A Storyteller’s Voice from India

    Chris King’s Introduction: Storytellers, story lovers and story listeners live all over the world. You can imagine my delight when I received a message from a storyteller who lives in India. I asked her to write me about her storytelling and about herself. What follows is the portion of an article by Srijaya Char and her short autobiography.

    Storytelling is indeed an art. But once parents master this art, it pays to use one’s imagination. I have evolved my own strategies of story telling, first for my children and later the grandchildren.

    My background in storytelling.
    During my early school years, our grandmother told us stories from our epics. My sister and I would sit on the threshold of the kitchen door with a book in our hands, and she would narrate stories. It never bothered us that she was not sitting next to us or that the pictures in the books were not attractive. It was the story that mattered. Whenever we had a query, she used to cast a backward glance and continue the story. In the present cultural context, this is not storytelling. Eye contact is a must with today’s children. My grandson demands that I sit next to him while telling the story from his book, which is very attractive and colourful. He also wants me to ask him questions. Further, he wants me to mimic while I am reading.

    Excerpts from an article about storytelling written by Srijaya follow:

    With the growth of nuclear families, parents find it difficult to come up with original ideas for telling good stories. However, Indian fables, myths, folktales and epics provide an incredible source of children’s stories. Therefore, we must ourselves read enough stories to find what appeals to our children. We should not forget that voice modulation and mimicking is more enjoyable for children than the mere content.

    One-lined picture book stories are the ones that are most appealing to the two to three year-old kids. There is paucity of such books in our country. The Dr. Seuss Books (USA) and Scholastic Books for kids have become very popular in the United States, mainly due to eye-catchy visuals.

    Repetitive tales: Repetition is particularly popular with the young. Typical of the repetitive story is the familiar Ginger Bread Man story. The hero repeats, “Run, run as fast as you can! You can’t catch me I am the Gingerbread man.” A similar story is told in our own country called The Crow and The Sparrow story. The crow asks the sparrow to open the door and the sparrow gives many reasons for not responding.

    Animal tales: These deal with animal exhibiting human faults and qualities, so that children can identify with them easily. Nowadays many of the popular cartoon characters that have taken over Indian television are animals. Quick movements and violent actions of these characters have a hypnotic effect on children and I would not advise them getting addicted to viewing them for more than 15 minutes at a stretch.

    How and why stories: These are called “pour quoi” stories. Most of these stories are closely related to myths. They tell us why an eclipse occurs, or why the sun and moon live in the sky etc. While the eclipse story is taken from the Hindu mythology with Rahu and Ketu as characters, the latter one originates from Africa. A charming Chinese story tells, “How the Camel Got His Proud Look” and a Norwegian story explains “Why Sea Water is Salty.”

    Literary tales: These stories are more appropriate for the older children. For instance, the fantasies of Hans Christian Andersen or the Greek collection of Aesop’s Fables are enjoyed by children and even adults the world over. Aesop was a Greek slave who lived about sixth century BC.

    Fables of India: The “Panchatantra” stories contain the earliest recorded fables of India originating prior to sixth century BC. The “Hitopadesha” is another rearrangement of “The Panchatantra” with a few additional stories that date from the tenth century. Next come the 500 “Jataka Tales” which are a series of animal stories describing the lessons of life that Gautama Buddha preached.

    Myths: Myths are attempts of primitive people to explain the nature of the world around them. Many of them are a part of religions and ancient cultures. Since they relate to mythology and religion, they are a bit heavy to understand. But, the interplay of human emotions in these myths have universal appeal.

    Hindu mythology: The Ramayana and Mahabharata form the backbone of Hindu heritage. They have many stories within themselves which immensely appeal to kids of all ages. Every kid has a rough idea of these epics. And parents can weave some original modern-day stories around them.

    All these and much more! We can enthrall children with stories made up at the spur of the moment. Stories which will inculcate the right values in them.

    This lovely storyteller, Srijaya Char, writes about herself.

    I am basically a teacher. Started teaching in the year 1960. I am ancient, you know. I am now 62 years old. I have been publishing articles since the time I was a girl. Most of the Indian magazines know my name. Even newspapers. I have an MA in English Literature and an M Ed. I have risen to the position of a Joint Director in a Progressive High School, in charge of Academy and Administration. I am aware of the ethics of journalism. I have a diploma in Book Publishing and also in Mass Communication and Journalism. I have also published a book. I have two children – one son and one daughter. My daughter lives in USA with her husband and two kids. My son stays with us on the first floor. He has a kid (girl). My son, daughter, son-in-law and daughter-in-law are all Engineers. All earning and independent. Grandkids are in the age group of four and a half, one and a half and two and a half. I love telling them stories. That’s my best pastime. I still work. My husband retired as the chief engineer of the Indian Railways. We are a very happy family. I have been married for the past 40 years. That’s me. Anything else you want to know. I live in Bangalore the capital metropolitan city of South India. The State is Karnataka. My father was a Professor too. My three sisters also teach. We are a teaching family. How do you like that?

    Note from the Editor: I know that your have enjoyed this article as much as I have. If you would like to get in touch with Srijaya Char, you may e-mail her at This email address is being protected from spambots. You need JavaScript enabled to view it.Thank you, Srijaya!

    If you would like to try an issue of our FREE eclectic e-newsletter, Portfolio Potpourri, sign up by clicking This email address is being protected from spambots. You need JavaScript enabled to view it.and hitting SEND. Just for trying it, you will receive “10 Tips of Ways to Develop Your Personal and Professional STYLE.”

    We never sell names and/or e-mail addresses, and if you ever wish to “opt-out” that’s never a problem.

    Contact Chris King at:
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    or at: P.O. Box 221255
    Beachwood, Ohio 44122
    Phone: (216) 991-8428

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    A Writing Space of Your Own

    When we talk about creating a writing space, we’re really talking about two kinds—a physical space and a mental space. You need both in which to work.

    Sure it would be great to have a fantastic office with a great view, but if you can’t keep others out of it or get yourself into it, it won’t do you much good.

    Let’s start then with mental space. You lay claim to it through declaration: “I am a writer.”

    Sounds simple, but it’s not, for you have to speak with conviction. If you don’t, you won’t take yourself seriously … and neither will others. They’ll keep crossing the boundaries you’ve never set.

    To write, you must let others know where you begin and end, and how you need a place to call your own, be it a room, corner or desk. They may not like what they hear, but most will grudgingly acquiesce with time.

    Next up, physical space.

    As much as you would like, you don’t need a room of your own. For example, when I first launched my writing career, I shared my first “office” with a washer and dryer. My second office was a corner of my dining room; my third, a desk in my infant’s bedroom. Within each I wrote scores of articles and books, amid dirty laundry, place settings and baby toys.

    Today, I have a great office with two windows and a door that locks. I’ve earned it. But it’s only one my work spaces. I also have my favorite tables at Borders and Starbucks, an isolated carrel at the local community college library and a sunny bench at the city park. To each I bring my pens and pads, reference books and, occasionally, my laptop.

    My most productive space, however, is my bed. Propped up on pillows, often at 2 a.m., I’ve written some of the absolute best work of my career.

    Sometimes the bedroom is filled with traffic—kids, hubbie, dog. I’ve trained them all, however, to not interrupt me, to respect the boundaries I’ve set down. Do they do so all the time? Heavens no. But that’s okay. Interruptions are okay … at least occasionally.

    Interruptions, after all, are the crack through which everyday life slips, the very life that allows me to transform thoughts, experiences and emotions into words. These words also form a space … for my creativity.

    Know then that you need—and can have—any number of places in which to work. Look around, look within, then write. The very act of writing creates its own space.

    Beth Mende Conny is the founder and president of WriteDirections.com. She has published more than four dozen books and collections, and helps individuals and businesses bring their projects to publication. She can be contacted at This email address is being protected from spambots. You need JavaScript enabled to view it..

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    About Writing

    [This article is re-printed with permission from Michael LaRocca. If you would like to read more of Michael’s articles, please visit: http://www.chinarice.org/articlebank.html]

    Here’s everything I know about improving your writing, publishing it electronically and in print, and promoting it after the sale.

    Two questions you should ask:

    (1) What will it cost me?
    (2) What does this Michael LaRocca guy know about it?

    Answer #1 — It won’t cost you a thing. The single most important bit of advice I can give you, and I say it often, is don’t pay for publication.

    My successes have come from investing time. Some of it was well spent, but most of it was wasted. It costs me nothing to share what I’ve learned. It costs you nothing to read it except some of your time.

    Answer #2 — “Michael LaRocca has been researching the publishing field for over ten years.”

    This quote, from an ezine (electronic newsletter) called Authors Wordsmith, was a kind way of saying I’ve received a lot of rejections. Also, my “research” required 20 years.

    But in my “breakout” year (2000), I finished writing four books and scheduled them all for publication in 2001. I also began editing for one of my publishers, a job I’ve been enjoying ever since.

    After my first book was published, both my publishers closed. Two weeks and three publishers later, I was back on track. All four books were published, and a fifth was released in 2004. Written in 2003, no rejections. Another scheduled for 2005 publication, no rejections.

    See how much faster it was the second time around? That’s because I learned a lot.

    Also, I found more editing jobs. That’s what I do when I’m not writing, doing legal transcription, or teaching English in China (my new home). But the thing is, if I’d become an editor before learning how to write, I’d have stunk.

    2005 EPPIE Award finalist. 2004 EPPIE Award finalist. 2002 EPPIE Award finalist. Listed by Writers Digest as one of The Best 101 Websites For Writers in 2001 and 2002. Sime-Gen Readers Choice Awards for Favorite Author (Nonfiction & Writing) and Favorite Book (Nonfiction & Writing). 1982 Who’s Who In American Writing.

    Excuse me for bragging, but it beats having you think I’m unqualified.

    I’ll tell you what’s missing from this course. What to write about, where I get my ideas from, stuff like that. Maybe I don’t answer this question because I think you should do it your way, not mine. Or maybe because I don’t know how I do it. Or maybe both.

    Once you’ve done your writing, this course will help you with the other stuff involved in being a writer. Writing involves wearing at least four different hats. Writer, editor, publication seeker, post-sale self-promoter.

    Here’s what I can tell you about my writing.

    Sometimes an idea just comes to me out of nowhere and refuses to leave me alone until I write about it. So, I do.

    And, whenever I read a book that really fires me up, I think, “I wish I could write like that.” So, I just keep trying. I’ll never write THE best, but I’ll always write MY best. And get better every time. That’s the “secret” of the writing “business,” same as any other business. Always deliver the goods.

    I read voraciously, a habit I recommend to any author who doesn’t already have it. You’ll subconsciously pick up on what does and doesn’t work. Characterization, dialogue, pacing, plot, story, setting, description, etc. But more importantly, someone who doesn’t enjoy reading will never write something that someone else will enjoy reading.

    I don’t write “for the market.” I know I can’t, so I just write for me and then try to find readers who like what I like. I’m not trying to whip up the next bestseller and get rich. Not that I’d complain. But I have to write what’s in my heart, then find a market later. It makes marketing a challenge at times, but I wouldn’t have it any other way.

    When you write, be a dreamer. Go nuts. Know that you’re writing pure gold. That fire is why we write.

    An author I greatly admire, Kurt Vonnegut, sweats out each individual sentence. He writes it, rewrites it, and doesn’t leave it alone until it’s perfect. Then when he’s done, he’s done.

    I doubt most of write like that. I don’t. I let it fly as fast as my fingers can move across the paper or keyboard, rushing to capture my ideas before they get away. Later, I change and shuffle and slice.

    James Michener writes the last sentence first, then has his goal before him as he writes his way to it.

    Then there’s me. No outline whatsoever. I create characters and conflict, spending days and weeks on that task, until the first chapter leaves me wondering “How will this end?” Then my characters take over, and I’m as surprised as the reader when I finish my story.

    Some authors set aside a certain number of hours every day for writing, or a certain number of words. In short, a writing schedule.

    Then there’s me. No writing for three or six months, then a flurry of activity where I forget to eat, sleep, bathe, change the cat’s litter… I’m a walking stereotype. To assuage the guilt, I tell myself that my unconscious is hard at work. As Hemingway would say, long periods of thinking and short periods of writing.

    I’ve shown you the extremes in writing styles. I think most authors fall in the middle somewhere. But my point is, find out what works for you. You can read about how other writers do it, and if that works for you, great. But in the end, find your own way. That’s what writers do.

    Just don’t do it halfway.

    If you’re doing what I do, writing a story that entertains and moves you, you’ll find readers who share your tastes. For some of us that means a niche market and for others it means regular appearances on the bestseller list.

    Writing is a calling, but publishing is a business. Remember that AFTER you’ve written your manuscript. Not during.

    I’ve told you how I write. For me.

    ** EDITING **

    The next step is self-editing. Fixing the mistakes I made in my rush to write it before my Muse took a holiday. Several rewrites. Running through it repeatedly with a fine-toothed comb and eliminating cliches like “fine-toothed comb.”

    Then what?

    There are stories that get rejected because the potential publisher hates them, or feels they won’t SELL (as if he knows), but more are shot down for other reasons. Stilted dialogue. Boring descriptions. Weak characters. Underdeveloped story. Unbelievable or inconsistent plot. Sloppy writing.

    That’s what you have to fix.

    I started by using free online creative writing workshops. What I needed most was input from strangers. After all, once you’re published, your readers will be strangers. Every publisher or agent you submit to will be a stranger. What will they think? I always get too close to my writing to answer that.

    Whenever I got some advice, I considered it. Some I just threw out as wrong, or because I couldn’t make the changes without abandoning part of what made the story special to me. Some I embraced. But the point is, I decided. It’s my writing.

    After a time, I didn’t feel the need for the workshops anymore. I’m fortunate enough to have a wife whose advice I will always treasure, and after a while that was all I needed. But early on, it would’ve been unfair to ask her to read my drivel. (Not that I didn’t anyway, but she married me in spite of it.)

    Your goal when you self-edit is to get your book as close to “ready to read” as you possibly can. Do not be lazy and do not rush. You want your editor to find what you overlooked, not what you didn’t know about, and you want it to be easy for him/her. EASY! Easy to edit, easy to read. It’s a novel, not a blog.

    Your story is your story. You write it from your heart, and when it looks like something you’d enjoy reading, you set out to find a publisher who shares your tastes. What you don’t want is for that first reader to lose sight of what makes your story special because you’ve bogged it down with silly mistakes.

    Authors don’t pay to be published. They are paid for publication. Always. It’s just that simple. Later, I’ll tell you where to get some free editing. But there’s a limit to how much editing you can get without paying for it. Do you need more than that? I don’t know because I’ve never read your writing. But if you evaluate it honestly, I think you’ll know the answer.

    As an editor, I’ve worked with some authors who simply couldn’t self-edit. Non-native English speakers, diagnosed dyslexics, blind authors, guys who slept through English class, whatever. To them, paying for editing was an option. This isn’t paying for publication. This is paying for a service, training. Just like paying to take a Creative Writing class at the local community college.

    By the way, I don’t believe creativity can be taught. Writing, certainly. I took a Creative Writing class in high school, free, and treasure the experience. But I already had the creativity, or else it would’ve been a waste of the teacher’s time and mine.

    (And now I teach writing in China. We call this irony. One of my former English teachers also had Rod Serling as a student.)

    If you hire an editor worthy of the name, you should learn from that editor how to self-edit in the future. In my case it took two tries, because my first “editor” was a rip-off artist charging over ten times market value for incomplete advice.

    That editor, incidentally, is named Edit Ink, and they’re listed on many “scam warning” sites. They take kickbacks from every fake agent who sends them a client. (I’ll talk about fake agents later.) Avoid them at all costs, and I will stress the word “costs.” Ouch!

    If you choose to hire an editor, check price and reputation. For a ballpark figure, I charge $3 per 1000 words for a proofread, twice that for an in-depth edit, but my prices are too low. Consider that you might never make enough selling your books to get back what you pay that editor. Do you care? That’s your decision.

    Your first, most important step on the road to publication is to make your writing the best it can be.

    ** PUBLICATION **

    My goal is to be published in both mediums, ebook and print. There are some readers who prefer ebooks, and some who prefer print books. The latter group is larger, but those publishers are harder to sell your writing to. I want to be published in both mediums, because I want all the readers I can get.

    Thus, I advocate something of a stepping-stone approach. Publish electronically with a quality place, and enjoy the benefits of free editing. Later, if you think you can sell your book to a traditional print publisher, you have a professionally edited manuscript to submit. Free editing.

    Before you epublish, check the contract to be sure you can publish the edited work in print later.

    If you know your book just plain won’t ever make it into traditional print, print-on-demand (POD) is an option. Some of my books fall into this category. The best epublishers will simultaneously publish your work electronically and in POD format, at no cost to you.

    A lot of authors swear by self-publication, but the prospect just plain scares me. All that promo, all that self-editing, maybe driving around the countryside with a back seat full of books. I’m a writer, not a salesman. Maybe you’re different.

    (Since I live in China now, I guess I’d have to put my books in the back of a three-wheeled rickshaw and hunt for someone who speaks AND reads English. Yikes!)

    I self-published once, in the pre-POD days. Mom handled the sales. I had fun and broke even. With POD, at least it’s easier (and probably cheaper) to self-publish than it was in 1989, because you’ll never get stuck with a large unsold inventory.

    POD setup fees can range anywhere from US$100 to well over $1000. Don’t pay the higher price! Price shop. Also, remember that POD places publish any author who pays, giving them a real credibility problem with some reviewers and readers, and that they do no marketing.

    ** PROMOTING YOUR PUBLISHED WRITING **

    It doesn’t matter how you publish your book. Self-published, epublished, POD, or traditional print publishing from a small press or an absolute powerhouse. Marketing falls largely on you, and the same things always work. Book signings, book reviews and interviews in the local newspapers and on radio. (Or Oprah, but what are our chances?)

    Start with http://www.kidon.com/media-link/index.shtml. It will allow you to look up all the local media outlets in your area that have websites.

    If you write to them all, you’re a spammer. Plus, it’ll take ages. Look for the ones with a legitimate interest and fire away.

    If you find a stale URL, and I think you will, look for the name of that media outlet at some place like Google. Spend some time looking for the right press contacts, spend some time writing your press release, and do what you can.

    Most of these sites list email, snail mail, and phone numbers. Since I live in China, I’ve only used email.

    Book reviews, author interviews, book listing sites, and book contests are something we can all do, regardless of where we live.

    Aside from two radio interviews and a seminar in Hong Kong, and some emailed press releases to the LOCAL media back in the US which may or may not have succeeded in anything, my marketing has come from the Internet.

    I have a website. I have a newsletter. I write free articles such as this one. You found me somehow, right?

    Here’s the type of message I receive often in email. To be more precise, in spam.

    “If a million people see your ad, and you get 1% of them, that’s 10,000 readers and therefore $15,000 profit and you only paid 1000 for those million addresses.”

    NO!! It doesn’t work that way. Need I use the words dot-com bust?

    My website is free. My newsletter is free. I don’t buy mailing lists, I don’t harvest email addresses, and I don’t spam. I want interested traffic, not just sheer numbers.

    Do you think the Phoenicians tried to sell sails to people a thousand miles from water?

    Internet marketing isn’t a replacement for the methods mentioned above, but a complement to them. And by using it, I got you here. Hi!

    Your goal in marketing is this. There are people in the world who like what you like. And since you like your book, they probably will too. You have to find those readers and make them interested, without spamming them and without “playing the numbers game.”

    If you’re an e-author, let me state the obvious. Nobody buys ebooks who doesn’t have Internet access. Do they? So you definitely need a website.

    Traditional print authors need websites too. Even blockbuster authors like J.R. Rowling and Stephen King, who I doubt could garner any more name recognition, have websites. So does every long-established inescapable monstro-business from hell like McDonalds and Coke.

    Okay, those folks pay web designers. I’m not doing that. I can’t generate sales like that. And yes, I’ve been employed as an HTML programmer. But you can write your own website without learning HTML if you want. It’s no harder than writing a manuscript with a word processor.

    It won’t be super-flashy like the big boys, but it’ll communicate the information. Remember, you can communicate. You’re an author! That’s what keeps people coming back to a website after the thrill of the flash wears off. Information. Content. Your specialty. Not a ticket to massive overnight traffic, but slow steady growth.

    ** CLOSING THOUGHTS **

    Here’s something you’ve heard before. When your manuscript is rejected — and it will be — remember that you aren’t being rejected. Your manuscript is.

    Did you ever hang up the phone on a telemarketer, delete spam, or close the door in the face of a salesman? Of course, and yet that salesman just moves on to the next potential customer. He knows you’re rejecting his product, not him.

    Okay, in my case I’m rejecting both, but I’d never do that to an author. Neither will a publisher or an agent. All authors tell other authors not to take rejection personally, and yet we all do. Consider it a target to shoot for, then. Just keep submitting, and just keep writing.

    The best way to cope with waiting times is to “submit and forget,” writing or editing other stuff while the time passes.

    And finally, feel free to send an e-mail to me anytime. This email address is being protected from spambots. You need JavaScript enabled to view it.. I’ll gladly share what I know with you, and it won’t cost you a cent.

    I would wish you luck in your publishing endeavors, but I know there’s no luck involved. It’s all skill and diligence.

    Congratulations on completing the course! No ceremonies, no degrees, and no diplomas. But on the bright side, no student loan to repay.

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    Above and Beyond

    When an editor or publisher posts a call for writers online, it’s almost a given that they’ll be swamped with submissions. We writers are always looking for work, and a “writers wanted” posting sends most of us into a drooling tizzy. So, when responding to these ads, you know the odds are stacked against you– the competition is going to be fierce. However, there are ways to stand out in the crowd.

    I’ve found that the more work you’re willing to do up-front, the better your chances are of landing the job. I fully realize that what I’m about to tell you goes against the preachings of many who argue that writers should never work on spec, or do any work before a contract is established. However, as I’ve gotten more successful, I’ve discovered that taking my chances, sticking my neck out, and going above and beyond has often resulted in good contracts and good payment.
    I offer these examples:

    As you may know, I’m co-authoring the book “Internet Freebies” for Publications International. That job was posted all over the Web, and I know the publishers got a ton of applications. So why did I get the job?

    They were rather demanding in the beginning. First, they wanted 3 writing samples and a resume. I sent those, and I also sent a detailed cover letter explaining not just why I was a qualified writer, but how I would make their lives easier and how I was right for THAT particular book. Among my selling points: “I turn in clean copy on time every time,” “I have a penchant for finding little-known freebies, and count freebie-hunting among my favorite hobbies,” “I enjoy working with editors,” and “I’m detail-oriented and am careful to double-check information and URLs.”
    They wrote back to request three more writing samples– they wanted samples that related to the Internet. I sent five. I even went back and re-edited and expanded old articles to better fit this topic.

    Then they wanted a custom writing sample. Along with several other “finalists,” I was supposed to research some Internet freebie offers, and write up summaries of five offers, plus find urls for five more offers. Instead of stopping at ten, I did twelve. And instead of waiting for the deadline, I turned it in a week early. The last line of my letter said, “If there’s anything else I can do to show you I’m the perfect writer for this job, just say the word.”

    Now, if I hadn’t gotten the job, yes, it might have been some wasted time. But I also knew I could take that research and turn it into an article for a local newspaper. Luckily, though, I did get the job– and I’m sure that’s because many of the “finalists” never bothered to complete their custom samples.

    My willingness to work with ridiculous deadlines also landed me a regular freelancing position for Paradise Greetings. When she sent me my first assignment, I’m sure the editor didn’t expect me to complete it overnight. But I did, so she sent more right away. Soon enough, she had discovered that I was an immensely reliable writer who was willing to take on these “overnighter” deadlines whenever necessary. As a result, I write about 70% of all of their cards now.

    While I was still building up my clips, I wrote for a disabilities-related Web site that couldn’t afford to pay much ($50 per article). Rather than taking the easy route and writing simple articles for them, I pretended they were paying me $1/word and put in the amount of effort I would have for Good Housekeeping. I did dozens of interviews for every article, and had writer-friends critique my work before I edited it and turned it in. The result? I have reslanted and resold the articles I wrote for that site more often than any other articles I’ve ever written. They’ve earned me thousands of dollars, even if the initial pay was dismal.

    I once read that a writer’s job is to make the editor’s job easier. That mantra hit home with me, and I’ve used it time and again to secure assignments and build ongoing relationships. After I sold a profile to a women’s magazine, I offered to help them find a photographer in my subject’s area. I also regularly suggest sidebars and pull quotes.

    When I pitch my services as an editor, I always give a free estimate, and often a few free suggestions before the author makes a commitment to me. I put myself in the client’s shoes– would I want to spend hundreds of dollars to let someone edit my work if I didn’t know if the editor and I were on the same track about my manuscript? I’m willing to give a taste for free to help the client feel more comfortable about hiring me.

    And that’s why going above and beyond helps writers land jobs– it’s all about instilling confidence in your abilities. When you put in extra time and effort, you show the editor or publisher that you’re not just another person who responded to every single call for writers on the Internet with the same form letter, hoping to land something– ANYthing– just because of sheer volume. You’re proving that you have a passion for the subject, that you really want the job, and that you’re willing to put in the extra time to ensure the job is done right.

    When I’m ending a cover letter, I often use phrases like, “If there’s anything I can do to help you reach a decision, let me know,” or “I’d be happy to work with you to ensure your complete satisfaction,” or “I’d love to hear more about your needs for this project.”

    It won’t work every time; there will be times when another writer outdoes you in terms of qualifications or writing sample. But putting forth your best effort and showing off your go-getter attitude can make all the difference between landing in the slush pile and landing the assignment.

    Jenna Glatzer is the editor-in-chief of http://www.absolutewrite.com. Sign up for the FREE weekly e-zine and get a free list of more than 180 agents who are open to new writers! She is also the author of OUTWITTING WRITER'S BLOCK AND OTHER PROBLEMS OF THE PEN (Lyons Press, 2003). Find out why people LOVE this book! Read all about it at http://www.absolutewrite.com/outwitting.htm.

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    Addictions and Storytelling

    When we are not in control, we are living in fear. When we are living in fear, we tend to run away or “escape”, but can you escape from yourself? It is essential to be aware of the process and motivations that lead to compulsive, obsessive, addictive activity in order to become whole and together again.

    Stories of addictions line our library and book store shelves. From the “Top Of The World” with Karen Carpenter of the Carpenters, spiraling downward to Jacqueline Suzanne’s, “Valley Of The Dolls”, we have all rubbed shoulders with addiction and obsession.

    A litany of personalities, from Elvis and Betty Ford to the two “candles in the wind”, Marilyn Monroe and Princess Diana, all have done battle with self inflicted abuse. It is all too common, yet gratifying that there is so much help out there.

    A memorable study speeds to mind when I contemplate the problem. In the story, When A Man Loves A Woman, the word love is so significant. This man loves his woman in ways that can teach. You’ll love this man. He reeks compassion, loyalty, and understanding. He oozes pain, hurt, and sympathy. He is tough enough to walk and tender enough to forgive.

    Picture this: The one you adore is on a fast track to self destruction. The children you cherish are eyewitnesses. You yourself, are feeling “cut like a knife”. Alcoholism is the hacker and your wounds take an eternity to heal.

    This is reality. A story so deep it will turn you inside out. This young married couple work through their crisis in episodes that leave an indelible mark on the observer.

    She gets plastered, passing out, forgetting her kids, blaming her husband, pushing one negative button after another, causing emotional fallout and physical incapacitation. Does she do these things to purposely inflict pain? NO. She is acting out of her own unreachable misery. All addictions are escape maneuvers.

    Will it ever get better? He never loses hope. He is a one-man support system. He is a role model.

    The creation of this story goes beyond talent. It requires insight and impressionability. Storytelling that gets inside you, unlocks awareness, and transforms attitudes.

    Alcohol addiction is the subject but self-knowledge by way of identity crisis is the lesson. It is a tutalage in human nature. It enlightens and matures. Educational entertainment. I can’t be positive enough about this form of storytelling. I have read that the film is a tool used for discussions and therapy at actual AA meetings. It doesn’t get much better than that.

    If you see the film, the children will steal your heart. These two little girls are every reason in the world to do the right thing.

    By Barbara Ann Lyons [Original source:]

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    Always Have a Story Ready … You Don’t Know When You’ll Need It

    I just completed three weeks of jury duty. So, what does that have to do with storytelling? Part of picking the jury members included a questionnaire that we each had to fill out for the judge and the lawyers. Under occupation, I included “storyteller” along with my other careers. When the lawyer for the prosecution questioned me in front of the court, he asked me quite a few questions about storytelling. I don’t know how many of you have ever served on a jury, but one quantity over which you don’t have any control is time – as the bailiff said, “Court time isn’t real time.” As we jurors spent many hours waiting in the jury room, I was, as a storyteller, asked to tell stories. Fortunately, knowing that other storytellers have come to the rescue in other situations, I was prepared – and they loved it!

    As a storyteller, don’t be shy. Speak up! First and foremost, have a repertoire of short, punchy stories that work for all ages. You never know when you will have the opportunity to share your stories. It may be while you are waiting in a long line. It may be when a flight has been cancelled or delayed. It may be when you are attending a program and the speaker hasn’t shown up. It may be when you have been called to a meeting, but the leader has been detained. You may be involved at your child’s school and thrown into a situation where you have a room full of wiggly children waiting for a bus or some activity to begin. In any of these situations or others (possibly, something as scary as an elevator that is stuck between floors), tell the group that you are a storyteller, and would they like to hear a story while they are waiting. It would be a strange reaction if they said, “No,” because everyone loves a good story.

    Start by telling your best and favorite story that is appropriate for the group. Oftentimes, when we are performing for a group, we save our best until last. In an impromptu situation, you may not have a chance to tell another story, so you want to leave them remembering the best of what you have to offer. I was pleased that I shared my signature story with the jurors at first, followed by some of my short, humorous stories, because as the days passed and the trial became more serious and unpleasant, the other jurors didn’t even want to hear stories and I didn’t want to tell them either. We were all too involved with the details of the case.

    Realize that impromptu telling can become a great marketing tool. I am not suggesting that you become pushy, but I do suggest that you always have business cards handy. Once a new group finds out that you are a storyteller, and that storytelling is “alive and well,” there will be at least one person in the crowd who has a relative, a child, and/or an association that they think might like to hear your stories in the future. This impromptu telling can serve not only as an introduction to storytelling, but also as an introduction of you as a storyteller. Even if they don’t call you directly, at least they now realize that there are people who tell stories to groups.

    Go one step further, and let local organizations know that you are ready. If you have ever worked on programming for a group or organization, you know that with Murphy’s Law in effect, there is always the chance that a program will fall through at the last minute – a speaker becomes ill, is stuck in an airport, has a car that breaks down, or suffers one of the many other unforeseeable mishaps. Let schools, libraries, Chambers of Commerce, the YMs amd YWs, associations that meet regularly, and anyone else who sets up programs know that you can come and tell stories at a moment’s notice – of course, only if that is true. Even if you need a couple of days’ notice, you will still get calls for last minute cancellations. This is one of the quickest routes to endearing yourself in your community. There is nothing more daunting to a meeting planner than having a room full of people waiting for a presenter that doesn’t show up.

    So, get your stories ready and when an opportunity arises – and they will – get on your feet and start telling. You and your listeners will be glad you did!

    If you would like to try an issue of our FREE eclectic e-newsletter, Portfolio Potpourri, sign up by clicking This email address is being protected from spambots. You need JavaScript enabled to view it. and hitting SEND. Just for trying it, you will receive “10 Tips of Ways to Develop Your Personal and Professional STYLE.”
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    An Inside Look at Proofreading

    This is the ideal topic for us all to think about. We do it everyday, especially those of us that use the Internet the majority of the time. Web pages, business letters, articles, news releases, documentation and most certainly, advertisements.

    I have at times found myself proofreading our local newspaper, and suspect their proofreader isn’t necessarily paying attention to his or her work. I have found scores of web sites with the same problem. Terrible spelling and common grammatical errors are high on the list. Of course, some of us do not pay attention to these little details, but entrepreneurs look for imperfections in a web page.

    Do we all know how to proofread? Not necessarily. Looking for misspelled words is scarcely enough to polish your workmanship and neither is applying capital letters where needed.

    I am touching the surface with the most common proofreading DO’s. You might think a little differently the next time you do the job.

    1] Always proofread when you are at your daily peak. In other words, do not try it, if you are sleepy or distracted. You will definitely miss a number of errors. Proofreading requires concentration.

    2] Read the selection through and then read it aloud. Read it to a friend and have them read it to you. Read it backwards..that’s what I said. You’ll be amazed at the errors in spelling you will encounter.

    3] Use your computer’s spell checker, but do not rely on it. Often, there are times the checker will find errors but the word meaning is different, such as “there” and “their”. Use a dictionary to be sure of the correct meaning of a word.

    4] The thesaurus is helpful, but again the range of words are limited, a book offers a broader list. Your choice of words does make a difference when others read what you have to offer, so go ahead and be choosy.

    5] Be sure all beginning letters of a sentence are capitalized. Names of importance, within the sentence are a must to remember.

    6] Look for sentence fragments, run ons and match subjects with verbs.

    7] Check those simple small words, such as: of, it, in, is,for, be, and I. [I, should be a capital, regardless of where it is.]

    Other important points in addition to the ones above are included below. These are not to be excluded and you may think this is a lot of unnecessary work, but isn’t your piece important. You wouldn’t be writing it, if it wasn’t.

    1] Do you have enough ideas incorporated into your selection?

    2] Be sure you are not wandering away from the thesis.

    3] Are you proving your point and is it interesting?

    4] Is the content in order and does it flow smoothly?

    5] Answer the following questions when you are proofreading.

    A. Who?
    B. What?
    C. Where?
    D. When?
    E. Why?

    If one of these are missing, then you need to go back and revise.

    All of the above tips for proofreading are of the upmost importance even on a web page of your web site. The following tips are also helpful in the finishing touches of your site.

    1] Start your inspection by checking to make sure all links work.

    2] Look at the text and see if it is readable. If you can’t see it, others cannot read it. The background may not be suitable.

    3] Verify that all your information is up to date.

    4] Is all the information in a sensible order, and delete or add information.

    5] Use the scroll bar on the side to view one line at a time, either from the bottom or top. I find this very useful when reading, etc.

    Proofreading has a nature of time consumption and if you do not have the time, find someone that does. It will boost your sales and your site will have a look of a professional.

    I am not a professional and never claim to be, but I will proofread the following types of content, sent by email if you want a little help. I am not charging a enormous fee for the service. I have an Associate Degree in Accounting, and extensive courses in English, Business Communications, Ethics, and Public Speaking.

    Article source: http://www.superfeature.com

    Copyright © Donna Sweat
    Publisher/Editor
    Dee’s Helpful Info. Newsletter
    dsweat.bizland.com
    This email address is being protected from spambots. You need JavaScript enabled to view it.
    New Albany, Pa.

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    Apostrophe Usage Made Simple

    [This article is re-printed with permission from Michael LaRocca. If you would like to read more of Michael’s articles, please visit: http://www.chinarice.org/articlebank.html]

    According to one of my previous articles, whenever a Southerner says “Y’all watch this,” get out of the way because those are probably the last words he will ever say.

    Well, I’m a Southerner. I used to live in the southeastern United States, but I moved to the southeast of China. And, I’m about to say the magic words:

    Y’all watch this.

    The word is “week.” If I want to talk about more than one week, like what I wrote a few weeks ago, I’ll use weeks. No apostrophe. If I want to talk about something belonging to a week, such as
    “last week’s newsletter,” I’ll use an apostrophe.

    That’s the rule. If it’s a noun, s makes it plural and apostrophe-s makes it possessive. It’s just that simple.

    If I were still in the US, and I wanted one of those fancy carved signs that are so common on southern lawns, it would not read “The LaRocca’s.” The LaRocca’s what? His lawn? His sign? That apostrophe makes it singular possessive, so The LaRocca (one person) is surely claiming ownership of something. If that wasn’t his intent, and he whacked in an apostrophe anyway, he’s an idiot.

    What about plural possessive? Is it “the LaRoccas’ house” or “the LaRoccas’s house?” Well, it’s neither, since my wife isn’t a LaRocca and we don’t own a house. But for the sake of this article, pretend she is and we do.

    In ON WRITING, Stephen King swears it’s LaRoccas’s. When I was a student, my teachers swore it was LaRoccas’. As an editor, I’ve heard the first was US standard and the second was UK standard.
    And the answer is, I don’t care. Just be consistent.

    I once met an editor who said that the spelling determines pronunciation. She’s an idiot. Spelling isn’t all pronunciation. It’s also history. I’ll say LaRoccas-zz whether it’s LaRoccas’ or LaRoccas’s. So will you.

    Jump up five paragraphs and read the seventh word. Noun. Note that I didn’t write pronoun. Just for fun, the rule for pronouns and apostrophes is completely different.

    It’s is a contraction for “it is” and its is possessive. Who’s is a contraction for “who is” and whose is possessive. There’s is a contraction for “there is” and theirs is possessive. Etc. Possessive pronouns never use apostrophes. Its, whose, your, yours, their, theirs…

    And there you have it. Apostrophe usage made simple. Send me yo money.

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    Apply the Purple Cow to Your Storytelling

    I receive a ton-load of magazines and other great reading material daily, weekly and monthly, but there is one magazine that stands out from all of the others – one that I can barely put down once it arrives. It is the “remarkable” publication, Fast Company.

    So we shouldn’t be surprised that the February 2003 issue included a “remarkable” essay adapted from contributing editor Seth Godin’s forthcoming book, Purple Cow: Transform Your Business by Becoming Remarkable. Godin’s essay has made such a profound impact on my thinking, in the following article I am going to highlight a few of his great marketing ideas and the ways in which I feel, as storytellers, we can make them work for us and our storytelling and the marketing of our craft.

    In Godin’s words, “For years, marketers have talked about the `five Ps’ (actually, there are more than five, but everyone picks their favorite handful): product, pricing, promotion, positioning, publicity, packaging, pass along, permission. Sound familiar? This has become the basic marketing checklist, a quick way to make sure that you’ve done your job. Nothing is guaranteed, of course, but is used to be that if you dotted your is and paid attention to you five Ps, then you were more likely than not to succeed. No longer. It’s time to add an exceptionally important new P to the list: Purple Cow.

    Weird? Let me explain.” He goes on to tell us about driving through France with his family and how in the beginning they were “enchanted by the hundreds of storybook cows grazing in the lovely pastures right next to the road.” After awhile, however, they started ignoring the cows, because, “the new cows were just like the old cows.” They became common, and “worse than common: it was boring.” What a terrific metaphor for our storytelling and marketing. We need to ask ourselves, “Are we and our approach to telling so common that we have become boring? What will make us stand out from the herd and make us and our performances remarkable – like a Purple Cow would?”

    Let’s examine some of the questions Godin suggests asking ourselves in his list of “10 Ways to Raise a Purple Cow.”

    If you could choose your customers and clients, who would they be? Who would be the most profitable? Have you considered the advantages of telling in your own region instead of spending most of your time on the road and away from home? The individual fees charged and paid probably would be less, but just think of what you could accomplish with that extra time. And consider how you would fare with the lack of travel wear and tear. It is time to start catering to the people we would choose to work with if we could choose. I choose to work with the people who make it possible for me to teach my aerobics classes in the morning, tell stories in the early afternoon or evening and then sleep in my own bed at night.

    What is an underserved niche market that we could dominate if we could create a program that would appeal to that market – even if it would compete with one we already offer? How about nursing homes or assisted living facilities? How about corporations and non-profits?

    What if we started providing a super special service just for those clients who love us? What could it be? I already send out a free newsletter with loads of tips and ideas, but am now thinking of sending my favorite clients a free e-book that is filled with tips of ways to develop and tell their own stories.

    What small or detailed practices could we make remarkable? Godin suggests getting into the habit of doing things in an “unsafe” way every time we have the opportunity. That way we’ll find out what is working and what isn’t. It is so easy to stay in our comfort zone. We use the same stories, network with people we already know, attend the meetings we always attend and market to the groups we know. Is it time to stop relying on PowerPoint – or using it if you never have? How about working on a type of story that fascinates you, but has always seemed to “off-the-wall”

    “Explore the limits. What if you’re the cheapest, the fastest, the slowest, the hottest, the coldest, the easiest, the most efficient, the loudest, the most hated, the copycat, the outsider, the hardest, the oldest, the newest, or just the most! If there’s a limit, you should (must) test it.” WOW! I love this suggestion. How about being the most outrageous? Or the most organized? The most outspoken? The most challenging and unsettling to audiences?

    Think small. Godin points out that the present day thinking is that what we do should appeal to the masses. What if we imagine the smallest conceivable market and create a program that overwhelms them with its remarkability?

    What things are “just not done?” Once you think of them, go ahead and do them. It can almost become a way of life to do those things that are “just not done.” My children learned long ago that their mother was going to do those very things, and finally they and I celebrate the differences. It certainly keeps one from ever being boring! If we perform according to all of the rules of storytelling, listeners will listen, and they may even enjoy us, but they will leave without remembering our name and usually will forget what they heard within two or three days.

    Ask, “Why not?” Almost everything we don’t do has no good reason for it. Almost everything we don’t do is a result of fear or inertia or a historical lack of someone asking, “Why not?” This goes along with the answer we so often receive when asking “Why?” and receiving the standard answer, “We’ve always done it that way.” Certainly, this describes the common and boring brown cow.

    I hope that through sharing some of the Purple Cow ideas and suggestions with you, I have sparked some ideas and actions that will help make your 2003 storytelling powerful and remarkable in all ways – and much more enjoyable for you and your listeners. Please send me your thoughts. I love getting your This email address is being protected from spambots. You need JavaScript enabled to view it.!

    The book is available at www.Apurplecow.com and other select locations. And, treat yourself! Subscribe to Fast Company fast! It is a Purple Cow.

    Helen Peters is the webmaster for Free Anxiety, the web's premier resource for information about http://www.freeanxiety.com. For more articles on Anxiety visit: http://www.freeanxiety.com/articles

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