth-success books and kits. He also sells TopFlight flagpoles. He calls himself “Taylor Jones, the hack writer.”

More info: http://www.tjbooks.com

Business web site: http://www.aaaflagpoles.com

Being a knowledgeable expert gives credibility and creates interest and influence.

Last year I attended a Security Summit. It was obvious to me at the sessions I attended that each of the presenters had, “been there, done that.” I wonder if you have ever experienced a presenter who is obviously speaking about a subject that he or she has possibly read a few books about, but has never lived. An example is someone telling us how to start our own small business, yet has never started a successful business. Another example often cited is a young, recent graduate speaking to a crowd of CEOs about leadership.

At the Summit, a lawyer presented the session that concerned SPAM,which, along with the inconvenience, comes with inherent viruses and the illegal use of stolen e-mails. He brought us up to speed on the legal ramifications and what is being discussed from a legal standpoint, and certainly had both the credibility and knowledge to influence us.

He gained our interest immediately with a game of Jeopardy, using numbers as answers. The numbers surrounding spam e-mails are staggering, but became even more so when we were involved in guessing what the answers stood for. We were influenced by knowing how many spams go out a second, how many fake addresses are generated and how much money the spammers are making (it works, that’s why it continues).

In the session on “How Hackers Break in through Internet Applications,” the presenter had the expertise to explain the why, the what, the where, and the how of retrieving dynamic information — in other words, our user names and passwords, our credit card information and even how to change and use our name in an on-line banking account.

He obviously knew what he was talking about, not that he is a despicable hacker, but someone who has followed the steps and the thinking that goes behind these break ins. He made it look so sensible and straight-forward, it was scary and again has influenced me to check out the websites where I do interactive buying, selling and banking. How? You ask.

This pseudo-hacker started by pointing out and, in a non-condescending approach (most in the room were developers), talked about why dynamic applications — including databases — are often vulnerable to hacking. He then walked us through two websites that on the surface seemed to be impenetrable (with firewalls and virus guards), but turned out to be easy (if you thought and worked like a hacker) to enter, change and from which you could gather all the information you wanted. I am not a developer of application code, but his hands-on examples were easy to follow and understand — we saw every step a hacker would take and try up on the big screen).

Both of these presenters influenced me with their knowledge, sharing of experience and clever examples. Do the same, and you will be known as an influential speaker.

Chris King is a professional speaker, storyteller, writer, website creator / designer, free agent, and fitness instructor. Sign up for her eclectic E-newsletter, Portfolio Potpourri, at http://www.PowerfulPresentations.net You will find her information-packed E-book How to Leave Your Audiences Begging for MORE! at http://www.OutrageouslyPowerfulPresenter.com and her business website at http://www.CreativeKeys.biz