Uk Talent Agencies

Sometimes individuals will have to select between filing bankruptcy or allowing their mortgage lender to foreclose their house. If monthly home loan payments are not received as agreed, the lender will eventually file for a foreclosure on the home. Nothing shy of paying the mortgage on schedule is assured obstruct the foreclosure proceedings. It is essentially the same for everybody who has not been able to pay his or her house loan; the bank will likely boot your family out onto the street and sell it to recoup their loses. Mortgage loans are very much like automobile loans; if you can not pay your payments you will get it repossessed.

Bankruptcy is a legal act that is filed by somebody who is unable to pay his debt as agreed. If the debtor is in the process of bankruptcy then all civil proceedings associated with the mortgage are halted. Consequently, a home loan bank must stop all collection actions including, but not limited to, foreclosure. However, a lender can apply for relief from the required stay period, and once it is allowed, can go ahead with the previously mentioned action. Bankruptcy will not halt foreclosure and you must still pay back your mortgage. Going into bankruptcy simply makes the foreclosure proceedings continue slower, it does not resolve the root problem.

Even though bankruptcy can not permanently stop a foreclosure, it might give a person more time to pay back the past due or at a minimum it will make it little more accessible to repay the home loan. Bankruptcy law necessitates that a mortgage to suspend a foreclosure action, a home owner has a short time to produce the cash to pay the lender. Insolvency is a final fall back for all home owners. This will eventually happen when he is completely unable to pay their creditors’ commitments. With insolvency, some debts will likely be discharged but the loan on the property will not. The home loan borrower must be prepared to repay the home loan inside the required time frame as the debt is guaranteed by an asset. In addition, Chapter thirteen insolvency has a schedule of fees that is court ordered, that permits the home owner make payments on their real estate loan to get caught up on their mortgage payments.

Before the home owner successfully files for bankruptcy, they must meet the conditions. If they do qualify, there will be legal fees to pay. It may cost you more in legal fees than it does to just bootstrap it and keep making mortgage payments. If you are of the mind that filing for insolvency can help to solve the situation, a bankruptcy attorney will probably be capable of answering any questions you have. Simply put, insolvency is extremely complicated and detailed, consumer ought not try to do it by themselves.

This article contains basic information that may or may not be relevant in any or all states. This is not legal advice. We have not made any representation that this article constitutes legal advice.

From our deconstruction of hundreds of Hollywood blockbusters….

The Hero’s Journey is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. In fact, ALL of the Hollywood movies we have deconstructed are based on this template.

Understanding this template is a priority for story or screenwriters.

The Hero’s Journey:

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

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

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

and more…

Sample Movie Deconstructed: Dirty Harry (1971)

FADE IN: Context: the plaque commemorating the officers of the San Francisco PD who died in the line of duty; the San Francisco police badge.

Antagonism: the girl is shot.

Meeting the Hero: Harry Callahan walks in.

Hero’s Capabilities: Harry immediately sees where the girl was shot from and goes to inspect that building.

Hero’s Ordinary World: Harry walks around the building and we see San Francisco.

Hero’s Capabilities: Harry finds the shell casing and the note.

Call to Adventure : reading the note.

Meeting the Interdictor: the Mayor.

Interdictor’s Attitude: “we pay the Police Department to commit crimes…”

Hero’s Attitude: “for the last three quarters of an hour I’ve been sitting on my ass…”

Meeting the Mentor : Lieutenant Bressler; “this is the Mayor you’re talking too…”

Antagonist’s Back Story: the investigation.

Refusal : “why don’t you let me meet with the sonofabitch…”"we’ll do it this way…”

Interdiction: “…Callahan I don’t want any more incidents like…”

Developing the Hero’s Attitude: “when a naked adult male with a butcher’s knife and a hard-on…”

Developing the Hero’s Capabilities: Harry spots the 2-11 at the bank.

Forced to break the Interdiction: the gunshot.

Developing the Hero’s Capabilities: Harry shoots the bank robbers.

Loop and Catchphrase: “well do ya punk…” “…I gots to know….”; Harry shoots the empty gun.

Developing the Hero: with the Doctor.

Journey to the First Threshold: on the police helicopter.

Threshold Guardians: the San Francisco Police Dept is guarded on the rooftop.

Developing the Hero and Mentor relationship: “when are you gonna get a haircut…”

Hero’s Status: high; the officer seeks his attention.

Meeting Allies: introduced to Chico.

Warning of the Journey: “..all my partners are dead…”

Ally’s Backstory: “”yes, I went to San Jose State…”

Warning of the Journey: “…don’t let that college degree get you killed…”

Meeting Allies: “..hey fatso…”

Developing the Hero [through the eyes of others]: “…Harry hates everybody…”

Meeting and Developing the Antagonist: the helicopter spots Scorpio.

Developing the Hero and Ally Relationship: Harry and Chico in the car.

Strange and Magical Creatures: the red light district etc…

Pulled Into Trial 1: “…there, I see the tan leather case…”

Obstacles: “get out of the way hammerhead…”

Pulled In: “there he is…”

Gateway: running through the dark, endless, unknowing, claustrophobic, tunnel…

Trial 1: “…damn peepers…”

Hero’s True Nature: “let them go…”

Developing Hero and Ally Relationship: “..is that why they call you Dirty Harry…”

Pulled to Trial 2: the police radio.

Journey to Trial 2: Harry and Chico drive to the suicide.

Trial 2: Harry brings the suicide down.

Developing Hero and Ally Relationship: “..now you know why they call me Dirty Harry…every Dirty Job that comes along…”

Pulled to the Inner Cave: the police radio.

Inner Cave: Harry and Chico find the dead boy.

Hero’s True Nature: “…you better check on the mother…”

Inner Cave: “…shell casings…he was up here alright…”

Celebrating the Crossing of the First Threshold: “welcome to homicide…”

Meeting the Oracle and Learning of the World of the Transformation: in the Chief’s office; setting up the surveillance.

Resistance to the Transformation: “…it seems unlikely he’d come back to the same roof…”

Overcoming Resistance: “..there is a priest and a Negro…”

Preparing for the Transformation: Harry is in position.

Developing Hero and Ally Relationship: “..yes I know…welcome to homicide..”

Foreshadow of Sexual Reward: the naked lady and guests.

Pulled toward the Transfromation: the open door.

Trial 1 : the rooftop shootout.

Down the stairs and in pursuit.

Dead body: …”he never knew what hit him…”

Warning: the door into the police HQ.

Developing the Antagonist: he’ kidnapped a girl.

Transforming to New Self: “…so that’s why they call him Dirty Harry…”

Meeting the Oracle and Learning of the World of the Sword: Scorpio has kidnapped a girl; Harry gets to be the bag man and Chico gets the night off.

Magical Gift from the Mentor: Harry and Chico get the radio mikes.

Magical Gift from the Mentor: Harry gets the $200k.

Guidance from the Mentor: “..just play straight down the line…”

Foreshadow of Trial 3: Harry tapes a blade to his ankle.

Separation: Chico in the car.

Pulled In: the phone rings.

Trial 2:

The phone call.

Rules, Punishments and Rewards: “…I bounce you all over town…”

Elixir: “…is the girl alright?”

Time Pressure: “…you don’t answer by the fourth ring…”

Loss of Control: “…you listen…”

Running to the first phone.

Harry gets on the train.

Ally’s Journey: Chico following in the car.

Hero’s Journey: Harry riding the train.

Ally’s Journey: Chico waits.

Time Pressure: the phone rings.

Harry reached the phone.

Arduous: “…a nice long run…”

Ally’s Journey: Chico in the car.

Guardians: attacked in the tunnel.

Obstacle: the old man.

Harry picks up phone 3.

Pushed to Trial 3: “…go to the cross…”

Ally’s Journey: “…go to the Cross…”

World of Trial 3: entering the park.

Convergence: Harry telling Chico where he’s going.

Ally’s Journey: Chico follows.

New Creatures: Harry meets Alice.

Trial 3:

Hero and Antagonist Battle: Scorpio beats up on Harry.

Develop the Antagonist: “…I’m going to kill the girl anyway…”

Rescue from Without: Chico arrives.

Time Pressure: “…goodbye Callahan…”

Ally’s Death: Chico injured.

Foreshadow of the Sword: Harry sticks in the knife.

Magic Flight: Scorpio escapes.

Developing Characters and Relationships: Harry with the Lieutenant.

Pushed Back: Chico alive; Harry is going home.

Pulled In: the hospital calls; they treated a knife wound.

Time Pressure: “…she’s only got an hour to live…”

Meeting the Oracle and Learning of the Sword: “…I know who he is…he used to sell programs at the stadium…he lives at the stadium…”

Journey to the Sword: driving to the stadium.

Unfit Heroes Retire: Fatso can’t climb the fence.

Crossing into the World f the Sword: Harry goes over.

Antagonist’s World: Scorpio watches.

World of the Sword: Harry looks around the stadium.

Inner Cave: inside Scorpio’s den.

Threshold Guardian: Scorpio runs from Harry; Scorpio resists…”…I have rights…”

Seizing the Sword: the stadium lights come on; Harry shoots and tortures Scorpio to get the girl’s location.

Rebirth through Death: the girl is dead.

Reward: seeing the District Attorney; Scorpio is free.

Warning: “…he’ll kill again…”

Atonement with the Father: Harry follows Scorpio around.

Apotheosis: Scorpio gets himself beaten up; he’s insane.

Ultimate Boon: Scorpio sues the San Francisco Police Department; interviewed by reporters.

Harry is reprimanded by the Chief; Scorpio has the law on his side.

Refusal : Harry visits Chico; Chico’s not coming back.

Hero’s Backstory: Harry’s wife is dead; Harry talks to Chico’s wife.

Magic Flight: “…Chico’s right, this is no life for you two…”

Developing the Antagonist: Scorpio robs the old shopkeeper.

Rescue from Without: Scorpio kidnaps the children in the school bus.

Crossing the Return Threshold : Callahan enters the Mayor’s building.

Interdiction: “..I gave my word he would not be molested…”"…well you can get yourself another delivery boy…”

Developing the Antagonist: crossing the bridge in the bus; Scorpio hits the kids.

Countering the Interdiction: Harry is waiting on the bridge.

Journey to the Final Conflict Harry jumps onto the bus; rides it until it crashes into the mine.

Harry pursues Scorpio.

Sacrifice: Scorpio grabs the kid.

Master of the Two Worlds: Harry shoots Scorpio.

Loop and Catchphrase: Scorpio is not that lucky.

Freedom to Live: Harry throws away his badge.

Learn more…

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

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

Kal Bishop, MBA

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

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

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

Do you LOVE to write? Are you so zeroed in on your writing that you are oblivious to distractions? In fact, distractions do not exist during this “Twilight Zone” period of timeyou keep on writing. When you are in “The Writing Zone” you ignore hunger pangs, ringing phones, yelling kids, bathroom breaks, etc. You lose all track of time: An hour seems like five minutes. Is that you?

When writers are in this state they LOVE what they are doing and are usually highly
skilled at it. The sheer pleasure of writing is what motivates the writer. Wouldn’t
you like to be in The Writing Zone so that you can write your great book effortlessly?
There are many ways to enter The Writing Zone.

• Be calm and stay focused on your writing. Once focus locks in, it takes on a
  force of its own. You are in your own private writing area where there are no
  distractions.

• You can enter the Zone when you are highly skilled at the task at hand. A good
  example is an athlete. The more an athlete practices the better he becomes.

• You can concentrate best when the demands of your writing are greater than
  usual, such as a publisher’s deadline.

• The Writing Flow is devoid of emotional feelings except for a highly motivated
  feeling of mild ecstasy. You are elated at what you are writing. You cannot stop.

The joy of the flow. When you are in this state you love what you are
doing. You are pushing the limits of your ability to sustain the flow. You stop
everything else you are doing at the time to fully concentrate on your activity. It is
at this time you may get angry with someone who interrupts you and breaks the
flow.

How to get the flow. We all want to achieve our goals experiencing the
“joy of the writing flow.” We will get through the goal much faster. Here are 10
ideas on how to get The Writing Flow:

1. First, you must want to write above all else.

2. You are totally immersed in it and no other thoughts enter your mind.

3. You master your craftgreat authors spend hours at a time learning their craft.

4. Practice. Practice. Practice. Keep a journal of what you write and the time you
   write. You may be surprised to discover that you do not put as many hours a week
   into your writing as you thought.

5. You become extremely competent at what you do.

6. Internally you feel you are engaged in a task that is RIGHT!

7. The key is to learn to overcome “noise” and interference, whether internal or
   external.

8. Develop a routine to your writing. Have your desk set up exactly as you want it
   to
   accomplish your task. If that includes a cup of coffee by all means have that cup of
   coffee ready before you start. If you must write with a yellow pad as opposed to a
   white one or a computer, then have plenty of yellow pads available.

9. Stay with the Moment. Focus on the task at hand, PERIOD. Do not let your
   thoughts
   drift to the future or “you go right out of your zone”and take your concentration
   with you.

10. You can take a short break to “get the creative juices flowing again.” Take deep
    breaths. Stay calm. Enjoy the moment. Relax your muscles. Do not start a
    conversation with anyone unless it is about your writing.

You have experienced “being in the Zone” in your life many times. You may not
have realized at the time what was happening. Being in The Writing Zone is as good
as it gets. It is for all of us to experience and enjoy.

- – -

This article may be published in its entirety as long as the author’s name and Web
site address are included.

Are you stuck with a specific goal or writing project that is important to you?
Contact Joan Clout-Kruse, the Book Writers’ Coach at
CoachJoan@powerhousewriting.com to get you back on track. Finish writing your
book in 90-Days is available for the serious-minded, committed writer.

Joan is the author of “The Top 10 Traits of Silicon Valley Dynamos,” and the e-books
“How To Write Your Book In 90 Days or Less,” and “The ABCs of Success.” Contact
Joan at 650 759-2042 or check out her Web site at http://powerhousewriting.com
to get your book done once and for all in 90 days.

Style manuals are all well and good, and in fact, highly desirable for newspapers. The average reading level of newspaper readers is the sixth grade. Over the years it became imperative that newspaper writing be simple, consistent, and use basic punctuation, even when that violated some elementary rules. The end result has been that borderline idiots may now understand today’s papers.

I feel that these manuals should not be taken as carved in stone for fiction writers. Imagine, if you will, someone dictating to Picasso, Dali, or the French impressionists which colors of paint they may use, which strokes, which perspective, etc. Unthinkable, yet there are many people who insist that fiction writers must abide by the (sometimes) arbitrary grammar and style rules in the popular style manuals.

There are certain rudimentary dictates we must all follow, otherwise our writing would be chaotic. However, fiction writers should, more than any other writers, be allowed enough freedom of expression to create a style that is special to them. In other words, a style that is peculiar (in the correct meaning of that word.) In the editing process of my book, TALES FROM THE WRECKTORY, I had an incident with the editor (He won, I lost.) over the use of the word, “tenebraephobic.” (Tenebrae is the service used during Christian Holy Week, and the Latin word, “tenebrae” means shadows, hence darkness.) I wanted to use it to convey a particular kind of fear of the dark. Now, there is more than one word for this condition: nyctophobia and lygophobia, to name two. The individual I was writing about was afraid to be alone in an old, multistory, rambling house in the dead of night. I ask you, which word conveys the impression I wanted to create: one of the two clinical names I mention, or the one which speaks of fear of shadows?

The editor objected to my “tenebraephobic” because he said there was no such word, that I had made it up, and, of course, he was right. There wasn’t and I had. Damn it all, if a fiction writer is not allowed to coin a word, who is? Political speech writers? Computer nerds? Or, as we see happen every day, the intelligentsia who, through ignorance or sloppiness, take a perfectly good word or phrase, misuse it, and give it a whole new meaning. Others follow the bad example and it suddenly jumps up the ranks in today’s parlance. “Impact” is a perfect example of that.

The same editor then pointed out that most people would not know the meaning of the word, “tenebrae.” My answer to that was: “Then, let them look it up. If they want simple words that won’t strain their poor brains, they should stick to newspapers (or television) for their entertainment. Fiction should do more than entertain; it should also broaden the mind.”

Another editor (I quickly changed this one) tried to correct my grammar and spelling in dialogues. Now, to me, dialogue is sacrosanct. Apart from obvious typos, no one fools around with it. Words in dialogue are, after all, not my words, not the editor’s words. They belong to the character speaking. You wouldn’t say, “Just between you and I” but one of your characters certainly would. You’d die rather than say, “Me and my friend did…” Would one of your characters? You betcha.

Years ago, I was responsible for training several would-be writers for an international corporation. It was hoped that what they wrote would convince those who read it to buy our products and services. These young writers soon became sick of hearing me say, “We don’t write the way we speak, any more than we speak the way we write. Writing is a visual medium; speaking is an audible medium.” I convinced them (I think) to throw away the style manuals (or at least leave them on the shelf most of the time), and concentrate on what was important: getting a message across, a message that was brief, succinct, and easy to read.

When it comes to the final showdown, who wins, editors or you, the writer? That’s an easy one. Editors. Certainly you have the right to take your work elsewhere. My rule on this is quite simple. If I have any doubt whatsoever of the suitability of what I wrote, I don’t mind giving in, especially to an editor who is usually cooperative. Such an editor deserves my cooperation. On the other hand, if I believe I could not go on living with myself by abandoning my precious words, I’ll insist it stay as written and accept the consequences. Quod scripsi, scripsi.

The test of fiction writing is not whether it conforms to any style manual, but whether or not it works for you, the writer. Unless your words move you to laugh or cry (preferably both), it isn’t likely to affect anyone else. How do you make your words work? The formula is simple, although not easy. You must make your words flow as though they were about to run off the page. The nonfiction writer must be careful that all facts are correct, make sure the writing conforms to the publication for which it is written, and for the intended audience. You, as a fiction writer must do the very same, but only as a starting point. You must go on become a poet, a word-painter, a strummer on people’s emotions. The person who originally said one picture is worth a thousand words had it all backwards. A thousand words can conjure up as many pictures, as many emotions as there are people who read them.

As a writer of fiction, you need only keep one eye on your style, and only an occasional eye on the rules set down, but you must at all times keep both eyes wide open and directed towards that which you hope to pursue, and by that I mean pursue that noblest of trades: the writer who leads others to far-off lands in this world and in other worlds; the trade of Dickens or Tolstoy; of Bradbury or Poe, of Cartland or Hemingway; and above all, the trade of ________(please insert your name here.)

copyright 2003 Joseph E. Wright

Conditions of use: Editor: The following article is offered for free use in your ezine, print publication, or on your web site, as long as the content is not altered, and the copyright and author credit box at the end are also included. Notification of use would be appreciated.

Joseph E. Wright is the author of Tales from the Wrecktory (http://www.metropolisink.com}, The Bodies Out Back and The Remigrants (both published by http://www.booksunbound.com). His writing has appeared in Ellery Queen Mystery Magazine.

About The Author

Joseph E. Wright was born and wemt to school in New England and later moved to Philadelphia. He considers Philly his home town. Joe grew up addicted to the British cozies of Christie and Sayres and the American counterparts of Queen and Stout. He was a fan of the film noir of Hammett and Chandler.

His first published novel, Memorandum of a Murder (Manor Books) confirmed his determination to become a writer. A short story of his appeared in Ellery Queen Mystery Magazine.

While writing, Joe had to make a living, which he did in many ways. One period of his life, he lived in a dark, rambling, nineteenth century rectory in downtown Philadelphia. It inspired his Tales from the Wrecktory (MetropolisInk) which appeared last year.

Somewhat different from the whodunit style of novel, Joe’s The Remigrants, the story of those who return from the dead, is currently in the editorial stage. The Bodies Out Back is the first in a completed trilogy starring Pat Montgomary and Phillis Toner. The next two, The Maris Cove Murders and Aisle of the Dead should be published this coming year.

Joe and his life partner spend most of the year in sunny Florida.

glpjew@excite.com

What does it take to effectively start your path toward becoming a freelance travel writer? What skills, experience, tools, education, and temperament are best suited for success as a travel writer?

The requirements to begin your career in freelance travel writing are pretty basic.

Most of us have heard the slogan from the popular athletic shoe maker – “Just Do It”. That’s applicable here. You’ve just got to start writing. If you aren’t interested in writing, if you can’t discipline yourself to write regularly, then you shouldn’t try to be a travel writer. Yep, that’s the hard truth of travel writing – you do have to write. But you don’t have to write a novel, you just need to take notes, observe, and write regularly.

You need to have an opinion, a voice. As you regularly write about your travels, or just your daily experiences, your voice will begin to develop in the words you put on paper. By nurturing and developing that voice, the articles that you submit will stand out and be more interesting. Editors will be more likely to take notice and publish your work. Tell the reader what you really think! (Well, within reason)

Working hand in hand with the emergence of your written voice are your powers of observation. When you walk down the street near you home, try looking at it like you’re a visitor and have never seen it before. What things do you notice that has escaped your attention in the past? Learn to exercise your powers of observation every chance you get. Watch people, notice the subtle changes in the afternoon light as summer turns toward autumn, take nothing for granted.

You now have gotten into the habit of writing regularly, you’re developing a unique writing style and voice, and expressing that voice with your thoughts and observations of the world around you. You’ve got a good start on becoming a successful freelance travel writer. There are a few more things you’ll need to complete the picture of an aspiring travel writer.

You need to be able to do some research. These days, most of your pre-trip research can be done online in the comfort of you own home. But you don’t necessarily need a computer, you can always go down to your local library to do your research. But research is a must. For instance, if you’re planning a trip to Costa Rica, you’ll want to find out the basics like climate and weather, population and culture, main tourist attractions, principal industries, government, and any additional information that may be pertinent to what you plan on writing about. You want to get a feel for the country or region and its people before you leave home. After you’ve arrived at your destination, you’ll want to seek out the unique and interesting aspects of the area and its people. Try to find things that the average tourist would find interesting and unique – dig a little deeper. Seek out and talk with the locals, read local newspapers, arrange to interview people that can help bring your articles to life – business people, historians, tour operators – Or perhaps just the person on the street to get some of the local color. The more research like this you can put together the more saleable and unique your articles will be.

The last thing is a willingness and desire to learn. Read books and take a course on travel writing. Many good books are available on the subject. There are college level courses available as well as some excellent home study travel writing courses.

You’ll want to get your hands on as much travel writing as you can. Subscribe to one or two travel magazines, read the travel section in your local newspaper, buy travel books. Find out what editors are looking for in a travel article. See if you can spot the basic structure of a well written travel article. In particular, pay attention to an article’s lead; how does it draw you in? How well does it state its theme? After a few sentences, are you motivated to read any further? After the lead and theme are established, how well does the article prove that theme and paint a picture. Do you have a sense of place as you read the body of the article? Again, is the writer drawing you through the article in an interesting and compelling way? If so, how is he doing it? If not, what is lacking? Finally, how well does the writer bring the article to a close? Does he effectively reflect on the lead and restate the theme? Does he leave you with an urgent feeling inside of you to visit a destination or try an activity or find out more?

The elements described above comprise the basic structure of what most editors are looking for in a travel article. Learn to spot what works and what doesn’t. You’ll find that once you start looking at travel articles with a critical eye, you’ll start thinking like a travel writer. Before you know it, you’ll get your first byline and editors will start thinking of you as a travel writer as well! Your journey has begun!

What You Don’t Need…

You don’t need a degree in journalism or even a college degree at all (though both those things certainly don’t hurt either!). Editors aren’t going to ask to see your diploma. What they want to see are well written articles appropriate for their publication and submitted within the stated submission guidelines. You can learn how to do that without stepping inside a college classroom. (But remember, taking a home study or other type of course on travel writing can be a big help).

You don’t have to spend a lot of money. All businesses require some investment in both time and money to get off the ground, including freelance writing. But you don’t need to spend a fortune. Invest in some books, a travel writing course, and investigate some other resources available to travel writers like publisher databases, websites, etc. (find out more about these resources at www.TouristTravel.com/travel_writers_wanted.htm), but save your money so you can eventually travel to exotic locals rich in fodder for your travel writing.

But remember, you don’t really even need to travel; everyplace has a story to tell. Many are lucky enough to live in or near a popular tourist destination. Local excursions and your own personal knowledge and experience can easily form the basis or your travel writing career.

So there you have it, some of the ins and outs, needs and don’t-needs that will get you started on your own exciting path toward freelance writing success!

Happy Trails!

Tom is a freelance travel writer, copy writer, and web publisher. His popular website TouristTravel (http://www.touristtravel.com) features a section of resources for both beginning and seasoned travel writers.
Tom lives and works in San Francisco and is a member of the Bay Area Travel Writers Association

A Barrister’s bookcase is a conventional bookcase that is believed to have originated in Britain. Its discerning feature is a flawless field glass front. This glass front is hinged at the side allowing someone easy access to books and other collectibles plainly by raising the glass door. A barrister bookcase is perfect for many things. Barrister bookcases were frequently used by lawyers since it was necessary for them to keep on moving. Today, they are really handy, peculiarly if one is perpetually on the move. This is because the bookcase is closed by use of doors.. This precludes them from having to be emptied on moving

More about these antique book shelves

Barrister bookcases have the advantage of protecting things from debrisand other foreign impurities. They offer great protection. Apart from dust, it is also possible to offer protection from sunlight by adding tempered glass. . sun impacting the spines of the books. This in turn maintains the books coloring and its bindings from fading.

The bookcases, despite many benifits,often are quite pricey. Fortuitously, there unqiueness has caused some manufacturing businesses to start creating replica editions. Some modern versions are also available at very healthy prices. Many variations have simple appearances and can be made to fit a particular decor. They can also be trimmed and made into customized storage units.They can be stacked together allowing them to be easily used to create very interesting unit placements. Some can be used to create sofa tables, breakfronts or even breakfast tables.

Twitter: book cases

Fitness headset microphones take an awful lot of abuse. We sweat, scream, and spit into them. At the end of our class when we hit shower that poor mic is still out there doing another class. We work our mics so hard it borders on abuse. Is it any surprise we have so many problems with them? But you can help. With a little bit of care you can have of trouble free performance from your mic system.

Most group fitness headset microphones for are designed to sit at the side of your face about two finger’s width away from the corner of your mouth, or slightly in front and to the side of mouth, not directly in front as with most head worn singer’s microphones. This helps to avoid amplifying breath noises and blowing spit into the mic capsule as you teach.

If you need to confirm that the mic is working after you have turned on the transmitter and checked that the mixer and sound system are all set to go then, whatever you do, NEVER blow into the microphone to test it!

Blowing hard into the delicate microphone capsule is the easiest way to damage it.

A simple “test – one – two” is all you need to say and you won’t risk being the cause of expensive, unnecessary repairs.

After use, always remove the foam windscreen from the mic, gently wipe any sweat from the mic, and remove the body pack transmitter from your pouch belt. To store the system when not in use, hang the headset microphone on a hook 1m(3ft) above a shelf for the transmitter so that the headset’s cable is kept as straight as possible. Do not coil or kink the cable.

A few simple steps:

• Don’t put the mic capsule directly in front of you mouth.
  
• Never blown into the microphone.
  
• If your mic was design to use a foam windscreen then always use one.
  
• Always use a neoprene transmitter pouch belt.
  
• Always remove the windscreen after use.
  
• Always remove the body pack transmitter from the pouch belt.
  
• Hang the mic when not in use. Do not coil or kink the cable.

Feedback (that squealing or howling sound) occurs when the microphone is too loud, the music is too loud for the microphone or you are too close to the speakers. In most cases turning the microphone level down or moving away from the speakers will stop the howling so just adjust the levels to get the right mix of voice over music without the howls. If the problem persists you may need to reposition your speakers to make sure that they are not ‘firing’ straight back at you. We also find that better quality speakers are less prone to feedback.

If feedback persists because of the room’s architecture (full of mirrors, windows, a polished wood floor and brick upper walls) or your speaker types (ie: some horn tweeters) then there are a selection of feedback exterminator devices or 31 band graphic equalizers available as an add-on component that fits between the Wireless Microphone Receiver and the Mixer, that will filter out those annoying squeals.

When used correctly, headset microphones that were designed for group fitness use will give you many years of trouble free service. Take care of your fitness microphone and it will take care of you.

Kevin Dempsey is a professional audio engineer, sound technician and fitness buff. He is President and CEO of Fitness AV, The Fitness Audio Visual Experts, the leading supplier of sound and video systems to the fitness and recreation industry.

Suspense novels are probably the easiest novels to write. Suspense novels require a simple formula, which will make your work truly suspenseful. Follow this basic recipe, and you’re well on your way to building a whole library of successful suspense novels.

Suspense novels formula step 1: Decide your topic. Many people who wish to craft best-selling suspense novels struggle with this first step. The biggest problem is they get too wound up in trying to come up with something that’s never been done, assuming that they’ll land a number one best seller. Forget trying so hard to do something that hasn’t been done, and just settle on something you know, even if the subject has been done. Then work on an interesting twist.

Suspense novels formula step 2: Start your suspense novels at the end, rather than at the beginning. As is the case with any good project, successful suspense novels are crafted with the ending in mind first. Then the artist can return to the beginning and begin building to that end. This is how quality suspense novels are created.

Suspense novels formula step 3: If your suspense novels have killers or conspirators, wait as long as possible to reveal the perpetrators. In my first suspense novel, The League, my editor noticed that I revealed the perpetrator about six chapters and ninety pages before the end. He loved the story but said that it would be vastly improved, if I could keep the readers in suspense a bit longer.

So, if you hope to make a fortune with suspense novels, use this basic formula, and you’re well on your way.

Mark Barnes is a novelist, sports writer and writing coach. He is the author of the novel, The League, a shocking, sports-related conspiracy, published by DNA Press. His next novel, Troon, a suspense/thriller about a golfer fighting for his life while trying to win $5 million in a secret tournament at Royal Troon in Scotland, is currently in production. Learn more about Mark Barnes and his work at http://www.sportsnovels.com. Once there, pre-order his unique suspense/thriller, The League, and have it delivered right to your doorstep.

Over the past decade it has become easier and easier to be an outstanding speaker because as a result of PowerPoint the standards of speaking in business have declined to the point where the average presentation is mediocre at best but often boring drivel.

Computer generated slides, there is no way to describe them as graphics, have destroyed speaking skills. The combination of too little time and the apparent ease of producing a PowerPoint presentation means that most speeches have become narrated slide shows with the screen centre stage and the presenter off to the side.

Whenever anyone is asked to “Do a Presentation” out comes the laptop, often the day before the speech, and slide after slide is filled with “bullets” or the odd “quote” or scanned image in 10 point type. These are the speaker’s notes or in many cases the actual script because they read it out to the audience.

Five minutes before the end the presenter realises that 60 slides in 30 minutes was over ambitious and so tabs hurriedly though the 40 surplus slides to the closing slide. This unprofessional exercise was totally pointless because the audience was already comatose anyway.

At the end of the speech a colleague will then approach the presenter and ask for a copy of the presentation which they import into their laptop making a few additions and subtractions and the virus spreads. Of course half way through their presentation at least one slide will appear that is totally meaningless leaving the presenter at a complete loss for words.

Is this being cynical? Oh how I wish it was. However it is great news for you. Follow a few simple rules and even if you are still wedded to PowerPoint you can at least become a competent speaker. Be warned though. Even top professional speakers have wrecked an otherwise great speech when they were persuaded to “get modern” and use PowerPoint.

10 Steps to Avoid Ruining a Great Speech with PowerPoint.

1. Make time to write the speech before you create your PowerPoint presentation. If you don’t have time to write a good speech, you are wasting your time speaking.

2. What is the purpose of the speech? Decide what your message is. One message – the audience can’t remember more than that. If they only remember one thing you said, what is it?

3. Make no more than three points to support your message and use stories and interesting facts to illustrate them.

4. Decide on your call to action which should be linked to the key message. If the audience only do one thing as a result of the speech, what is it?

5. Look at your speech and decide where a PowerPoint slide will help. If it won’t help don’t use one. Use as few slides as possible and think of slides as graphics. Text is not graphics; your notes should be on the lectern not the screen.

6. Learn how to make the most of PowerPoint. Make your presentations look professional but remember it is “Audio Visual Support” for the main event – Your Speech.

7. If possible, position the projector and screen off to one side. You are the Star – the slides are the side show.

8. Remember these two essential PowerPoint Tips.

a) Press the “B” key and the screen goes “Black.” Press any key and the last slide re-appears. When you have finished with a slide “Black” the screen till you need the next slide.
b) Enter the “Number” of a slide then “Enter” – to jump to that slide. If you run out of time jump to your closing slide and a finish.

9. If it’s complex or technical create useful handout notes or diagrams as well as the slide. You can use the PowerPoint slide to talk through the handout. But remember you are creating audio visual tools to help you communicate your speech.

10. Practice, practice, practice. Run though the presentation and make sure it works with your speech and in time. If a slide seems redundant it probably is. Cut rather than add. You do not need a slide for everything you say – you need a slide only to help communicate what you say.

Copyright 2005 Richelle (Rikki) Arundel, UK

About the Author:

Founder and First President of the Professional Speakers Association, RikkiArundel is an International Keynote Speaker, Trainer and Writer and an expert in sales and marketing communications with an impressive track record. She is also proudly and openly transgender which has given her a unique understanding of the differences in the way men and women communicate in business.

Get your free copy of How to Get Customers Queuing up to Buy at http://www.SpeakingandMarketingTips.com

Working on my first humorous novel, I started with a single character. I followed suggestions in writers’ reference books for developing story characters. Then, still dissatisfied with my results, I began to explore other ways to make my characters more lifelike and included those strategies below.

1. Find your character’s astrological sign and its corresponding description. How closely does that description match your character and his or her ways and tendencies?

2. Look in joke books for short anecdotes/short stories. Do any of the people in those anecdotes match or help to clarify your character(s) or ideas? Can you expand the character’s problem(s) and action(s)?

3. Discover ways in which your character matches (or doesn’t) a given stereotype. For example, are attractive women always thin and blond? Are sheriffs and police always honest? Are politicians always corrupt and self-serving? How does your character go against the grain and how does that tendency help or hinder his or her efforts in solving a problem?

4. Consider creating “turn-coat” characters, such as actress-turned-robber, professor-turned-miner, doctor-turned-scuba diver, school guard-turned-airline pilot. What gets a given character into the most trouble in the first place, his/her “old” or “new” occupation? How does the character set himself or herself up?

5. Has your character resolved to change his or her ways as a result of surviving an accident, catastrophe, ruinous divorce or love affair? Does your character take a turn for the worse, and if so, why or why not?

6. In what way or ways does your character resemble his or her pet or friend or sibling? How do those things enhance or complicate his or her problems in your story?

Dorothy Zjawin is working on her first humorous novel and adding ideas to her website, http://www.profitable-pen.com