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Are you trying to get organized so you have more time to write? Here are six rules guaranteed to make you more productive and more organized when you add them to your life.

1. Work with Yourself, Not Against Yourself

When you’re trying to become more organized, it’s tempting to try and fit into the existing organizing system of an “expert.” They seem organized and they promise that if you try it, you’ll be organized, too.

What’s more effective is to understand your personality and what works for you. There are MANY solutions and you may have to experiment to find the system that best fits the way you work–your mind, your body and the way you think. And this might be a combination of ideas from many different experts.

Give something new a fair trial, but if after a month or so it feels awkward or counterintuitive, let it go and find something else!

2. Focus and Pay Attention

If you find that you always seem to be busy but that you never have anything to show for it, this could be the most important tip for you.

When possible, do one thing at a time. Don’t let your mind or hands wander to another task. Picture the finished project in your mind, and focus only on that. Get in the “zone” &ndash you’re able to be so much more effective when you’re giving your whole mind, thought and attention.

When we split our attention between different tasks (”multi-tasking”), most likely none of them will get done right, if at all. As well, you can find yourself in a perpetual state of having many “open projects” started but not completed. Each project moves forward just an inch at a time.

If you choose ONE, you can move it forward to completion much faster. To choose one, you need to estimate which project will give you the best results when it’s finished. It sometimes takes an outside perspective and feedback to help you make that choice, and a coach is a great tool for this.

Putting aside other projects clears the clutter from your mind, attention, desk, workload and focus.

3. Invest Your Time

Just like we invest our money, we have to invest our time in the best way. Setting up your new organizing systems can be considered an investment.

Applying this tip can have the greatest impact on your level of organization. By investing your time at the beginning of a project to examine how you can complete it most efficiently, you can save yourself a lot of frustration later. Saving just 20 minutes each day gives you an extra 120 hours each year.

For example, set-up a mailing station with all of the supplies you’ll need to ship out book orders. You can also set-up a schedule of weekly errands such as the bank and the post office. If you know you’ll be heading out to the post office on Wednesday, then when an order comes in on Friday you don’t need to stop what you’re doing and prepare that order immediately. You know you have a different time set aside for shipping.

4. Make a Habit of It

Once you have these plans in place, work at making them a habit. You can create a new habit (or lose a bad one!) in 21 days. For only three weeks of effort, you can create a lifetime of good working habits.

As you are creating a habit, you’ll need some kind of trigger to remind you to do it &ndash alarms on your computer (i.e. Outlook or PDA), a “to do” list or a written schedule for the day with time blocked out for your specific tasks.

Start small with one new habit at a time, and then see if you can add more (pull back if it gets to be too much).

5. Use the Right Tools

Make sure you have the right tools handy when you need them.

From the low-tech (I only use retractable pens &ndash the kind that “click” on and off &ndash because there’s no caps to lose!) to the high-tech, there are many ready-made solutions out there to keep you organized. As we mentioned in Rule #1, it’s important to find tools that work FOR YOU.

Another example &ndash did you know that if you use PayPal as your shopping cart, they’re automatically tied in with the US Post Office and you can print your shipping labels right from the PayPal site? This has been a huge time-saver for me when shipping my Organized Writer CDs.

6. Work Forward

Organize for your work ahead; don’t organize what’s already finished. We’re often tempted to organize our old bills, receipts and invoices. Sometimes we’re afraid or hesitant to move forward until we’ve finished old stuff.

It’s much more important to set-up the system and files for what’s coming at you next. Look at what has been creating the biggest stress in your life and start by improving that area going forward. Then, when you have more of your future work under control, you can deal with the old paperwork (the old bills, receipts and invoices).

As you work on bringing these six rules into your life, you’ll be amazed at how much more time and energy you have to pursue your writing and remember the number one rule &ndash only use what works for YOU!

People interested in other freelance writing careers usually look upon copy editing with disdain. Copy editing doesn’t involve attention to the actual structure of a piece, they say, and involves little research and fact-chasing necessary to create a lively, memorable article or story. However, copy editing carries its own unique challenges; such as:

1) you need to pay careful attention to the basic mechanics of writing; and

2) you need to pay attention to accuracy, both in facts and in language.

Freelance copy editing isn’t just a simpler offshoot of freelance writing in general, but an important discipline in its own right — and a rewarding one.

To become a successful copy editor you need to know how to use style guides. With some exceptions, editors of newspapers, magazines, and other print publications require you to write in a homogeneous style, both to compensate for writers with occasionally sloppy spelling and usage and to ensure consistent terminology over time. (This is important with newspapers: the names of foreign leaders, organizations, and other foreign-language nouns are often subject to variant spellings.)

The most commonly used style guides include AP (Associated Press), MLA (Modern Language Association), and Chicago. Any budding freelance copy editor would do well to own a copy of each of these, and to become familiar with their use before applying for jobs. Prospective employers will not hire copy editors who lack knowledge of style guides. Use a product like StyleEase software to help with style.

Fact checking is another prime skill for copy editors, as it is a publication’s first line of defense against accusations of libel or misrepresentation. Fact-checking is a simple procedure: call the author of the article, ask for his or her sources, and, if warranted, call the sources directly to confirm quotes or statistics. Different publications will have different procedures for fact-checking, all of which should be explained when you take a job.

Beyond that, all that it takes to become a successful copy editor is a sensitivity to cumbersome phrasing, grammar, and spelling, as well as a sensitivity to an author’s personal style. Many novice copy editors take a far too forceful approach to their work, effectively rewriting a reporter or other writer’s article for them in line with style guides and their own ideas about what makes good writing. This isn’t the function of a copy editor. Yes, clarity, grammar, and other issues with writing mechanics are all important, but a writer’s ego is important as well, and a too-free hand in the editing process can alienate a publication’s staff reporters and foster general enmity.

Since rewriting someone’s article causes you more additional work as well, why would you want to do it? Instead, just try to achieve sufficient clarity while leaving as much of the original article “as-is” as you can. If there are any substantial portions of text that inhibit clarity or exhibit serious mechanical errors, talk to the writer personally before making any changes. Yes, it’s an extra step, but one that ensures professional respect in the workplace.

If you don’t want to work for a publication, there are plenty of opportunities available for freelance copy editing, both for corporations and for private individuals. Educational publications, in particular, are always looking for good copy editors, and book publishers and literary journals always have a few spots available. You can find out about these opportunities through classified ads, or by making inquiries directly to the company. There’s typically a lot of competition in these sorts of jobs, so a solid interview technique and some excellent samples are mandatory for securing work. Once you have your foot in the door, though, corporate copy editing can provide a stable — if occasionally dull — source of income.

Copy editing projects offered by individuals are another option, and one which can bring you a more varied body of work and a much more informal attitude toward style guides and format restriction. But this option carries with it some heavy caveats. Often, copy editing projects given by individuals amount to ghostwriting without appropriate compensation, and pay rates can be sketchy as well, ranging from low to nonexistent (with a promise of “resume experience,” maybe.) Although when work is consistent, low pay isn’t necessarily a problem, individuals can rarely guarantee a sufficient volume of work to ensure your livelihood and a decent career.

Before you accept individual copy editing projects, make sure that you know how much you’ll need to make per hour to make the project financially worthwhile (as well as an estimate on how many hours the project will take), and don’t accept less than that hourly rate. You may get less work with this approach, but clients won’t rip you off either — an important consideration for professional copy editors.

Copy editing is a good, low-stress writing job, enjoyable on its own merits or as practice for other freelance writing goals down the line. You can succeed as a freelance copy editor if you familiarize yourself with style guides, and have a good grasp of grammar, spelling, and style usage.

If you know how to do something — and can do it well, almost without thinking — it makes sense that you’d want to share this information. What better way to do it than with an instruction manual. Writing an instruction manual may seem complicated and overwhelming, but it is easier than you think. The following tips will instruct you what to do and how to do it.

OUTLINE YOUR TOPIC

Before you can teach someone how to do something successfully, you need to conceptualize which aspects of the project they need to know. If your topic is complicated, such as how to play the piano, list each chapter and outline the points you need to make. If it’s simpler, such as the task of changing a tire, briefly jot down all the steps that come to mind. Don’t worry about the details or if you list the steps out of order; we will fix these things later.

START WITH THE SUPPLIES

The most logical way to start an instruction manual is to list the supplies the reader will need for the project. Be as exhaustive with this as possible; your students will thank you. If any of the supplies are expensive or difficult to find, list alternatives or stores that carry the item.

MOVE STEP BY STEP

Instead of explaining the task in long paragraphs, break your instruction manual into specific, detailed steps. Give as much direction as possible; if one step requires slightly different tasks, create sub-steps. Think of these as an outline; number or letter the steps accordingly (and logically).

DO THE PROJECT

If your instruction manual details a tangible project, then complete it using only your written guide. Don’t improvise and don’t go on your prior knowledge. If it’s difficult for you to do this (subjectivity is sometimes next to impossible to ignore), ask a friend to use your manual to complete the project. Look carefully at the finished product; did it turn out as you’d envisioned? Did you miss something important? Continue to revise and describe until your written words encompass every step in the most detailed and effective way possible.

KEEP IT SIMPLE

Writing an instruction manual is different from writing literary fiction; creative wordiness isn’t important here — it’s clarity you’re after. Use short sentences and simple words. Make sure your manual is clear and readable; if the reader can’t understand what you’re saying, they won’t be able to complete your project.

Becoming a successful freelance public relations writer requires you to write persuasively and analytically. The key to persuasive writing is the key to good writing in general: know your audience. Public relations work requires you to address various audiences, such as:

1) Your customer base. Your customers already have some idea about what your client does;

2) Potential customers. Most won’t know about your client directly, but they might be familiar with similar products, services, or programs;

3) The press. They are interested only in whether the service or product your client has to offer is worthy of mention in their publication.

When you get a public relations assignment, your job is to take in all the data related to whatever your client has to offer. Maybe your client is offering a new product line, a new community outreach program, or news about a change in ownership. Your job is to: 1) analyze that data for key points; 2) determine how the data might affect the marketplace and consumers; and 3) communicate the data in a clear, concise form.

Taking in the data is the easiest part. Your client should provide you with all the data you need, plus any contact information you might need to interview people for quotes, statistics, point-of-views, etc. You need to think about how to connect what your client is offering with the needs and desires of his audience.

Example 1:

If a high-end brokerage firm wants to distribute a press release about their response to a recent rise in gold prices, you may need to research the stock market to determine what that means to investors. If you know your target audience, then you know exactly where to look to find out their typical concerns. Typical research methods may include Internet searches, investor forum posts, guides to investment, etc.

Example 2:

If you need to generate PR aimed at a particular trade group or a segment of an industry, such as promoting a local cleaning service, then you need to brainstorm ways in which your client’s cleaning service provides cheaper or better care than his competitors.

Once you’ve done the background work, writing PR is simple. Your client should provide you with all the pertinent information about length and venue. What you need to do is communicate the details, connect it to audience’s desires, and present any information that links the audience back to the client with the use of contact information, store locations, event dates, and so on.

Since there’s an expectation that PR is persuasive, advertisement-like material, you have slightly more leeway with the writing than you might with informative, research-based material; but again, the audience comes into the balance.

If you’re writing a report on the release of a new video game aimed at a teen-centric gaming magazine, a dry style won’t be of much use to you. If you’re writing about the breakthrough of a new control chip for an overseas microprocessor, you don’t want to make too many assertions about how this will “revolutionize the industry,” or anything that a highly-trained engineering department can’t back up. In general, stick to the facts as closely as you can. Your articles should have the blend of rational restraint and promotional zeal so you communicate effectively.

Where do you get public relations jobs? Corporate PR departments are your best bet for well-paying, steady work. Some large corporations will have their own in-house staff of marketing writers, and may not be interested in taking on freelancers except at certain times. Another good choice would be local non-profit groups, political organizations, or social clubs. These rely on effective PR to grow and thrive, and you can pick up a good deal of work from just one or two groups. A drawback to non-profits or other groups is they may not have a big budget or they may not be able to pay consistently. Make sure you trust the group before you commit to full-time PR work.

Above all, be careful of doing PR for individuals. This type of PR can be among the most enjoyable assignments, depending on your interests. Individual PR projects may include promoting someone’s self-published book or writing press releases for a garage band, and so forth. The downside is individuals typically have little or no budget for PR, and they often want you to work for free, alleging that “it’ll be good for your reputation” or that “once I get successful I can pay you.” Never do PR work (or any freelance writing work) for free. It wastes your time and it won’t advance your career, except for building a portfolio of writing samples. At worst, it can lower average writing rates to the point that good freelancers go out of business. It’s not good for you, for your trade, or for your fellow writers. So don’t do it!

If you have the ability to analyze complex material quickly and convey it clearly and persuasively into words that your audience understands, then you are on your way to having a successful career as a public relations writer.

There was a time when you needed to relocate if you wanted to become a successful writer. In essence you went where the work was.

The Internet has opened a whole new world for writers. The idea of telecommuting has become a welcome component to the mechanism of freelance.

Today you can sit in a kitchen in Iowa and write for a publication based in the heart of New York. You can write for a firm in Australia from the comfort of your home office in Ontario. You can also write for clients from any point on the globe while wearing your sweats.

There is still a need for local writers to cover local events, but freelancers tap into the human experience and pass that information along in a way that can defy time zones.

The truth is there is a growing acceptance of freelance writers for both print and cyber content. I suppose one of the primary reasons has to do with the cost-effective nature of relying on freelance writing. As publishing businesses have worked to streamline operations they have come to rely more on freelancers who can provide copy on an ‘as needed’ basis. For the freelancer this provides a sense of personal freedom and income. The benefit for the publisher is in not paying a full time writer when their may not be enough work to warrant their employment.

More Reasons to Hire a Freelance Writer

1) You don’t have to pay freelancers overtime.

2) You don’t have to pay freelancers sick leave.

3) You don’t have to provide benefits to freelancers.

4) You can pay a freelance writer well and still pay less than a full-time counterpart.

5) Most freelancers are eager to please and will likely provide their best work. If they don’t, you have the satisfaction of knowing there are many other freelancers available.

Reasons to Become a Freelance Writer

1) You set your own hours.

2) You can always refuse to work with a hard to please client.

3) You can work as much or little as you want.

4) A happy client not only returns, but they often bring referrals.

5) If you need time off, you only need to ask yourself.

The possibilities for a freelance writer seem to expand each day. The need for content from writers is huge and even the start of a part-time freelance business may provide a better income than you could have imagined. There’s no doubt that it’s hard work, but it’s also doing something you already love to do.

You know? When you publish a book and send it out into the world, it’s like giving birth to a baby. Everyone checks out your baby. Is it breath-taking? Does it have ten toes and ten fingers? Is it pink and sweet or does it look like an extra from “Alien?” We writers are baring our souls, our deepest thoughts, and our feelings lay open like a cavernous wound. We can’t hide anymore. They know us inside and out. Now they see our baby, and they get to pick it to pieces, bit by bit, until the only thing left is a fuzzy blanket.

Oh, hell, we know that and go right on writing, don’t we? It’s in our DNA. We can’t help ourselves, we’re masochists.

When I started this whole book-writing process, I had full intentions of finding an agent and/or a traditional publisher; they’d do all the work while I sat back and listened to “Ca-ching, Ca-ching.” However my journey to that end has been long and stress-filled and I ended up doing just the opposite…I’d kept a daily journal while living in Thailand in the 90s. When I returned to the States, I copied my journal onto a floppy and had it printed, spiral-bound, and mailed it out to friends and family so they could read about all my trials and tribs while abroad. One of the friends who read it insisted that I make a book out of it.

“You know,” she said, “like the book ‘A Year in Provence.’” I immediately ran out and bought the book and was amazed at the problems that the author had endured in a short year. I just knew that if his book sold, then mine would also, however, life got in the way of living and I put it aside.

I joined some creative writing classes a few years later, and with encouragement from my peers I began the long road of putting the journal into book form. In 2003, when I finally thought I’d finished it, I entered it into the Southern California Writers Conference in San Diego. While there, I read chapters from my story in the Read and Critique groups and the attendees laughed in all the right places and even clapped, (I’d hoped it wasn’t because they were happy I’d finished). At the end of the conference I was notified that I’d won the Best Nonfiction award for my story and an agent asked for my manuscript. Wow! That just doesn’t happen unless they love it! I knew I was ready for the Pulitzer.

Then I began to panic. What if it isn’t perfect? I had talked to a “book doctor” at the conference who advised me that my story “…needed some conflict. Who really cares about a housewife who’s having a good time in Thailand? Give them a reason to turn the page.” Okay, that’s what I’ll do. There certainly was plenty of conflict in my life in Thailand, but I’d left it out; it was painful to relive and I wanted it to be a humorous book. I emailed the agent and told her I wasn’t ready. Take your time, she’d said. It’s not time sensitive.

So began the journey of “weaving” the conflict into my story. It was the hardest thing I’d ever done. It was three years before I felt it was good enough to be a real book. But, those three years were not only spent rewriting. I took online writing classes and signed up at the local college for creative writing classes, I attended a critique group every week, putting my chapters up to their scrutiny as they tore it apart and helped put it back together. The rest of the time I was editing my life away. But as Stephen King says in his book On Writing: edit, edit and edit. And when you think it’s perfect, edit some more. My husband had a name for my constant editing: “Paralysis by analysis.”

When I felt I had everything in place, I looked for professional editing. I first paid the book doctor $500 to tell me that it needed help. He didn’t give me any, just told me it needed it. I found a line-editor in Canada, who did a great job, and then I hired a freelance editor; total for both $600; quite inexpensive in today’s editing market.

During those three years, I also did a lot of reading on the publishing world; agents, print-on-demand (PODs) and off-set printing companies. I attended conferences specifically on “How to get published.” The more I heard and read, the more I thought: From all the conferences I’d attended, the agent panels were the most disillusioning. I learned that agents don’t want you if you’ve not been published, and publishers don’t want you if you’ve not been published, or don’t have an agent, who doesn’t want you either. Who needs ‘em?

Publishers don’t want you if you don’t have a “platform!” A what? To my dismay I learned that I needed to have my own buying public. There was no publisher that was going to run out and sell my book for me, pay for my cross-country book signings and hotel rooms, unless of course I was a King or a Grisham or a Joyce Carol Oates. Then of course, there’s the eighteen month wait for the book to appear on the shelves after the publisher accepts it (if the publisher doesn’t decide to pull the plug at the last minute), and don’t forget the two years that it takes the agent to shop around for a publisher who might decide to pull the plug at the last minute. Who has that long? I don’t even buy green bananas anymore.

Wow! I remember my table mates and I frowning as we listened to the dire answers of this panel of agents and publishers. So how do we get published? Well, we have two options so it seemed: 1) have an agent living next door who loves your home cooked brownies or has a crush on your husband, or 2) know a publisher whose kid mows your lawn or has a crush on you. Not living in New York was going to be a definite drawback. Should I move? Okay, how about a POD? I was fortunate to have a friend who is a small press publisher of railroad books. He offered to put my manuscript into a Quark Express PDF file (which is the format printers prefer). He did an incredible job putting it together for me. He felt that if I had the print setup taken care of, I could approach a POD and save some money.

I signed up for the POD classes at the conferences I attended, where they explained everything I needed to know about their business ─ except how they kept most of the author’s money while they got big and rich and the author got $3.09 per book. Okay, well, $3.09 a book is not that bad. Maybe I could make it. But, wait, I had to pay them to print my book, and then pay them to buy my book back from them; too many “thems” going on here. Something didn’t compute. Maybe I should chuck the book and go into the POD business.

Well, I succumbed. I bought a book called The Fine Print of Self Publishing by Mark Levine, an attorney, then sat down to do some homework. After going over all the PODs he listed with a fine-tooth calculator, I realized that I could pay as much as $30,000 to one such POD group, but hey, my books would be free. How generous of them. Or, I could choose a POD group charging as low as $299, but I’d still have to buy my own books back at about $8.00 each.

I finally settled on a firm I’ll call “Dewey Cheatem & Howe” (name changed to protect the guilty), and thought I’d finally get on with this damn book printing. They sent me a sample of their work that was done beautifully. I signed on the dotted line, waited three more weeks and then my author’s copy was delivered. And there it sat. On my desk. Opened to the first page, which I couldn’t read. I started bawling. Where is my baby? The font was so garbled that it was illegible. There was a space after every capital letter and the other letters were so piled on each other you couldn’t make out the words.

When I’d used all the Kleenex in my desk drawer, I called them. Of course, no one was on the other end, save for the automated voice of their mailboxes. But at least I got rid of my postpartum anger. I cried and said very imperiously, “HOLD THE PRESSES! I will not accept this book. I will call Visa (of course they already had my money) and stop payment and …” I felt like an inner tube impaled on a sharp rock. Then I called my friend, the publisher. “Of course you can do this on your own. You have the file, just find a good printing company.”

I inquired around and found out that I could get my book printed overseas at half the cost of stateside. I began to get phone numbers and surfed websites. There were some good deals to be made overseas; however, the problem was I needed a broker. So after the broker took his cut, and the shipping charges were added, a stateside printer looked better. Plus, the thought of having a problem and not being able to connect at once with your printer was worrisome.

I searched the Internet and found many websites where you could input the details of your book, number of pages, size of book, print run, etc., and within a week I got a bid from ten printing companies. After picking one printer (not the cheapest), I felt we had a fit. I spoke to the owner, who offered to throw in a hundred free books, which might have had something to do with my decision. He checked out my website while we were speaking, loved the site and the look of my book and of course, he had me. He also offered storage and order fulfillment. Now, all I had to do was put our house on the market and clear out our 401K.

I know what you’re thinking. Sure, maybe she has it, but not everyone can come up with that much money. Yes, you can if you want to. We took an equity line on our home and as the money comes rolling in, I’ll be making payments on the equity line. We authors must be optimists. Really! If you don’t believe in your book, who will?

I ran off my own bookmarks and saved a few hundred dollars. I used the cover of the book, wrote a short synopsis on the back, and had 500 printed. I have handed out those bookmarks on airplanes and in airports; Seattle, Palm Desert, San Diego, Portugal, New York, Australia, New England… well maybe not personally, but I’ve given them to people who live in those places and they were happy to have them and said they’d pass them on. I’ve handed them out in restaurants to women sitting around me; two of them bought my book right on the spot. My friends call me “A self-promoting slut.”

I have to leave you now, as that’s where I am in this wonderful world of the written word, where the writing was easy… now comes the hard part ─ marketing!

Many of the best stories in fiction have both an antagonist and a protagonist.

The protagonist is the main character or hero that we cheer on and hope conquers all.

The antagonist is the story’s villain. The best bad guys are the ones we love to hate. We don’t need to know why they are bad, we don’t need a play by play of the choices they made early in life, we simply recognize they are bad and we don’t want them to win.

A story can operate without an antagonist; however the use of an antagonist is the best way to demonstrate conflict within a storyline.

Conflict in a well executed work of fiction provides the friction that keep readers tuned in. In most cases the antagonist reigns supreme through the majority of storyline. The reader wants the forces of good to triumph, yet the villain remains in charge of the bulk of events that thread through your tale.

This combination of good versus evil creates suspense and causes your reader to wonder how exactly the protagonist will gain an advantage.

One of the primary benefits fictional conflict is the reader is often forced to consider how they might respond against such odds and in similar circumstances. In a best case scenario the story assists the reader in learning more about themselves.

Conflict can also be used to disrupt a normally predictable plot. By presenting conflict that is, in many ways, worse than the previous conflict you can instill a greater desire for evil to be defeated while keeping the reader guessing where the story may be headed next.

Ultimately the story must provide resolution. For the fiction writer of faith this resolution process often provides the simple message that good will triumph over evil although other threads of faith will likely work their way through your text &ndash sometimes without you being consciously aware of their presence.

If you allow the antagonist to loose the struggle too early in your story it becomes anti-climactic and the fire in the story is reduced to an ember that may leave your audience cold.

The use of a villain (may not be a human, could be an animal, ideal, political agenda, etc.) goes a long way in conveying a story with elements that emotionally involve your reader.

When an author decides to write fiction one the primary methods of storytelling is through a first person perspective. For many writers this is the most comfortable manner of storytelling.

In a first person narrative the reader is allowed to relate to the story one dimensionally. The story is presented to the reader from the viewpoint of a character in the story. The narrator might be the main character attempting to relate their own story. The story might also be told from the perspective of a bystander who may not be overtly involved in the storyline.

In the movie, “Charlie and the Chocolate Factory”, the story is narrated by a deeper male voice. It is only at the end that we discover the story was related by one of Willie Wonka’s Oompa Loompas. This is an example of first person storytelling.

This type of story telling is well used in cinema. Many early filmmakers used first person narrative to present their stories. The reason this type of format was used is primarily due to early filmmaking technology that required some help in the transition between scenes. Narration provided that transition. Film noir and other detective dramas relied heavily on first personal narratives to further their storylines.

Today’s authors are more adept at relating a story from other perspectives such as second or third person which will be dealt with in other articles.

A first person narrative allows you to understand the specific character of the narrator. You are likely to find yourself identifying with the storyteller in a variety of ways. You will either love or despise their mannerisms, but it is their character that provides the strongest connection to the storytelling process.

Because your narrator is finite they will never have all the details of the story they are unfolding for you. Sometimes this creates a unique perspective because the story can sometimes become more about the narrator (at least for awhile) then about the actual storyline. This can occasionally provide a comedic touch to the novel or at the very least some rabbit trails to follow just for the fun of it.

Interestingly some first person narratives are actually related from the perspective of a consortium. The premise is that a group of individuals are relating the story. This is identified by the use of ‘we’ or ‘us’ as part of the narration.

Many writers aspire to write books. Writing a book is a long, involved, difficult process. Book publishing is harder. A writer may submit his book repeatedly only to be turned down. The writer may eventually succeed. Wouldn’t it have been easier to get published the first time? Is that possible?

You can improve your chances of a publisher accepting your book manuscript if you understand more about what happens at the publisher’s desk. Book publishers are busy people with several projects bombarding their desks every day. They must decide quickly about what will sell. They must also delegate their time efficiently to keep the business running. Only occasionally do publishers actually seek out work. Let’s look at a typical work day of a publisher to help you understand book acceptance and book publishing.

PERSIST AND PERSEVERE

Writers must be persistent. Regardless of how many times a publisher rejects your book manuscript and throws your ideas in the trash, you have to keep going back for more discouragement. Eventually you’ll make it in the door. If you can get all the way through, you will finally get to a place where publishers accept more of your work. When working with a book publisher, the rule is the same. If you have a book that you know will sell, you must persevere to get the publisher’s attention. Most likely, you will be sending excerpts of your book, not the entire book, to a publisher. As you continually send your manuscript or book excerpts to publisher after publisher, you should try to market it in different ways. Publishers seek a particular kind of writing; they will dismiss anything that doesn’t meet their criteria and high standards. Variation in your marketing techniques may turn a rejected book into an accepted book.

WHAT DO BOOK PUBLISHERS WANT?

Book publishing is a strange business. People’s tastes are somewhat fickle. A book publisher has to keep up with what kinds of books will sell. It seems mysteries will always have a place on the bookshelves. Crichton and Grisham may tie up the book market until they are finished. That is just one example from one genre of books. Publishers have to keep track of what is selling in all areas of literature. The best way for you to get your work noticed is to make it look similar to what is already selling in the marketplace. Be careful not to imitate style or voice of another author. Write with your own unique words while imitating the use of popular public opinion. Another way to improve your chances of getting published is to find out who’s publishing what.

ARE YOU MARKETING TO THE RIGHT PUBLISHER?

Some publishers specialize in a certain kind of writing. If you are writing a novel, you’ll look stupid (and get rejected) if you send it to publishers who publish technical manuals. How do you find out who is the most likely candidate to publish your work? There are reference manuals, such as Writer’s Market, at your library that will tell you who’s publishing what and what publishers are seeking. It will contain valuable information leading you to children’s book publishers, novel publishers, and textbook publishers. If the handbook at your library is not up to date, your next option is to check out the new releases and best sellers rack at the bookstore. Buy a few books and read them. You’ll have a much better feel for the book market as a consumer first, and book writer second.

Book publishing is difficult to break into. It can be helpful to approach the issue from the direction of the publisher. Before you submit your manuscript again, improve your chances of acceptance by following these tips:

1) Change your marketing style so that you grab attention;

2) Make sure you are a book consumer yourself. You’ll get a better feel for what’s selling and what a publisher will buy. You’ll also find out who is publishing which types of books.

3) Finally, by buying the product you are trying to sell, you will improve the book economy all together. Publishers need to see people buying books before they can commit to publishing more.

Many authors begin their careers with the single goal of getting their book published by a reputable publisher. Book publishing is difficult to accomplish. It takes many months of work and extensive preparation. Writing a book involves intricately woven ideas. A book is a project, and it may contain many other projects that involve research, development, and marketing. Most authors are disillusioned about the intensive process of creating a full, coherent book. Writing a book and finding a publisher is like nothing you have ever done before. It will take extensive and intensive work and development. It will also probably include much of everything you know, and more.

As more and more old-growth trees are cut down, and we face the reality of having to wait close to 100 years or more to replace them, the need to recycle paper becomes increasingly important.

Paper, of course, includes books and magazines. Although paper products are nearly 100% biodegradable, it is pointless to send these resources to the dump to rot in the landfill when we can recycle and reuse them.

More than any other material we hope to recycle, books and magazines represent knowledge. We find wisdom in the pages of old books, and learn about culture in the pages of old magazines. Because of these factors, the best thing to do with old books and magazines is pass them on.

Your local library or college library will accept donations of old books, and sometimes magazines in good shape. This allows other people to benefit from the publication as well. Once you have enjoyed your book, donate it to a library rather than letting it sit on a shelf to collect dust.

The second choice, for both books and magazines, is to sell them to a used bookstore, at a garage sale, flea market, or on eBay. Other people may be looking for the exact book or magazine you have; passing it on is a win-win scenario for you and the new owner.

If you wish to reuse publications in a creative way, magazines make good colorful craft supplies for children and adults. You can cut out parts of pictures to make collages by pasting the picture pieces to a cardboard backing; or make hanging mobiles by cutting out shapes, stringing pieces of thread through holes at the top, and attaching the strings to a clothes hanger.

You can also cut out whole pictures to construct a dream board or a vision board, which helps you to think about and visualize the goals and dreams you want to achieve; for instance, a Hawaiian vacation, a certain type of job, or a new sports car.

As for traditional recycling, some areas will let you place books or magazines in your blue bin for pickup as well. Many publishers print magazines on glossy paper. It is more expensive to recycle glossy paper because the demand is low for this type of paper. This will change in the future as the need to recycle paper becomes more important.

The biggest challenge with recycling books and magazines is separating the paper from the adhesives or staples used to bind the pages. Forward-thinking recycling companies have a way to remove the waste from the bindings magnetically; in the future we should begin to see growing opportunities to recycle all kinds of paper products.

Next time you’re thinking about throwing away some books or magazines, think first about how you can pass them along for others to enjoy. If that doesn’t work for you, try to reuse them creatively. If you still can’t find a use for them, look for places to take them where they can be recycled into new paper products, so we can save more trees.