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In order to succeed in your dissertation project, you should establish steadfast relationship with your advisor. This is especially important if you are a PhD. One should never forget tat there are two steps in the advising process, the first stage is when a student takes course and the second one is a dissertation process. In order to succeed however, one should have the advisor at each stage of this process. Te student in this case has more possibilities to make acquaintance with his advisors, and thus understand better which one of them will suit his needs.

This important process is very important for the students and advisors alike. But advisor should act like a mature and responsible person who, unlike the student, has had much more experience in advising of the completion of dissertation. Te advisor should give special attention to all requests of the student as well as his comments or observations. If an advisor is requested to read the draft of the dissertation, he should read it and evaluate it, providing specific comments to the work submitted.

On another hand a student should prepare thoroughly for each meeting with his advisor (it might advisable to prepare a detailed plan of the meeting as well). One should remember that an advisor can not allocate unlimited period of time to the student, so a student should be succinct and provide his advisor wit as much detailed information as possible. If a student has some proposals to resolve some controversial issues of the dissertation that is being prepared or some new ides on the subject that is being researched, he should prepare them in advance and write them down. It is a prerequisite, because your advisor would more likely provide you with the feedbacks on the particular piece of writing.

How to contact with your advisor.

Usually, it should not be a greet problem, especially in this era of mass communications. Sometimes, it more useful to communicate via email or leave voice messages, however your advisor will be able to indicate the best way of communication with him.

One should not be shy, it is especially important for foreign students, who sometimes experience difficulties with their English, and do not want to sound awkward. One should understand that your communication with your tutor and advisor is one of the most important parts of your dissertation writing process, and one that should be prepared thoroughly in order to make all process successful.

Learn more about it here Dissertation and Thesis Writing Service

I go through an interesting writing exercise regularly: I take magazine articles and write abstracts of them for a newsletter client.

The challenge involves taking an article, one that normally ranges from 1,000 to 3,000 words, and condensing it into a few hundred words. That means I need to get the essence of the article squarely in my sights and to write about it in my own words.

When I go through that exercise, I’m amazed at the number of articles, many from highly respected business magazines, that don’t have internal integrity.

An article has internal integrity when the writer started out with a central idea, developed it well, and reached a conclusion involving that idea. For example, the writer might start with an anecdote, using the anecdote to illustrate a problem.

She then goes on to explain why this problem deserves our attention. That’s followed by one or several potential solutions, and the pros and cons of each one, along with a recommendation or two. She concludes the article by summarizing the problem, the alternative solutions, and her recommendation then links back to the opening anecdote. That’s just one story development model, but one that works.

As I say, many articles don’t have that kind of integrity. Some miss one or more parts of the model, others get them in the wrong order, and some don’t have a model at all, just the non-fiction equivalent of stream-of-consciousness (a fiction model).

You can ensure your writing has internal integrity — whether for memos, articles, instructions or anything else — by taking measures before or after your write. Perhaps the most familiar strategy is the preliminary outline. Before you start writing, you set out the elements you’ll address.

Another possibility is to go back to your message afterward and write a short abstract, and ask yourself whether or not it makes sense. Does the story flow logically and clearly? Do you see any part of your model that might be missing?

A third possibility is just to set aside your writing for a few days, and then look at it later with fresh eyes.

Whichever you technique your choose, and that’s mostly a matter of your personal style, your writing will get better results if it has internal integrity.

Over the course of my writing life, I have noticed that other writers and I cycle through a series of steps on our path toward maturity as a writer. When people come to me for coaching, they often do not know where they are on the path and what they need to move forward. I’ve identified the phases and given suggestions for the support will best serve at each phase. Of course, I have seen the powerful impact of coaching at each phase, but I have added other means of support that are valuable for the writer’s journey.

Infancy You get the spark of creation. You are nervous about your inclination to write, not knowing where to get advice, information and support. Sometimes at this phase, people are afraid to even say aloud that they are a writer. Practice saying it at home, with the pets as audience, and see how it feels. Your loved ones may think you are nuts for wanting to write, but you feel more energized than you have in years. This phase also applies to writers who have taken a hiatus from writing and are coming back to honor a long-lost urge.

Best support for this phase: Hire a coach. With the support of a coach, you will be able to recognize that your emotions and challenges are common. A coach will help you harness that enthusiasm into a practice that will get you on a strong,

steady track.

Childhood You have the exuberance of twenty people when it comes to writing. You want to write everything! You try essays, short stories, poetry, op-ed letters. Your exuberance and desire to learn carries you over any hurdles. You get a lot of practice in writing.

Best support for this phase: Take classes and join groups. This is a great time to be a sponge and absorb all the learning you can. Practice in whatever genre attracts you. This will help determine where your gifts lie and how to best use them.

Teen Years Your exuberance turns to restlessness. You want to see some results &ndash publication, pay even! You yearn to narrow your focus and choose a path that will bring your writing dreams to reality.

Best support for this phase: Hire a coach. At this phase, a coach can help remind you of your original spark and motivation for writing. With a coach’s questions, you’ll be able to discover what is important for you and how to focus and commit.

Adulthood The rubber hits the road. You settle into your chosen genre. This may be where you write a novel or a memoir, or really develop your poetry. This is good, and you start to take yourself seriously.

Best support for this phase: Keep learning, with classes, books, online resources. This is a great time to be in a peer group, giving and getting feedback on your work. A group facilitated by a coach is a good idea, as it will help you to deepen your writing practice.

Full Maturity You’ve been at it for a decade or two and now realize the magnitude of what it takes to be a writer. This is no work for lightweights. You have publications under your belt and find yourself giving advice to whippersnappers writers. You read with a greater appreciation and realize how amazing good writing really is. You have a long term plan for your career and feel the power of your commitment.

Best support for this phase: Befriend writers who are further along than you. Find a mentor. Work with a coach who can help navigate the emotional swings of success.

Indian art material Industry is a vast scattered market consisting of different variety of attractive products like different types of brushes like synthetic brushes, painting brushes, artist brushes, Oil pastels, crayons of different types, painting accessories, poster colours, fabric colours, liquid water colours, colour pencils, drawing books, colouring books, easel boards, canvases, palettes, markers, paints, coloured chalk and many more. The industry is said to capture maximum business from the consumer market directly, which accounts to 70% of their revenue.

The core Indian art material market of around Rs 500 crore is said to be growing at a rate of 4 - 5 % but there is intense competition in this industry as the industry is highly unorganized which proves to be a downfall for this sector. With the duty rates coming down the art material imports have risen sharply in the last couple of years and several Chinese and Korean brands are available in the market. International majors like Faber Castell etc have also ventured into the market. Maximum competition has come in the school colour range where the Indian manufacturers like Camlin Limited who has been in this venture for years, Pidilite Industries who has launched a new range of art materials for children (crayons, water and tube colors, etc) under it’s Acron brand and others had to reduce prices to fight competition. There was almost 15-20% reduction seen in prices since the last 5 years.

The Indian manufacturers have to face a tough time in the market. The threat of new entry affects the firms already existing in an industry and if a new rival can easily get in, then the market becomes more competitive, hence the firms must put some barriers to stop others from entering. Now the Indian firms also have the burden of VAT, which is levied by the Indian government at a flat rate of 4%. The only tools in their hands are manufacturing new, innovative and attractive products in the market that compel the consumers to buy their products. Also branded goods have a hold on top of unbranded goods, as now people prefer to buy branded products expecting satisfaction of a good quality product. But in a developing country like India still this phenomenon is not put much into practice, the middle and lower class still prefer to buy the cheap imported goods as their low price factor is indeed a tempting offer. But with proper awareness and guidance the Indian consumer’s opinion can be reversed. The existing leaders should create a brand identification, the new entrants thus will have to try and take satisfied brand loyal customers away from the leaders which makes it a difficult task for them to conquer.

Also new marketing activities like new products being introduced to serve different market segments are being implemented to strengthen the brands. In the children’s product sector too many brand ambassador products are seem to be working well. For e.g., it is seen that children prefer to buy products with cartoon character’s photographs or gifts attached as compared to others. In 2005 too such products sale show an uptrend curve rather than the normal art material products.

Today the market has expanded and it’s not a child’s play anymore. The threat of substitute products also comes into concern. If substitute products are readily available, then the firms are likely to suffer. The power of buyers should also be taken as a considering factor. The industry keeping in mind the innovation key in their hands can compete with the unorganized sector and imported goods sector that prevail in the market. Though many are of the opinion that through brand building initiatives, good quality and innovation mantra they have managed to survive in the industry in 2005 and plan to do the same in 2006.

The only good teachers for you are those friends who love you, who think you are interesting, or very important, or wonderfully funny. ~Brenda Ueland

The doubt demon loves artists. This sensitive bunch of individuals falls prey to it so easily, from cartoonist Charles Schulz to writer Virginia Woolf. This little demon reared its ugly head when Stephen King threw the beginnings of Carrie into the wastebasket. We all owe our gratitude to his wife, Tabitha, who picked it out of the wastebasket and encouraged her husband to keep going. Some struggling writers don’t have such champions. Many writers ask themselves: Am I good enough? Am I wasting my time? If I was really talented I would be (published, successful, rich) by now. These kinds of thoughts are evidence of the doubt demon. The doubt demon can only be conquered by a concerted effort to give it as little attention as possible. Not just by you, but by the people around you.

As a published author, and one who has been in the business for several years, it’s hard to say this, but not everyone you know will want to see your writing dreams come true. Not because they’re mean (some are), but because they are unhappy with their own life choices and don’t want to see you change or cannot share in your dreams.

Avoiding the doubt demon is basically impossible for most of us, but there is something you can do about it. When you are facing the doubt demon make sure only to speak to friends or family members who are truly invested in seeing you succeed. You can identify these individuals three ways. The:

1. Always have something upbeat to say. You say, “I just got another rejection. I must suck.” They say “No, you just sent it to the wrong editor.” If they say something like, “You get a lot of rejections maybe writing isn’t your thing,” they are not someone you want to discuss your dreams with. As artists, we know the power of the written word and how they can impact people (read any bestseller). The spoken word is just as powerful (ask any leader) and you need to protect yourself from all negative input.

2. Are basically happy. Sorry, but unhappy people can’t give you the support you need. If they’re bemoaning man troubles or their jobs they likely won’t have the energy to lift your sagging spirits. Unfortunately, the phrase ‘misery loves company’ is true. So look for happy, optimistic individuals for support. You don’t need many. One will do.

3. Make you feel good. No matter what, they are enthusiastic about your efforts, ask about what you’re up to, and are generally interested in what you’re doing. At times, when I’ve begun a story and it’s not coming together I have a friend who I always call. I know I can depend on her to say or do something that will make me feel good. If someone makes you feel bad, take them off your list.

Fighting the doubt demon is hard on your own. You need to find a cheerleader to place in your corner. As I’ve said earlier, even if it’s only one person have someone you can call to give yourself the boost you need. The wonderful thing about a cheerleader is they can come in two forms: Those who read your works and those who don’t. I know people who continue to support my writing ambitions, but who have never read any of my work. They believe in me and that’s support enough. So go out there and find your demon fighters. You deserve them.

Types of things to watch out for with agents:

* Charging the author a fee up front, to be accepted as a client. Can be called a reading fee, or a monthly “office expenses” charge. The best agents, and most successful ones, only charge a percentage fee of royalties the author earns, typically 15%. Suppose a realtor charged you a fee to come over and tour your house before getting the listing? How quickly would you show that realtor the door. . .

* Charging back unusually large “postage and copying fees” to send out an authors’ work. One crooked agency accepts almost every client that contacts them, but in the fine print of the contract they charge “postage and handling” of up to $10 per submission they send out on your behalf. It doesn’t cost $10 to send a letter and a sample chapter of a book to a publisher. This company makes a fortune from these fees whether or not they actually successfully market any of their clients work.

* Directing authors toward specific editing services or giving authors’ names to these services. Sometimes they even own the editing service. Some agents make a significant portion of their income from referral fees from these services.

* Terms in Agency contracts with writers vary widely. Must be read carefully. Not standard at all.

* The agent contacts publishers pretty much at random. The agent’s value to you is in the relationships they have with publishers, so that if the publisher hears from them, they know the book is worth taking a look at. Ask to see copies of rejection letters that come back from publishers. If it looks like just a form letter response, rather than a letter you would send to an acquaintance, you can bet the agent may be just picking names out of a directory of publishers.

* Puts forth a weak effort or gives up on the client’s project after a few months. You have a right to ask how active the agent is going to be. How many publishers are they going to contact, how will they follow up? You also have a right to periodic reports as to whom they have contacted and the results. You must determine how much time and attention they are really going to give you.

Another reason it is imperative to have a reputable agent is that the publishing house typically pays the agent, who deducts their “cut” and sends the remainder it to the author. It’s a frightening thought that a less than honest person gets their hands on the money you’ve earned from sweat, blood, and even tears.

Find out more about agents

There’s nothing like writing a story. It is a truly satisfying creative process. In order to write a story that people will enjoy. You need to understand the key elements that all good writers use in stories. In this article we will explore these elements.

1. Brainstorming

Ask yourself these questions:

What are you are going to write about? Who will be your audience? How much do you know about what you want to write about? What do I need to find out?

2. Write from a Specific Point of View

First person: “I”

Second person: “You” (rarely used)

Third person: “She/He” (Used the majority of time but in a “limited” way) Limited simply means that the story is told through the eyes of one particular character.

3. Starting Your Story

Your story should begin in such a way that it grabs the readers attention and never lets them go, some ways to begin are: Sound Effects, for example: Splash! Pop! Another way to begin is with dialogue, that is, two or more characters having a conversation. Using action is also another way to start. Whatever you choose, you must do it in a way that draws the reader in from the very beginning, if you fail to do this then no matter how good your story gets down the road it will be pointless as you have already lost your audience.

4. Setting

Place your characters in a setting. This is where you are to use descriptive words that let your readers see, hear and even smell the setting. The setting establishes the time and place in which the story takes place. Give your readers a snapshot view of the environment so that they can see it in their mind’s eye and feel as if they are really there.

5. Characters

Characters are part of the life blood of fiction. Here are some of the types of characters you may want to create.

Main Character (Protagonist): All the action revolves around this person.

Villain (Antagonist): This person or persons oppose the main character at every turn. Villains can also become allies of the main character down the road. People change in real life as well as in stories.

Friends (Sidekicks): This person or persons helps the main character.

6. Conflict

Good conflict allows your readers to become even more involved in the plot. Conflict can arise within the characters, with other people or even with nature. The needs of characters are what drives them into action. Conflict is created when obstacles are put in the way of the characters. Here are some types of conflict that can arise in a story:

The main character vs. others

The main character vs. his /her own inner self

The main character vs. situations he/she faces in life

The main character vs. society

7. Dialogue

Finally lets take a look at the purpose and use of dialogue. Dialogue is used in conversation between your characters. The characters may also have dialogue with themselves. Good dialogue tells the reader something about the characters state of mind or personality. Dialogue should be surrounded by action and move the story along. So make every conversation count!

Writing a Resume

Not that long ago, the easiest way to get a job was to visit the company you wanted to work for and ask for one. Today, however, it’s not quite that simple. Most companies require you to submit your resume to them before they’ll consider you for a position. So the resume has become a great deal more important, because it’s the first, and possible last, chance you have to make the right impression. That’s why it’s so important to get it right!

First off, you need to start writing a resume by being clear about what you’re trying to achieve. Which company are you planning to apply to? What type of job are you hoping to get? The answers to those questions will give you a direction for your resume. Remember, no matter how good your resume is, if the person reading it doesn’t think you’re suitable for the job, you won’t get any further. So make your resume good, but don’t spend countless hours stressing about making it perfect; you’re probably wasting your time.

It’s a good idea to keep your resume short and simple. The person reading your resume probably has dozens, if not hundreds more resumes to read through, and rather than waste time reading your lengthy life history, will put your resume aside and read somebody else’s. Work out the types of things the employer is most likely to want from an employee, and make sure your resume shows you have those skills or qualities. For example, if the job is likely to require attention to detail, mention your ability in that area. Summarize your past job responsibilities with a focus on skills requiring attention to detail. Give your prospective employer plenty of chances to see how your skills could benefit their organization.

Perhaps you’ve never had this type of job before, and so don’t know exactly what the employer will be looking for. That’s okay; just spend some time researching the industry. If possible, ask some professionals in that industry what type of skills or qualities they’d look for in a person holding the job you’re applying for. Look at job advertisements, searching for clues, particularly if they mention certain qualities they’re looking for. Check out newspapers at the library, or search on the Internet. Even better, look at the website of your potential employer, if they have one. Learn as much as you can about the business you’re trying to join, so that you have a better chance of targeting your resume correctly. That knowledge will pay off in an interview, because you can show you know something about the employer’s industry.

One word of warning - never make the mistake of writing a general resume, hoping that you’ll hit all the right buttons. That almost never works.

Now that you have an idea what sort of direction you need to give your resume, start putting it together. Most resumes contain the following sections, although they can vary a little depending on the industry. Still, you should always try to cover these areas somewhere in your resume:

- Employment history

- Positive personal characteristics

- Computer or technical skills

- Educational background and results (include GPA if it’s over 3.0)

- Any other relevant accomplishments, such as a public speaking award

Once you get the hang of it, writing a resume really isn’t hard. All you have to do is put in everything you can to show the prospective employer that you can add value to their business, and take out anything that doesn’t.

1) Wash your pen every few weeks and whenever changing ink color.

2) Use only cold or tepid water when washing the pen. Demineralised water will work best (tap water sometimes contains particles which may clog the feed).

3) Never use hot water, alcohol or solvents as these will damage the feed or other parts of the pen irreparably.

4) Wash the pen by filling and emptying it with water (repeat this until the water is clear). If the pen uses a cartridge/converter, soak the nib section in water for some hours.

5) If you do not plan on using your pen for a prolonged period of time, empty and wash it out before storing it away.

6) Avoid using chemically treated paper, which usually has a slick feel, because it does not absorb ink well and leaves residues on the point of the nib which might clog the ink flow

7) If travelling by plane, it is a general rule to follow with fountain pens to fill or empty them completely and keep them stored in vertical position with the point upward. This will avoid leakage.

Do not loan your pen to anyone, as the nib adjusts only to your own writing style (i.e.: pressure and angle).

9) When not using the pen, keep it stored vertically with point upward to prevent ink from settling in and clogging the feed.

10) If your pen does not write immediately (after not having been used it for more than a month) the ink has probably dried and clogged the nib and feed. To restore the ink flow either wash the nib with water or fill and empty it with ink of same color. If it does not write yet, wash it with tepid water.

Today, Norm Goldman, Publisher & Editor of Bookpleasures.com is pleased to have as our guest, Helen Barer author of Fitness Kills.

Helen is a native New Yorker and has spent many years as a writer of non-fiction ranging from cookbooks to television documentaries.

Norm:

Good day Helen and thanks for participating in our interview.

Helen:

I’m delighted to have been invited.

Norm:

How did you happen to write a book about a fitness ranch in Baja and could you also tell us a bit about Fitness Kills?

Helen:

I’m a big fan of fitness spas - I’ve been going to one or another for more than 20 years. About 12 years ago, while struggling through an aerobics class at a spa in Baja California, I looked around and thought it was like being on a cruise ship. We’d all arrived on a Saturday, would leave the following Saturday, and in the meantime got to be ‘intimate acquaintances.’

Fitness Kills is the story of Nora Franke,, a New York City food writer who having broken up with her boyfriend, and having gained weight as a result, accepted a temporary job as food consultant at such a fitness spa. She is befriended by a group of regulars, and is caught up by their pain and loss as one, and then another, of the friends die. Nora’s primary employer back in New York assigns her to write an article about the deaths at the health spa, and she becomes invested in solving the murder (and keeping herself alive!).

Norm:

What attracted you to the mystery genre?

Helen:

I like stories with a beginning, middle and end. As well as those with a strong central character - preferably a woman - that have something to say about how we live today and what our values are.

Norm:

What do you believe are the essential ingredients of a good mystery novel?

Helen:

Suspense! And caring about what happens to the characters. Which means, of course, that you have to know the characters. Believability is also essential. This is not a fantasy genre.

Norm:

Is your work improvisational or do you have a set plan?

Helen:

It starts off with a plan. Actually, I’m meticulous at the beginning. I have a summary page, a chapter-by-chapter outline, and know how it ends. But the middle…that’s the real mystery! As I established the characters’ voices, I found they led me in unexpected directions.

Norm:

Helen, this was your first mystery fiction writing project. Did you enjoy the process? How was it different from your typical format?

Helen:

I’d never written fiction before. It was like re-inventing the wheel. I found it very clumsy until a writing teacher at the New School, in a class I’d found called “Starting Your Novel,” suggested I switch to first person. All of a sudden I found my voice! Slightly smart ass, New York City, and vulnerable. I loved it. The dialogue came very naturally to me; it was the plot I struggled with.

Norm:

Can you tell us how you found representation for your book? Did you pitch it to an agent, or query publishers who would most likely publish this type of book? Any rejections?

Helen:

I did pitch it to many agents, all of whom said ‘very well written, but not right for us - it’s not hard-boiled enough/sexy enough/ complicated enough/ straightforward enough…’ take your pick. It was more than discouraging, But I’m in a terrific writing workshop, and two of the authors were published by Five Star, an imprint of Thomson Gale that publishes mystery novels. I queried Five Star directly, sent the book to them as an attachment to an email, and they accepted it almost immediately.

Norm:

What challenges or obstacles did you encounter while writing your book? How did you overcome these challenges?

Helen:

I’d had no idea how to write fiction; it was like learning a foreign language. I read a lot - other mysteries, writers about writing, etc. — and went to mystery conferences. Joining a writing workshop was a major step. Talk about challenges! They pulled and pushed me into writing and rewriting.

Norm:

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

Helen:

My mother. She was never without a book, nor was I. She encouraged me to write even as a little girl; my first significant piece was a fourth grade project called “My Life in the Wilderness.” It got an A.

Norm:

Many writers want to be published, but not everyone is cut out for a writer’s life. What are some signs that perhaps someone is not cut out to be a writer and should try to do something else for a living?

Helen:

Don’t give up your day job! I actually waited until I was nearly retired to write full time. Otherwise there’s so much pressure. It also helps to have a thick skin.

Norm:

What are your upcoming projects? How can readers find out more about you and your endeavors?

Helen:

I’m almost halfway through writing my next Nora Franke mystery novel, while promoting this one. Check out my website, .helenbarer.com/.

Norm:

Is there anything else you wish to add that we have not covered?

Helen:

I can’t imagine. You’ve been so thorough.