Pinpoint which ads and ezines work best for you by tracking your swaps.

Also try to swap for multiple issues as many people won’t respond to your ad until they see it a few times.

2. Purchase ezine ads.

Run ads for your ezine in relevant ezines that you enjoy.

Also search ezine directories for ezines that offer reasonable rates and that reach your target market.

3. Do a thank you page swap.

Get excellent ongoing promotion of your ezine by using your thank you page to swap an ad or recommendation with another ezine publisher.

Choose ezines that your new subscribers would be interested in, but not ezines that compete directly with you.

Also make sure that you only recommend ezines that truly do offer valuable content, so that you won’t start off on the wrong foot with your new subscribers.

4. Offer a bonus.

Increase your subscriptions by offering something for free that your target market would find to be of value.

For example, you could offer a free email course, ebook, report or access to your “subscriber only” membership site.

5. Write articles.

Your articles can help you to establish yourself as an expert in your field.

Your articles can also help you to get more new readers that are interested in the topics covered in your ezine.

Just add a resource box that promotes your ezine to your articles, or include a couple of lines of promotion for your ezine in addition to your other information.

6. Offer a sample issue.

Offer your sample issue on your site or by autoresponder, and when you can use it in your posts to ezine directories.

You can also increase your subscriptions by linking to your sample issue in your resource box when you write articles to promote your ezine.

7. Provide testimonials.

Increase your ezine’s credibility by including testimonials that praise your ezine on your site.

Include your reader’s first and last name and web address along with her testimonial, and when you can use testimonials that are specific in nature as opposed to those that are general.

First, the title determines how much your article gets read and republished. And secondly, the title plays a big role with search engines. In other words, your title carries dual responsibilities online — it must attract readers as well as search engines.

Writing Article Titles for Readers

I’m going to share an article writing secret with you. If you want to learn how to create titles that draw people into the article, pick up a copy of Reader’s Digest. I don’t subscribe to Reader’s Digest, but I read the cover every time I’m in line at the grocery store — religiously.

Why?

Because the Digest knows a thing or two about irresistible titles. In fact, the cover of each issue is nothing more than a list of article titles. And it’s worth mentioning at this point that Reader’s Digest is one of the best-selling publications on the planet!

Pay particular attention to their “how to” titles and articles. People love a good “how to” article. A successful copywriter once said that if you begin a headline with the words “How to,” you can’t go far wrong. The title of this section is a prime example: “How to write irresistible titles for your articles.”

We love helpful tips and can’t get enough of them. We gobble up information that promises to make us healthier or happier, to save us money or make us money, to give us an exclusive edge.

Want proof? Just browse the nonfiction shelves in your local bookstore and see how many titles start with “How to [blank]” or “Twelve easy ways to [blank]” or “Improving your [blank] in 30 days or less.”

Writing Article Titles for Search Engines
Here’s the secret: Be sure to include your key search phrases at the beginning of your title. If you put them at the end of the title, it will greatly reduce your search engine visibility. Here’s why:

When you publish your article through an article distribution site, the title of your article will become the title of the actual web page. In other words, your article will become an individual web page within the article directory’s website. And from a web coding standpoint, your article title is also the page’s title.

Search engines — especially Google — use page title and page content as two key factors in determining how to rank and list a page within their results.

Conclusion
So in order to get the most out of your article marketing efforts, remember that you’re writing for people first and search engines second. Strive to create compelling titles that pull readers into your articles, while also incorporating your key phrases for search engine benefit.

Here’s a title checklist to help you.

Title Checklist:

* Does your title contain your key search phrase?
* Does your title create a strong desire to read further?
* Does your title suggest that the article is helpful?
* Does your title identify your audience?
* Does your title accurately describe the subject matter?

Good luck and good writing!

* Copyright 2006, Brandon Cornett. You may republish this article if you keep the byline and author’s note, and also leave the hyperlink intact.

About the Author Brandon Cornett is the owner and publisher of MarketingSwap.com, a content exchange for writers and publishers. Submit your own marketing articles, or download a free 18-page article writing guide! Visit http://www.MarketingSwap.com today.

a………….very short little insignificant English word
eh…………an interrogative utterance

acts……….things done
ax…………chopping tool

ad…………..short for advertisement
add………….short for addition

adds…………performs additions
ads………….more than one advertisement
adze…………axe-like tool

ade………….sweetened citrus fruit beverage
aid………….to assist
aide…………an assistant

aerie………..eagle’s nest
airy…………breezy

aero…………of aircraft
arrow………..slender, pointed shaft

affect……….to change
effect……….result

ail………….sick
ale………….beer

aisle………..walkway
I’ll…………contraction of “I will”
Isle…………island

all………….everything
awl………….pointed scriber

allowed………permitted
aloud………..spoken

altar………..raised center of worship
alter………..to change

an…………..a single instance
Ann………….a woman’s name

ant………….insect
aunt…………parent’s sister

ante…………preliminary bet
auntie……….sister of a parent

arc………….portion of a circle
ark………….vessel

ascent……….a climb
assent……….agree

ate………….past tense of eat
eight………..the number base of octal

auger………..a drill
augur………..foretell

aural………..of hearing
oral…………of the mouth

auricle………external part of the ear
oracle……….seer

away…………distant
aweigh……….just clear of the bottom

awed…………in a state of wonder
odd………….not usual

awful………..really bad
offal………..butchered entrails

aye………….naval affirmative
eye………….ocular organ
I……………oneself, first person nominative

bail…………bucket handle
bale…………bundle of hay

bailed……….pumping water out of a boat
baled………..gather into a bale

bailing………pumping water out of a boat
baling……….wire used to tie bales

bait…………torment
bate…………lessen

baited……….past tense of bait
bated………..past tense of bate

baiting………tormenting
bating……….lessening

baize………..green felt
bays…………one or more enclosed arms of the ocean

bald…………hairless
balled……….made into a sphere
bawled……….cried aloud

ball…………a sphere
bawl…………cry

band…………a group
banned……….forbidden

bard…………a poet
barred……….enclosed by poles, denied access

bare…………naked
bear…………ursine

bark…………outer sheath of a tree, noise made by a dog
barque……….square-rigged sailing ship

baron………..minor royalty
barren……….unable to bear children

Barry………..a man’s name
berry………..small fruit
bury…………put under

basal………..forming the base
basil………..an herb

base…………the bottom support for anything
bass…………the lowest musical pitch or range

based………..supported
baste………..swab with liquid during cooking

bases………..what baseball players like to steal
basis………..principal constituent of anything
basses……….many four-stringed guitars

bask…………warm oneself pleasantly
basque……….tight fitting bodice or tunic
Basque……….people of the Pyrenees

bat………….a blind, flying rodent
batt…………a flat pad

baud…………bits per second
bawd…………a procuress

bay………….an enclosed arm of the ocean

bey………….a Turkish official

be…………..exist
bee………….pollinating buzzer

beach………..sandy seaside
beech………..a type of tree

bean…………a legume
been…………past tense of be

beat…………hit
beet…………edible red root

beau…………male friend
bow………….a curve or bend; double-slipped reef knot

beaut………..slang for beauty, beautiful

butte………..steep sided hill

been…………past tense of be
bin………….a box or container

beer…………alcoholic beverage made from hops
bier…………a temporary frame for a coffin

bel………….Indian thorn tree
Bel………….Babylonian god
bell…………metal object used to signal when struck
belle………..beautiful woman

berth………..anchorage
birth………..your method of arrival

besot………..get drunk
besought……..past tense of beseech

better……….superior
bettor……….one who bets

bight………..middle of a rope

bite…………a mouthful
byte…………eight bits(computer term)

billed……….has a bill
build………..to construct

bit………….past tense of bite
bitt…………large cleat for tying up ships

blew…………past tense of blow
blue…………color

bloc…………an alliance
block………..square three dimensional,to hinder passage object

boar…………wild pig
Boer…………a South African of Dutch descent
boor…………tasteless buffoon
bore…………not interesting

board………..a plank
bored………..not interested

boarder………lodger who gets meals, too
border……….perimeter

bode…………an omen
bowed………..curved

bold…………brave
bowled……….knocked over

bolder……….more courageous
boulder………large rock

bole…………trunk
boll…………round seed pod
bowl…………dish

boos…………disparaging sounds from fans
booze………..slang for alcohol

born…………brought into life
borne………..past participle of bear
bourn………..a small stream or boundary

borough………township
burrow……….dig into the ground

bough………..tree branch
bow………….front of a ship; respectful bend

buoy…………navigational aid
boy………….male child

bra………….brassiere
braw…………well-groomed

braid………..a weave of three strands
brayed……….a donkey cried

braise……….cook with oil and water
brays………..loud, harsh cry

brake………..stopping device
break………..split apart

breach……….break through
breech……….the back part

bread………..a loaf
bred…………past tense of breed

brewed……….fermented
brood………..family

brews………..cook slowly
bruise……….a contusion

bridal……….pertaining to brides
bridle……….horse’s headgear

broach……….raise a subject
brooch……….an ornament fastened to clothing

brows………..multiple foreheads
browse……….grazing

bundt………..type of cake
bunt…………hit a pitch without swinging

burger……….meat sandwich
burgher………merchant

bus………….large multi-passenger vehicle
buss…………a kiss

bussed……….kissed
bust…………head and shoulders sculpture

but………….excepting
butt…………the thick end

buy………….purchase
by…………..near
bye………….farewell

buyer………..one who purchases
byre…………a cow barn

cache………..hidden storage
cash…………legal tender

cached……….hidden away
cashed……….converted to legal tender

calendar……..chart of days
calender……..paper press

call…………summon
caul…………amnionic membrane
col………….a mountain pass

caller……….one who calls
collar……….band attached to the neck of garment

can’t………..contraction of “can not”
cant…………a bevel

cannon……….big gun
canon………..body of law

canter……….a moderate gallop
cantor……….singer

canvas……….rough cloth
canvass………examine thoroughly

capital………most important
capitol………center of government

carat………..unit of weight for precious stones, equal to 200 milligrams

caret………..proofreader’s insertion mark
carrot……….edible orange root
karat………..one 24th part of otherwise pure gold

carol………..Christmas song
carrel……….study enclosure

carpal……….a bone of the carpus
carpel……….a pistil

cast…………throw
caste………..a social class

caster……….one who throws
castor……….beaver’s musk gland

cause………..generative force
caws…………sounds of crows

cay………….a low island
key………….opens locks
quay…………a wharf

cedar………..an evergreen tree
seeder……….one who broadcasts seeds

cede…………give
seed…………part of a plant from which a new one grows

ceding……….giving
seeding………planting

ceiling………top of the room
sealing………close a package or envelope

cell…………a small room
sell…………exchange for money

cellar……….under a house
seller……….one who sells

censer……….incense dish
censor……….bad people who fear knowledge
sensor……….a device which detects

census……….numbering, an accounting
senses……….faculties

cent…………one hundredth of a dollar
scent………..an aroma
sent…………dispatched

cents………..hundredths of a dollar

scents……….many aromas
sense………..detect

cere…………waxy fleshy covering at the base of the upper beak in some birds
sear…………cooking technique
seer…………a prophet
sere…………natural succession of plant or animal communities

cereal……….grains
serial……….sequential order

Ceres………..Roman Goddess of agriculture
series……….a sequence of things

cession………giving up
session………a period spent in continuous activity

chalk………..calcareous earthy substance
chock………..wedge to keep wheels from rolling

chance……….happenstance
chants……….more than one litany

chard………..spinach-like vegetable
charred………burnt

chased……….quickly followed
chaste……….virginal, pure

check………..a tic mark, or personal promissory note
Czech………..from Czech Republic

chews………..masticating
choose……….to select

Chile………..a South American country
chili………..dried pod of red pepper
chilly……….uncomfortably cool

choir………..church singers
quire………..the twentieth part of a ream of paper

choler……….yellow bile
collar……….around your neck

choral……….by a chorus
coral………..marine polyp skeleton

chorale………a choir
corral……….a pen for horses

chord………..three tones in harmony
cord…………very light rope
cored………..divested of its central part

chute………..inclined trough
shoot………..project an object

cite…………refer to
sight………..vision
site…………a location

cited………..referenced
sighted………visually identified
sited………..located

cites………..past tense of cite
sights……….tourist rationale
sites………..more than one location

clack………..a chattering sound
claque……….a group hired to applaud, sycophants

Claus………..fat, jolly guy with presents
clause……….contractual unit
claws………..big fingernails

clew…………sheet cringle on a sail
clue…………a hint

click………..ticking noise
clique……….exclusive group

climb………..ascending
clime………..climate

close………..shut
clothes………garments

coal…………black mineral
cole…………plants in the crucifer family

coaled……….supplied with coal
cold…………opposite of warm

coarse……….rough
course……….path of travel

coat…………wear it for warmth
cote…………small animal shed

coax…………persuade
cokes………..more than one soft drink

cocks………..more than one male chicken, pulls back a guns hammer
cox………….a coxswain
Cox………….a variety of eating apple

coddling……..to treat tenderly
codling………small, unripe apple

coffer……….a strongbox; decorative, sunken ceiling panels
cougher………one who coughs

coin…………money
quoin………..corner stone

colonel………military officer
kernel……….seed

complacence…..self-satisfaction
complaisance….willingness to please

complacent……self-satisfied
complaisant…..willing to please

complement……allotment
compliment……encomium

conch………..marine mollusk
conk…………blow to the head

coo………….a soft murmuring sound
coup…………a successful stroke, military takeover

copes………..gets along with adversity
copse………..a stand of trees

copped……….swiped
Copt…………a native Egyptian to a Roman

cops…………police officers
copse………..a small wood

core…………inner part
corps………..body

cosign……….sign in addition
cosine……….sine of the complement

council………group of leaders
counsel………advisor

craft………..a manual occupation
kraft………..strong paper made from wood pulp

crater……….impact hole
krater……….ancient Greek jar

Crays………..more than one supercomputer
craze………..a sensation, a fad

creak………..squeak
creek………..small stream

crewed……….served by a crew
crude………..coarse, unsophisticated

crewel……….embroidering with yarn
cruel………..merciless

crews………..more than one crew
cruise……….a sea journey

cue………….a signal
Kew………….home of the famous English gardens
queue………..a waiting line

currant………small berry
current………of the present

curser……….one who swears
cursor……….on-screen positional indicator

cygnet……….a young swan
signet……….an authenticating seal

cymbal……….percussive brass dish
symbol……….a representation

The musicians wore powdered wigs and antique garb, and the audience, consisted of people who seemed to relish every second of the stellar performance.

Truly, it was an evening to remember.

In a sense, those musicians are some of the luckiest in the world; if you consider that they are playing to audiences that respect their work, who completely appreciate their instrumentation and overall quality.

Smart audiences and smart presenters are a match made in heaven.

Which makes me wonder, why would any of us waste a moment of our lives playing before fools or before people who resist our contributions or at all thwart our efforts?

Yet, looking back on my career, I can see how, literally, I’ve cast pearls before, let’s just say, before people who were unappreciative.

I’ve spent months and years developing, refining, and delivering training programs to people who didn’t want to be in them, who were sent by their superiors, and who believed they already knew everything about, well, everything.

And why did I do this? For a few reasons. I believe I savor difficulty, complexity, and training the nearly uneducable is quite challenging.

Of course, I’ve also done it for the money, but the amazing thing is that the biggest money flows to me when my audiences consist of folks such as those at the Vivaldi concert.

Happily, they pay a premium price for a privileged experience. We have that in common.

Anyway, I asked myself this question as I began writing this meditation: “Would I be happier making a presentation to a crowd of 1,000 of the wrong people, or to a handful, or less of the right ones?”

And this is precisely the question marketers must ask and re-ask. Are we trying to impress the wrong people, and by that I mean people who cannot or will not pleasantly offer “value” to receive our value, in exchange?

Before you write that next article, book, or craft that speech or seminar, do a reality check.

Determine, in advance, whether the right people will be in your audience. Do everything you can do to assure that this will be the case.

And if it’s not, try again and again, even if you have to put on a powdered wig to bring it about!

Then in the end few people read it because it sounds to intellectual or it is too long. Articles need to between 320 to 465 words. Once you get much over that and you have lost the reader who generally only stays on a page for 2-3 minutes on average anyway. So, for all you online article readers out there well; how about a reality check on your article writing?

If you are spending 90% of your time on the last 10% which might make YOU feel good but is simply not important to your reader, the person you are trying to convey your thought to; then why are you spending this time, when you instead could have written 2 more articles which were indeed top quality but not necessarily perfect in every regard?

Or what if you considered that quantity for attracting your reader was as important as quantity so you could attract more readers and made a more balanced approach. I am not saying go out tomorrow and write 6200 online articles like I have, but rather simply pointing out the laws of diminishing returns as applied to online article writing. So 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/

You need courage to submit your work to potential buyers, but you also need courage to get creative with your career. To get creative, you may need to break a few rules.

There are hundreds of rules around writing. The rules give you basic information, such as — how to format a manuscript, how to contact editors, how to find and interview sources, and more.

The danger is that you may come to look on these rules as “musts”. Not so. These rules are merely guides. They’re NOT written down in stone. You can flout the rules if you wish. There are no publishing-police, who will drag you into publishing court and charge you with the horrendous crime of submitting your manuscript in 12-point Times New Roman, rather than in Courier New, for example.

=> Get creative: do it your way

Like the immortal Chairman of the Board, you can do it your way. I was interested this morning to read a message from a much-published friend, telling me that she’d decided to take a new tactic with a novel she was working on. She has almost completed the novel, and rather than shipping off the completed novel to her agent, she decided to send the first half of the book to fifteen agents, to see what the response would be.

Here’s how my thoughts ran when I read this message: Whoa! She’s breaking all the rules. She has an agent. She should offer it to him. If she wants to contact other agents, she should send them a letter first, and — I was indulging in a wonderful round of “musts”. I do know better, but since this was my initial reaction, it shows you how firmly the rules hold us in their grasp.

Don’t buy into the rules. There are no rules.

More power to my friend. Her intuition told her that this was the right procedure for her on this book at this time, and she went ahead and did it.

I’ve told you this little story to show you that you can do as you think best, always. Others may not agree with you. That’s fine. You don’t need anyone’s permission.

=> Break the rules creatively

How do you creatively break the rules? First you need to know what the rule, or the common practice, is in your situation. “Breaking the rules” doesn’t mean that you act insensitively or arrogantly. In the example above, my friend wasn’t breaking her contract with her current agent. She has a verbal agreement with him which operates book-to-book, not a written “whole-career” contract. She said that she feels that this new novel might not be his kind of book, and didn’t want to argue with him before she finished the book. She loves the book, and doesn’t want to listen to any doubts from someone she trusts. She wants to find someone who loves her book the way she does, without reservation.

You break the rules creatively when you decide to try something new, because it seems to be right for this situation. Another writer just posted an entire published novel on her Web site. She’s made some money on the book, and because the rights to the book reverted to her, she feels that she’ll get more promotional mileage by letting people read the book for free on her site than she will by trying to sell it to another publisher, or by selling it as an ebook on her site.

A couple of years ago an Australian writer whose books went out of print published them on her Web site. She charges a hefty yearly-subscription for access to the site. Subscribers get ebooks free, a forum, and can ask the writer’s advice on her topic, because she’s an expert. She broke the rules too, and in the process made a new rule. This happens too.

If you get an inspired flash to try something, try it. The flash may make no sense at all, in the context of your current writing and writing career goals, but why not try it? When I look back over a quarter of a century of writing, I don’t regret anything I wrote. What I regret are all those ideas and inspirations I pushed aside and ignored. I regret the times I listened to other people, instead of to myself. I regret the times I thought other people knew more than I did, because they never did. I’m the expert on me; just as you’re the expert on you.

What creative inspirations are you ignoring? Start today. Get creative with your writing career.

Stuck in your writing career? Get a coach! Angela Booth coaches writers in copywriting (writing for business), nonfiction, and fiction. A veteran writer, published by major publishers worldwide, Angela is also an experienced writing teacher, who knows how to inspire and motivate. You CAN make a success of your writing career. Free daily info for writers at her blog: http://copywriter.typepad.com/ Start your writing coaching today by contacting Angela at her site http://angelabooth.com/ Angela offers personal one-on-one e-courses and mentoring for all forms of writing. Ask for a low-cost initial phone or email consultation.

Articles are different from press releases because they’re usually longer and in “feature” style, i.e. not using the hard-nosed news approach of most press releases. Articles in this context are usually more relaxed and more detailed, taking a more in-depth look at the subject matter.

So what are they key issues to bear in mind?

Issue #1: Articles are not advertising…

….even if you’ve paid for an ad space in a publication and the “free editorial” is part of the package. Sure, with a package like that the publication will accept whatever you want to say in the editorial (and I won’t go into what my personal opinion is on that here!) But if you want people to read beyond the first sentence, your article needs to be an article, not advertising or brochure copy written in an editorial style.

Issue #2: Articles are about information…

…because that’s why people read magazines, business publications, etc. OK, there may be a certain entertainment element but primarily you read the sort publications we’re talking about here, to increase your knowledge. If you want to be asked to contribute to a publication again, you must write responsibly. Only use your opinions for an article if you’ve earned the right to express them. Always check facts and figures, because if you get them wrong it reflects badly not only on you but also on the publication.

Issue #3: Readers are only interested in themselves…

…and that means everything you put in your article must be, as far as possible, something that would interest them, not you or your boss. To find out what interests readers you need to research who they are and what makes them tick.

Issue #4: Keeping readers’ interest means giving them value…

…which means you either have to tell something interesting that they don’t already know, tell them how to do something better, give advice on an issue which you know (from your research) is likely to be of concern to them, etc.

Issue #5: If you can’t give advice, tell a story…

…because people like real “slice of life” anecdotes as long as they’re relevant. Ditto with case histories, provided that you keep them brief and succinct. If your service or product involves solving people’s problems, don’t just say so – that’s a) advertising and b) boring. Use a real example of how it has solved people’s problems. Use quotes from the people concerned. Bring your article to life.

Issue #6: Length is important

…because editors are busy people and if they don’t have to cut or pad out your contribution they’ll love you for it. Find out how many words they want from you and ensure you submit that many (within 20 words or so.) One, you don’t want others tinkering with your words, do you! Two, knowing ahead of time how many words to write helps give you a feel for how much detail you need to include, before you start writing. Three, submitting an article that’s the correct length helps to make you look professional, and you’re more likely to get asked to contribute again.

Crafting pointer #1: Devise a strong theme and stick to it

Assuming that you haven’t been told what to write about by the publication’s editor, decide this on the basis of what you believe will interest readers most and then stick to it firmly. Help yourself to stick to the point by writing out a content skeleton in bullet point form. Then start adding “flesh to the bones” as notes. Only start writing the article when you’ve defined and organized your content to your satisfaction.

Crafting pointer #2: Get your “tone of voice” right”

Whatever you do, don’t fall into the trap of assuming a tone of voice which you think is appropriate for your organization’s image, unless it’s identical to the right one for the audience. Read as many back issues of the publication concerned as you can get hold of, so you get the feel for their own editorial. Then copy that.

Crafting pointer #3: Avoid unfriendly jargon

Particularly in technical publications a certain amount of jargon is OK, because the readership is likely to be familiar with it. However be sure you check this very carefully, and don’t allow any suspect jargon to creep into what you write. Also, don’t take a chance on people not understanding acronyms, abbreviations, etc. If in doubt, spell it out.

Crafting pointer #4: Devise a snappy headline

Although the publication’s editor may well change it, making the headline good will help ensure that the final version remains as close to your original as possible. Once again look at back numbers of the publication for an indication of style and approach. Generally it’s best to keep it simple, direct, try to make it imply a benefit to the reader. Only attempt a “clever” headline (pun, play on catchphrase, etc) if you know you’re really good at it – and that the pun is consistent with the general flow of the piece. A pun purely for it’s own sake isn’t worthwhile.

Crafting pointer #5: Create a sharp summary/intro paragraph

This is something that’s more of an issue in online press releases but I think it’s a useful device for any article. In two or three sentences, summarize the key message of your article and then use that as an introductory paragraph. The editor may not leave it there, but if – as is often the case – s/he uses a trailer for your article on the front page or on the publication’s website, etc., that’s what they’ll use or base it on, anyway. Extra-tip: write this para after you’ve written the article. Don’t try to start with it as you’ll find yourself going into too much detail.

Crafting pointer #6: Stick to a structure with “how tos”

In a “how to” article your structure is fairly easy to define. First you set up the topic, then go through your tips on how to do it pretty much in chronological order, and finish off with a short summary or conclusion. Don’t use any detail that isn’t strictly relevant to what your reader needs. However at the same time, be careful you don’t wrongly assume prior knowledge on the part of the reader. Be sure you know how much they know.

Crafting pointer #7: Use quotes to help tell a story

Although any story you tell in a business article is going to be true, it helps to take some tips from fiction writers and use a bit of drama to bring the story alive. Instead of starting predictably with the background of the case history and how you came to meet the customer, etc., start with a blazing quote from the customer him/herself – “I was up to my knees in water and could see my entire stock being destroyed,” said Jerry Kann, Production Manager of XYZ Clothing Manufacturers. “When you and your pumping crew turned up so quickly I could have kissed you all…” Don’t be afraid to use quotes. As long as they’re real and don’t contain pompous corporate-speak, they’re very powerful.

Crafting pointer #8: Edit hard but sensibly

To be honest, not many of us have the time to hone our writing by producing umpteen drafts and in any case I believe you can over-edit your work, making it too dry and unspontaneous. However hard editing is necessary, especially if your first draft is over length. If you need to cut out more than, say, 20% don’t try to shorten everything. If you do, you’re bound to strangle some of your good points. Instead ask yourself if all your content is really necessary, and if some points are not strictly required then dump them. If the article is seriously over length and you can’t justify giving it a good haircut, contact the editor and ask if they can run it over two issues in two parts.

Online vs offline – the differences

In my view the most irritating difference between writing text for online media and offline is the physical restrictions and impediments imposed by the viewing medium, i.e. a screen rather than a piece of paper.

Most of you will be familiar with all the current web usability issues and if you’re not, by any chance, you would do well to look at Dr Jakob Nielsen’s website http://www.useit.com.

However never be intimidated by grand-sounding webspeak. Writing effectively for online purposes is not rocket science. Essentially, there are just two very important things you have to remember.

Write for the way people read online

Firstly, go with the flow of the physical restrictions and write so you minimize their effect. According to Jakob Nielsen (see above) 4 out of 5 people scan online text. That’s probably because reading from a screen takes them 25% longer than it would to read the same text from a piece of paper – reading from a screen can be hard work, especially if you do it a lot.

One popular recommendation is to keep screen-based text short – about half the length of its paper-based equivalent is comfortable. The other recommendation is to create your text so it works well for scanners (human scanners that is) by highlighting key points in bold – not italics or underline because people think those are links. That way people get the gist of your message while scrolling, although of course they will stop and read more carefully when an emboldened section really does catch their eye.

Don’t ignore online folklore and etiquette

Secondly, bear in mind that even in its short little life the internet has already started to put its folklore on a nostalgic pedestal and this plays a key role in determining what works online now.

Having begun its days as an electronic kaffée klatch for individual tekkies the net has developed a very personal informality and straight-talking ethos that, miraculously, is being preserved and perpetuated successfully. And that’s all the more astounding when you consider the vast commercialism that’s replaced the early net’s endearing woolly-sweater-and-sandals innocence, navety and honesty.

Online = informal

Never mind, though. There are other good reasons why brief, straight, plain – even blunt – speaking is a sensible style to maximize the success of your online text. Obviously it helps overcome the physical restrictions (see above) and also works well in such a personal, one-to-one medium that is, literally, in your face.

Overwriting anything using pompous corporate-speak, too much/inappropriate jargon, too much of a “me/us” focus rather than concentrating on what’s of interest to readers … well, they’re all bad enough offline. Do that online and your piece will positively scream out “boring and not worth a second glance.”

Website peculiarities

If you’re asked to submit an article to a website, obviously you will discuss the content, tone, length etc with the people concerned before you start. Sometimes, though, you’ll be given a free rein.

If this is the case then choose your subject matter very carefully. Even if the site owners tell you to write about anything you want, make sure a) you understand their typical audience and b) you choose a topic that will be of genuine news or feature value to them. OK, by all means work in a few mentions of your product or service but remember this: readers aren’t stupid. If your article looks like a thinly disguised advertisement your credibility will be down the toilet. It’s a simple as that.

Keep them short

If you have a free rein over length, don’t go much beyond 800-1,000 words. One of the websites I write articles for ( http://www.marketingprofs.com/ ) has found that this is the optimum length to retain people’s attention and concentration, because more often than not they will read the article online (rather than print it out and read it off paper later.)

Structure-wise, use shorter sentences and shorter paragraphs than you do for print articles. Every few paragraphs break the text up with a snappy, relevant cross-heading.

Simple language

Style-wise, keep your language simple and uncluttered. Avoid unnecessarily long words and phrases. Be direct, and write to the reader. If you find this hard to grasp, imagine you’re writing a letter to one typical member of the website’s audience. Have a picture of that person in your mind. Visualize what s/he will find interesting and what will begin to bore him/her. I know that sounds weird and psychobabblesque, but it works to keep you reader-focused.

Don’t forget the trailer

Finally – and I say this deliberately, because it’s far easier to do it last than first – write a trailer paragraph about your article. You should include this as an emboldened introduction to your article, but it should also be able to stand alone so the site can use it as an abstract if they want to. The editor may tinker with this paragraph a bit, but I always prefer to offer them a suggestion of how to introduce my article – rather than let them do it from scratch!

Canadian-born Suzan St Maur is an international business writer and author based in the United Kingdom. In addition to her consultancy work for clients in Europe, the USA, Canada and Australia, she contributes articles to more than 150 business websites and publications worldwide, and has written twelve published books on business writing, marketing, publishing and humor. Check out all her current books here.

To subscribe to her free biweekly business writing tips eZine, TIPZ from SUZE, click here.

(c) Suzan St Maur 2003 – 2006

Ten Wanted Men

I staged a gag at a seminar one time that was loads of fun and took less than one minute to complete. Before the program, I picked out about 10 fun-loving audience members to help me. I gave them secret instructions that were to be carried out on a certain cue during the program. To start the gag, I had my assistant interrupt the seminar to give me an important note. The note read (I used a serious expression):

“It appears that someone is in attendance today with another man’s wife. There is a large and irate man on his way here right now. If you want out, there is a backstage door you can use to escape quickly.”

At this point, 10 men jumped up out of their seats and ran keystone cop style out the door. Once they realized what was happening, several women jumped up and ran out too. It was great fun and the gag sure woke up everyone who had a heavy lunch.

Stone the Speaker

Here’s another gag I do when I really want to focus attention on an important point. Either before the program or at a break, I recruit audience members who are sitting near the front. I give each one a piece of crumpled paper and instruct them to throw it at me when they hear a certain word.

Some presenters tell me that is the dumbest thing they ever heard and that they would never do it in a professional presentation. They say that until they understand the rationale. I use this gag when I want to focus attention on an important point? Guess who is riveted on what I say until they hear the key word? Of course, all the recruits with the crumpled paper. Then, after they throw the paper and I make a big reaction, the rest of the crowd is totally focused in their effort to see what is going on. That is when I make my key point. I have virtually guaranteed the attention of each audience member.

Copyright © 1998 – 2005 Advanced Public Speaking Institute

Tom Antion provides entertaining speeches and educational seminars. He is the ultimate entrepreneur, having owned many businesses BEFORE graduating college. Tom is the author of the best selling presentation skills book “Wake ‘em Up Business Presentations” and “Click: The Ultimate Guide to Electronic Marketing.” It is important to Tom that his knowledge be not only absorbed, but enjoyed. This is why he delivers his speeches laced with great humor and hysterical jokes. Tom has addressed more than 87 different industries and is thoroughly committed to his clients’ needs. http://www.antion.com

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The Hero’s Journey:

• Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.

• Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.

• Interpreted metaphorically, laterally and symbolically, allows an infinite number of varied stories to be created.

The Hero’s Journey is also a study of repeating patterns in successful stories and screenplays. It is compelling that screenwriters have a higher probability of producing quality work when they mirror the recurring patterns found in successful screenplays.

The Hero’s Journey is also a study of conventions. Before screenwriters can decide whether to accept or reject the conventions, they must appreciate their purpose and value.

Consider this:

• Titanic (1997) grossed over $600,000,000 – uses the Hero’s Journey as a template.

• Star Wars (1977) grossed over $460,000,000 – uses the Hero’s Journey as a template.

• Shrek 2 (2004) grossed over $436,000,000 – uses the Hero’s Journey as a template.

• ET (1982) grossed over $434,000,000 – uses the Hero’s Journey as a template.

• Spiderman (2002) grossed over $432,000,000 – uses the Hero’s Journey as a template.

• Out of Africa (1985), Terms of Endearment (1983), Dances with Wolves (1990), Gladiator (2000) – All Academy Award Winners Best Film are based on the Hero’s Journey.

• Anti-hero stories (Raging Bull (1980), Goodfellas (1990) etc) are all based on the Hero’s Journey.

• Heroine’s Journey stories (Million Dollar Baby (2004), Out of Africa (1980) etc) are all based on the Hero’s Journey.

Hero’s Journey and the role of Allies

The hero’s allies play an integral part of most stories. Three dimensional allies make for a richer stories.

Three dimensional allies – like the hero – have their own challenges, mentors and limitations. In Crouching Tiger Hidden Dragon (2000), both Li and Shu Lien (mentors) have an inner challenge and a mentor (Sir Te).

It is not unusual for the allies, at around the time of the atonement, to confront their own limitations. In Star Wars (1977), this is when Han and Chewy debate “leaving this party.” In Elizabethtown (2005), this is when Hollie states that she will learn Tap, Comedy and Organic Cooking.

Learn more…

The Complete 188 stage Hero’s Journey and FREE 17 stage sample and other story structure templates can be found at http://managing-creativity.com/

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Kal Bishop, MBA

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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://managing-creativity.com/