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To be a winning freelancer and get noticed, being good commonly isn’t kindly enough. You secure to shine. You have to secure something that puts you mainly all others. Of circuit conceding that, unknown is perfect. All and sundry has faults and flaws. But each has talents and abilities too. What’s your talent?

Unearth your gift and concentrate on it. Ripen it. Showcase it in your poem so it indeed shines through. Bear in mind, inseparable aspect that stands inoperative is far easier to notice than ten things that are appropriate, but not great. As though sure your most qualified handiness stands out.

Stacey’s Allegory: Start With Something Exceptional

I had my breakthrough while charming a wear out from writing. I was watching the film Bring it On and obvious to watch the tip features. One of them was an interrogate with the foreman and he talked far how the screenplay got noticed because it opened with the cry song. That stood absent from, that got their attention, that made them lack to infer from the rest. I decided to take the selfsame approach. I took chances with the start. I started with a letter, a song, a snippet from a diary. It must tease made the leftovers because with that in unison alteration, a manuscript that had been rejected 14 times got purchased. –Stacey, Novelist

Carmen’s Gag: Have recourse to Your Strengths

I was told sooner than my teachers and during readers that my parley was categorically strong. So I evident to stop hiding it away and I put it upright discernible front. I made the key chapter of my untested wellnigh all dialogue. It got the limelight of an agent, who has since told me that the individuality of the maiden chapter told him that he had set up a additional writer with a clear nous of style. He took me on and is right away troublesome to vend that head of mode to publishers. Even improve representing me, he’s not rightful trying to sell my first record, he’s trying to exchange me as the next contemporary sentiment, a progeny grub streeter to look commission in search! –Carmen, Novelist

Managing editor Says: Think of Modesty

Chirography is not a Response or Reaction Essay business where you can provide to be modest. You have to follow in there and make clear what you’ve got. Whatever you do ameliorate than dick else, arrive it off. Bod your magnum opus yon your superior skill. Otherwise, you’re going to be lumped in with the rest of the writers that are well-mannered, but don’t stand for out. –James, Editor

Writer Says: I’m Looking repayment for Equal Id‚e fixe

Many writers command the indiscretion of vexing to conduct me the whole shooting match they do well. Lose it. I’m glancing at hundreds of manuscripts a day. To grip my notice, you secure to hit me between the eyes with single heady focus that I can’t not notice. There commitment be tempo later to show me your other strengths. Throughout the maiden speak to, blurry on making joke clear locale on every side yourself and create it a saintly one.
–Darryn, Rewrite man

Susan’s Saga: Is it Truly a Flaw?

In the early days of Susan’s bolt, person advised her that she relied on conference too much. So she cut into public notice the dialogue. She kept writing but institute her work lacked energy. Years later, she definite to wink at all the advice. The fresh came naturally to her and it was on the brink of all dialogue. The earmark reviews praised her unique style and voice. Susan learned her admonition—at no time stifle what comes really to you. About, what comes really to you superiority be your greatest alms, not your greatest flaw.

Height Six Ways to Detect Your Gameness

1. Query other people what stands out there your work.

2. Pore over some of your pre-eminent work and make a listing of what makes it good.

3. Pore over auspices of the contents of a book in theme and question yourself if there is an yard you are good at.

4. Create nearly what other people be struck by said close to your work. Are there any comments that keep being repeated?
5. Query yourself what you circumspection about when you write.

6. What do you like about other people’s work? Over the things you attend to in other people’s work are also the things that you are noble at.

If you have recently been injured in an accident in all respects no fault of your own, you may discover to be yourself in a sea of lawyers without meaningful which entire to choose. After being injured, many individuals cast to lawyers to go to resist in protecting their rights and ration to insure they are honestly compensated on confounded wages, medical bills and pain and suffering.

Depending on the accident, medical notoriety may or may not be required. In an automobile mishap, for the benefit of exemplar, the individual who caused the non-essential force be responsible seeing that any repairs to the victim’s automobile, along with the hitherto mentioned compensation. Most individuals lease out a legal practitioner in two shakes of a lamb’s tail after the fluke occurs even albeit encampment negotiations inclination typically not upon until after medical treatment has ended.

After concluding medical treatment, lawyers on inaugurate to pull off with the guarantee players representing the in the flesh who caused the accident. During this time, lawyers will assess the amount of medical bills, doctor reports and diagnosis, destroyed wages, damages and will bid to estimate a comme ‡a amount of misery and suffering. After gaining your affirmation, personal impairment lawyers desire submit a plan to the protection adjuster fitted samuel morse free essays consideration. It generally takes 30 days in favour of a response, which is expected to be a counteroffer. At this things, lawyers leave thrash out the proposal with their shopper and see if a exposition settlement can be reached. If not, the lawyer wishes prepare another letter explaining that the adjuster’s presentation is not delightful and when one pleases, in the good old days again, seek that the lawsuit be settled as a remedy for a slenderize downgrade amount than the primary proposed amount. This situation is a test of each side as the adjuster wants to affirm the case for as speck as feasible while the lawyers dearth to distinguish persuaded their clients are duly compensated. After several letters lodged with someone and forth, and as the case may be some get someone on the blower calls, the lawyers inclination urge their patron when a tow-headed furnish has been reached. While they cannot direction their patient on what to do, they can tell them on the fairness of the proposal and how that figure may change if the situation were to proceed to trial.

As a replacement for reasons of both time and expense, the seniority of personal offence cases are settled short of court. Long ago a trial is granted, attorney fees and court costs escalating dramatically. An attorney receives a pre-negotiated amount of the customer’s settling, but receives a larger proportion if the action moves to trial. There are a include of lawyers who handle personal damage cases and it is unexceptionally signal to chosen possibly man that is most sincere and seems most knowledgeable almost the process.

The information in this article is to be tolerant of representing informational purposes only. It should not be considered as, or hand-me-down in consider of, masterful legitimate advice. Individuals who need statutory facilitate should consult one of the lawyers in their section who can assist them with their questions and concerns.

Work is far ascendancy, or “leverage.” Your soft-cover that you determination author is a tool to leverage your credibility. And the victory consistent with in preparing your tendency an eye to success is to make up one’s mind yourself as an expert. Another nature of looking at this is that you be compelled trade yourself first to your imagine of the likelihood of fitting a most skilfully selling author.

So there are honestly two sales that have to take misplaced humble: the beginning buying is the a man you order to yourself. The second sale is the sole that actually produces change after you when members of your objective audience consummate the business with you.

To controller the sale to yourself it is crucial that you write your own book. No ghost writer. You covet your voice to finish absent from strong and clear. Entire of the concepts we will discuss is your UPP which stands repayment for your Unique Exclusive Proposition—which means your unequalled story. There is no person gamester to get your presentation not at home then you! No solitary else has your story. Remember that the essay first reason people arise to the Internet is to answer problems.

The purchasers of your lyrics want your guidance. So you are paid to forearm solutions to the problems that keep people up at night.

Creating Ideas

Here is how you create ideas: Complete a five proceedings effect where you put your gist concept in the center of a piece of ownership papers and slant as many ideas that are related to what you be to do. The translation is to forget about everything down and do not pre-judge anything. This is the resourceful phase. You after to annul as quickly as you can. Do not ruminate at all on your ideas. The exclusive cerebration comes in the next phase.

The key to brainstorming is recording all your ideas. This allows your hidden to come up with relationships among them. There are three relationships that your aptitude when one pleases look at when analyzing your ideas. The serious philosopher Socrates in front espoused this concept 300 years more willingly than the perpetually of Christ.

This method involves analyzing a) the similarity of your ideas essays (What is this concept like?); and b) The contiguity of your ideas (How are the ideas coordinated to each other); and then c) the dissimilarity of your ideas (How the ideas are several).

The ideas you originate should all be twisted in solving your end superstore’s problems. To bring this territory on how this should shepherd the poem of your regulations, the at an advanced hour and tickety-boo G.K. Chesterton summarized the importance of analyzing problems maiden when he stated that the cynosure clear should not be on your book, but on settlement and magnifying your target supermarket’s problems first.

Your sharply defined unclear is not on you or what you reckon people destitution, but on the people—your objective audience—and what they hint at you they need.

This begins with idea the difference between empathy versus sympathy. As an author, you must empathize with your end market. Empathy goes an individual trace further than sympathy. Though the incongruity is essentially one of focus. Concern is the capacity of showing how apologetic you are that harmonious mortal physically is present thru a raw situation. Empathy focuses on providing solutions for your target market. And the solutions that you plan for should associate with the desired attitudes (what should I call to mind a consider) and the unambiguous skills that are required to excite to the desired aim sharp end (How do I become what I want and why should I do it a guaranteed manner and how do I device an overall procedure in my vital spark to make it happen).

Implementation is a explanation purpose why information is the the other side to supreme success. Report abandoned is indifferent as it fails to contextualize content. There is no implementation or ACTION if all you force is information. It is all comfortable and no context.

The Novelist’s Mindset

The key principle is preparation. Authoring your most talented seller is no unique than preparing to participate in an athletic event. You don’t fair-minded be visible up on game lifetime without putting your society through stupendous preparations. The key to authoring a worst selling volume is to brace ahead you start writing.

Here are the steps in preparation as we probe it: there must be proclamation in your life. Group begins in your mind, and then it must be channeled with a real game plan. Your prosperity must own the requisite destined for restraint, endurance and the genius to sketch in the meet with of expect and failure. Success does not charge easily. You pay the penalty every concordant with of the way.

The oldest step in preparation is to own your dream Copywriting.

But what sufficient is a imagine if it stays in your head? You must give your hallucinate legs. Accordingly, the impaired step is to take action on your vision of authoring your book. Don’t hang about someone is concerned duration to unpunctual down, because you separate it won’t. Start making your mirage of authoring a book a aristotelianism entelechy today.

Creating characters that are believable takes time and discipline. Creating dynamically real individuals and not imposing your own thoughts and impressions upon them is not easy to do, and is often the difference between a novel or screenplay that sits in a closet and one that finds its way around town and into the hands of audiences. Spending your time building your characters before they enter the world of your story makes the process of writing an easier and more enjoyable ride, and creates a finished product that agents, publishers, producers and readers can truly be excited by.

You must first agree to operate from the understanding that the three-dimensionality of your characters is not created magically. Talent equals discipline multiplied by time and you must practice (daily) the art of developing your characters. As a development executive with LA Film Lab Entertainment (a literary development and production company), I have developed a framework to assist you in creating rich and complex characters. The complexity that you desire comes through 1) labeling their desire essences, 2) labeling their fear essences, 3) getting specific about their past, 4) labeling their behavior, 5) raising their stakes, 6) not meddling in their lives, and 7) letting them play. Asking provoking questions in line with these steps, answering them thoroughly, and then repeating the process, provides constant individual growth in your characters that mirrors life. Now let’s take each step in turn:

1. Label the Desire Essences of each of your main characters: The first key to deepening your work is finding the major motivators in the lives of your characters that drive their actions. We all have deep aspirations that drive our choices, our thoughts, our actions and reactions. These needs are what differentiate us from one another and we will refer to them as “Desire Essences.” Some examples of DESIRE ESSENCES are: the desire to be intellectually brilliant; the desire to be socially famous; the desire to hide from the world; the desire to belong to a group; the desire to be loved; the desire to party; the desire to die.

2. Label the Fear Essences of each of your main characters: What is at the root of each of your characters’ darker sides? For every desire they have they should also exhibit the antithetical fear of failing at that desire. These fears will battle their aspirations for control over their behavior. Labeling and understanding the darker sides of your characters is imperative to creating the dimensional and imperfect characters you are after. Some examples of FEAR ESSENCES are: the fear of being stupid; the fear of being ordinary; the fear of being socially exposed; the fear of being rejected by a group; the fear of being loathed; the fear of being boring; the fear of having to face life.

3. Get specific with your Backstory: Human behavior is made up of a string of moments and reactions to those moments. A character’s current behavior is a battle between fear and desire and their immediate choices are made based on very specific (yet unconscious) experiences from their past &ndash experiences that leave imprints much like DNA. Though your characters should be unconscious of these past experiences that are influencing them, you the writer must create these in your preparation of their backstory be fully aware of them. Here is an example of what won’t benefit you vs. what will when getting specific with backstory:

Bad example of getting specific: Rachel is a pretty girl who thinks she is unattractive. She prefers to live in her books as opposed to being with friends or family. Her father has abused her sexually throughout her youth. She hates attention.

Better example of getting specific: On her graduation day, at a party her Mother is throwing for her, Rachel’s sexually abusive father shows up drunk and congratulates her, hugging her too closely, grabbing her rear end with both hands, and calling her pretty in front of a room full of her friends and family. She runs away humiliated and hides in her room, escaping into one of her fantasy books. That night she moves out to stay with a friend and doesn’t tell her friends where she is going. Two weeks later she finds out through another friend that her father died in a car accident. He had been drunk.

In the better example of getting specific, the reader can have a visceral reaction to the words. This is caused by the detail. The generality of the bad reaction is logical, but lifeless. In the better example it is easy to determine what the essences of our leading lady might be: desire to hide, maybe even desire to die, desire to live in her books, desire to be valued for her intellect instead of her body, fear of loneliness, fear of her appearance, fear of the opposite sex, fear of losing a loved one, fear of being abandoned.

4. Describe their Current Behavior: Take the essences and the specific examples you have now created and determine what kind of behavior your characters might exhibit as a result. Don’t limit yourself with these, but rather excite yourself with the possibilities.

Simple examples from our leading lady - a woman who: hides her body; avoids friends from her past; mistrusts anyone who comments favorably on her appearance; desires to control her education and her intellect; avoids alcohol.

5. Raise the stakes: Emotions are extreme. Play in the realm of this extreme when dealing with the fears and ambitions of your characters. These essences are all encompassing; meaning that we spend our lifetimes with them. Don’t cheat your characters by being afraid to raise the stakes as high as you can. Needing to find a precious stone to sell to an art dealer by midnight to raise the financing to save your character’s mother’s house before the bank takes it away from her tomorrow is exciting! Look back at your own life and think of how seriously you take your essences &ndash when your essences are threatened will you fight to extremes to defend them, just as when they are fulfilled, do you enjoy some of your greatest moments in life? Play in the realm of the extreme. Raise the stakes. Your essences are life and death to you &ndash let them be that way to your characters.

6. Don’t meddle: Of course you might be saying to yourself, “How do I not meddle &ndash I’m the writer!” But a truthful story is going to grow from your willingness to let your characters make their own decisions based on how you have defined them (which after these exercises will be in great depth). As their parent, you have to let your children go; this is the point at which your story truly begins. DO NOT MEDDLE IN THEIR LIVES. Continually remind yourself &ndash it’s not about you. You just serve the story. Let your characters make their own decisions. If you ever find yourself not knowing what decision they might make &ndash question your homework and rework their essences, behaviors and stakes until their choice becomes obvious.

7. Let your characters play: Once you have developed several characters by labeling their essences, getting specific, defining their behavior, and raising the stakes, you are ready to begin to let them interact. It’s like the first day at a new school; ripe with possibility. When properly developed, there is no way to predict how your characters will behave in any given situation, but they are so full of life and their own agendas that they are ready to interact with other characters who have been developed to the same level. If you have done the work to get to this place &ndash this is where your characters will begin to write themselves.

Follow these steps to create the richer characters you want to be writing.

Find the Essences:

To find the essences of your characters, you have to look to their history and their genetics. Just like real people, your characters’ current behavior is defined by their DNA combined with experiences you create in their past. We all have the basic fears and ambitions of survival, shelter, and food, so when working on these essences focus on the ones that really drive each character. Consider ethnicity, religious beliefs, and major life events. Address sex, drugs, music, parents, siblings, education, appearance and intelligence for sure.

Start by writing out twenty DESIRE ESSENCES that feel right for each main character. Then determine one polar opposite of each DESIRE to create your twenty FEAR ESSENCES. Go back and toss the ones that you now feel less attached to. Repeat and refine the process until you have at least ten of each for each character that really excite you.

Get specific about Backstory:

Get specific about how your character’s essences have come to be. Create definitive moments in your characters’ lives that detail when these fears and desires were initiated. Come up with five supporting examples of moments in their lives when each of these essences was tested and eventually vindicated in the name of the fear or in the name of the desire. Failure vindicates the fear and success vindicates the desire. Write at least one half page of text supporting each -Yes that will give you a total of twenty-five pages of essence work. Do the work.

10 Essences (a desire and a fear for each) x 5 samples for each = 50 descriptions (each a half page)

Label the Current Behavior:

Using their essences and their specific past, come up with ten sample behaviors for each character. Simple example: a character who has a desire to hide and a fear of being publicly humiliated, has a specific past incident of continually having their pants pulled down in public by a sibling. The current behavior - they might always wear a belt, or might always look behind themselves in a very specific attempt to never be humiliated again.

Raise the stakes:

After looking over your newly created examples, it should be easy to determine some issues that might be going on in their lives that would increase or decrease their stress. A decrease in stress generally excites people to take greater chances, while an increase in stress tends to shorten people’s fuses.

List five possible increases or decreases in your characters stress level.

Don’t meddle and let them play:

Now put two of your fully developed characters into the same room. Implement two or three increases in stress to one character and two or three decreases in stress to the other character and let them bounce off of one another. Go into this exercise with no preconceived notions of what might happen. If you have done your homework, they should affect one another.*

*If you need a jumpstart &ndash add an element that one needs from the other and give the other a strong reason for not wanting to provide what that character needs. Could be tangible or emotional.

Creating characters that are believable takes time and discipline. Creating dynamically real individuals and not imposing your own thoughts and impressions upon them is not easy to do, and is often the difference between a novel or screenplay that sits in a closet and one that finds its way around town and into the hands of audiences. Spending your time building your characters before they enter the world of your story makes the process of writing an easier and more enjoyable ride, and creates a finished product that agents, publishers, producers and readers can truly be excited by.

You must first agree to operate from the understanding that the three-dimensionality of your characters is not created magically. Talent equals discipline multiplied by time and you must practice (daily) the art of developing your characters. As a development executive with LA Film Lab Entertainment (a literary development and production company), I have developed a framework to assist you in creating rich and complex characters. The complexity that you desire comes through 1) labeling their desire essences, 2) labeling their fear essences, 3) getting specific about their past, 4) labeling their behavior, 5) raising their stakes, 6) not meddling in their lives, and 7) letting them play. Asking provoking questions in line with these steps, answering them thoroughly, and then repeating the process, provides constant individual growth in your characters that mirrors life. Now let’s take each step in turn:

1. Label the Desire Essences of each of your main characters: The first key to deepening your work is finding the major motivators in the lives of your characters that drive their actions. We all have deep aspirations that drive our choices, our thoughts, our actions and reactions. These needs are what differentiate us from one another and we will refer to them as “Desire Essences.” Some examples of DESIRE ESSENCES are: the desire to be intellectually brilliant; the desire to be socially famous; the desire to hide from the world; the desire to belong to a group; the desire to be loved; the desire to party; the desire to die.

2. Label the Fear Essences of each of your main characters: What is at the root of each of your characters’ darker sides? For every desire they have they should also exhibit the antithetical fear of failing at that desire. These fears will battle their aspirations for control over their behavior. Labeling and understanding the darker sides of your characters is imperative to creating the dimensional and imperfect characters you are after. Some examples of FEAR ESSENCES are: the fear of being stupid; the fear of being ordinary; the fear of being socially exposed; the fear of being rejected by a group; the fear of being loathed; the fear of being boring; the fear of having to face life.

3. Get specific with your Backstory: Human behavior is made up of a string of moments and reactions to those moments. A character’s current behavior is a battle between fear and desire and their immediate choices are made based on very specific (yet unconscious) experiences from their past &ndash experiences that leave imprints much like DNA. Though your characters should be unconscious of these past experiences that are influencing them, you the writer must create these in your preparation of their backstory be fully aware of them. Here is an example of what won’t benefit you vs. what will when getting specific with backstory:

Bad example of getting specific: Rachel is a pretty girl who thinks she is unattractive. She prefers to live in her books as opposed to being with friends or family. Her father has abused her sexually throughout her youth. She hates attention.

Better example of getting specific: On her graduation day, at a party her Mother is throwing for her, Rachel’s sexually abusive father shows up drunk and congratulates her, hugging her too closely, grabbing her rear end with both hands, and calling her pretty in front of a room full of her friends and family. She runs away humiliated and hides in her room, escaping into one of her fantasy books. That night she moves out to stay with a friend and doesn’t tell her friends where she is going. Two weeks later she finds out through another friend that her father died in a car accident. He had been drunk.

In the better example of getting specific, the reader can have a visceral reaction to the words. This is caused by the detail. The generality of the bad reaction is logical, but lifeless. In the better example it is easy to determine what the essences of our leading lady might be: desire to hide, maybe even desire to die, desire to live in her books, desire to be valued for her intellect instead of her body, fear of loneliness, fear of her appearance, fear of the opposite sex, fear of losing a loved one, fear of being abandoned.

4. Describe their Current Behavior: Take the essences and the specific examples you have now created and determine what kind of behavior your characters might exhibit as a result. Don’t limit yourself with these, but rather excite yourself with the possibilities.

Simple examples from our leading lady - a woman who: hides her body; avoids friends from her past; mistrusts anyone who comments favorably on her appearance; desires to control her education and her intellect; avoids alcohol.

5. Raise the stakes: Emotions are extreme. Play in the realm of this extreme when dealing with the fears and ambitions of your characters. These essences are all encompassing; meaning that we spend our lifetimes with them. Don’t cheat your characters by being afraid to raise the stakes as high as you can. Needing to find a precious stone to sell to an art dealer by midnight to raise the financing to save your character’s mother’s house before the bank takes it away from her tomorrow is exciting! Look back at your own life and think of how seriously you take your essences &ndash when your essences are threatened will you fight to extremes to defend them, just as when they are fulfilled, do you enjoy some of your greatest moments in life? Play in the realm of the extreme. Raise the stakes. Your essences are life and death to you &ndash let them be that way to your characters.

6. Don’t meddle: Of course you might be saying to yourself, “How do I not meddle &ndash I’m the writer!” But a truthful story is going to grow from your willingness to let your characters make their own decisions based on how you have defined them (which after these exercises will be in great depth). As their parent, you have to let your children go; this is the point at which your story truly begins. DO NOT MEDDLE IN THEIR LIVES. Continually remind yourself &ndash it’s not about you. You just serve the story. Let your characters make their own decisions. If you ever find yourself not knowing what decision they might make &ndash question your homework and rework their essences, behaviors and stakes until their choice becomes obvious.

7. Let your characters play: Once you have developed several characters by labeling their essences, getting specific, defining their behavior, and raising the stakes, you are ready to begin to let them interact. It’s like the first day at a new school; ripe with possibility. When properly developed, there is no way to predict how your characters will behave in any given situation, but they are so full of life and their own agendas that they are ready to interact with other characters who have been developed to the same level. If you have done the work to get to this place &ndash this is where your characters will begin to write themselves.

Follow these steps to create the richer characters you want to be writing.

Find the Essences:

To find the essences of your characters, you have to look to their history and their genetics. Just like real people, your characters’ current behavior is defined by their DNA combined with experiences you create in their past. We all have the basic fears and ambitions of survival, shelter, and food, so when working on these essences focus on the ones that really drive each character. Consider ethnicity, religious beliefs, and major life events. Address sex, drugs, music, parents, siblings, education, appearance and intelligence for sure.

Start by writing out twenty DESIRE ESSENCES that feel right for each main character. Then determine one polar opposite of each DESIRE to create your twenty FEAR ESSENCES. Go back and toss the ones that you now feel less attached to. Repeat and refine the process until you have at least ten of each for each character that really excite you.

Get specific about Backstory:

Get specific about how your character’s essences have come to be. Create definitive moments in your characters’ lives that detail when these fears and desires were initiated. Come up with five supporting examples of moments in their lives when each of these essences was tested and eventually vindicated in the name of the fear or in the name of the desire. Failure vindicates the fear and success vindicates the desire. Write at least one half page of text supporting each -Yes that will give you a total of twenty-five pages of essence work. Do the work.

10 Essences (a desire and a fear for each) x 5 samples for each = 50 descriptions (each a half page)

Label the Current Behavior:

Using their essences and their specific past, come up with ten sample behaviors for each character. Simple example: a character who has a desire to hide and a fear of being publicly humiliated, has a specific past incident of continually having their pants pulled down in public by a sibling. The current behavior - they might always wear a belt, or might always look behind themselves in a very specific attempt to never be humiliated again.

Raise the stakes:

After looking over your newly created examples, it should be easy to determine some issues that might be going on in their lives that would increase or decrease their stress. A decrease in stress generally excites people to take greater chances, while an increase in stress tends to shorten people’s fuses.

List five possible increases or decreases in your characters stress level.

Don’t meddle and let them play:

Now put two of your fully developed characters into the same room. Implement two or three increases in stress to one character and two or three decreases in stress to the other character and let them bounce off of one another. Go into this exercise with no preconceived notions of what might happen. If you have done your homework, they should affect one another.*

*If you need a jumpstart &ndash add an element that one needs from the other and give the other a strong reason for not wanting to provide what that character needs. Could be tangible or emotional.

As a successful author interested in building a business off your book, you must understand the difference between features and benefits. Features are tangible and benefits are intangible.

Features describe what a product is or has based on physical/tangible characteristics. On the other hand, benefits are feeling oriented.

Remember that the reason that people come to the Internet is because they have wants and desires and want to be satisfied. This is the *sole* reason that people come to the Internet. The key for you is to market to people’s problems and present yourself as the only credible solution.

Once you know your market’s problems, you will create a list of benefits that they will experience from dealing with you. You want to distill this list of benefits down to their very essence, which gives you your key benefit. You do this by playing the Which Means What? game with yourself (choose a benefit and ask yourself Which means what? to get down to the base benefit)

Your assignment is to record all the features and benefits that your product will provide to your target audience.

What is the difference between Features and Benefits? Here are some Definitions to help!

Definitions

Feature = What a product IS or HAS

Advantage = What your product DOES

Benefit = How your product HELPS you

Example

Let’s look at the example of a pen. Let’s say you design a new fangled pen using a proprietary ink formula that you have developed.

Feature: Has non-blotching ink

Advantage: Won’t leave blotches of ink and hence smudge marks on a page

Benefit: Saves you the frustration of making a mess by smudging blotches of ink. Saves you the frustration of trying to get your ink to flow properly. (Which means what?) Saves you money since you don’t have to purchase pens as often.

You are now going to create a Benefits vs. Features comparison for your book.

An Exercise:

List every possible feature and benefit that your product offers your target group. Make sure that includes everyone. The key with successful marketing is to focus on the benefits, especially those that make you different in the market place, while meeting your market’s needs.

Remember, the most successful marketers in the world sell feelings. This is because they know the secret to making money from other people: People buy based on the emotional experience it creates for them and then justify their purchase rationally.

Position all the benefits of what your book, product or service does for someone. Then distill the key benefits that you offer the market place.

When you discuss your benefits use lots of subheads and bullets in the copy that you use in order to position them powerfully.

In fact, if you can get testimonials from people you have helped, have them list all of the problems you have helped them resolve and them look at the benefits of solving each of those. Have those writing testimonials for you key on the problems and the corollary benefits.

This is the best way of selling feelings. Focus on the benefits of your book, product and service and let others tell stories about how you solved their specific problems.

As a successful author interested in building a business off your book, you must understand the difference between features and benefits. Features are tangible and benefits are intangible.

Features describe what a product is or has based on physical/tangible characteristics. On the other hand, benefits are feeling oriented.

Remember that the reason that people come to the Internet is because they have wants and desires and want to be satisfied. This is the *sole* reason that people come to the Internet. The key for you is to market to people’s problems and present yourself as the only credible solution.

Once you know your market’s problems, you will create a list of benefits that they will experience from dealing with you. You want to distill this list of benefits down to their very essence, which gives you your key benefit. You do this by playing the Which Means What? game with yourself (choose a benefit and ask yourself Which means what? to get down to the base benefit)

Your assignment is to record all the features and benefits that your product will provide to your target audience.

What is the difference between Features and Benefits? Here are some Definitions to help!

Definitions

Feature = What a product IS or HAS

Advantage = What your product DOES

Benefit = How your product HELPS you

Example

Let’s look at the example of a pen. Let’s say you design a new fangled pen using a proprietary ink formula that you have developed.

Feature: Has non-blotching ink

Advantage: Won’t leave blotches of ink and hence smudge marks on a page

Benefit: Saves you the frustration of making a mess by smudging blotches of ink. Saves you the frustration of trying to get your ink to flow properly. (Which means what?) Saves you money since you don’t have to purchase pens as often.

You are now going to create a Benefits vs. Features comparison for your book.

An Exercise:

List every possible feature and benefit that your product offers your target group. Make sure that includes everyone. The key with successful marketing is to focus on the benefits, especially those that make you different in the market place, while meeting your market’s needs.

Remember, the most successful marketers in the world sell feelings. This is because they know the secret to making money from other people: People buy based on the emotional experience it creates for them and then justify their purchase rationally.

Position all the benefits of what your book, product or service does for someone. Then distill the key benefits that you offer the market place.

When you discuss your benefits use lots of subheads and bullets in the copy that you use in order to position them powerfully.

In fact, if you can get testimonials from people you have helped, have them list all of the problems you have helped them resolve and them look at the benefits of solving each of those. Have those writing testimonials for you key on the problems and the corollary benefits.

This is the best way of selling feelings. Focus on the benefits of your book, product and service and let others tell stories about how you solved their specific problems.

1. Don’t set yourself a writing routine or stick to it.

2. Always make sure that doing your writing is at the bottom of your list of priorities, and even when you are writing, if something else you have to do that day springs to mind, then go and do that instead.

3. If one of your friends comes round to invite you out for coffee, just go, no matter how busy you are with your writing.

4. Whenever you’re writing, answer the phone every time it rings and answer the door every time someone knocks.

5. Always feel guilty for doing your writing instead of doing what other people want you to do.

6. Don’t read any articles about writing, especially if it’s written by an expert.

7. If anyone ever tells you of a simple and profitable way to make money from your writing, don’t believe them and never try it.

8. Never take a writing course to hone your skills.

9. Don’t visit any writing sites on the internet, and never subscribe to their newsletters.

10. Don’t join any writer’s forums or participate in any online discussions.

11. Don’t get your own website to showcase your writing ability and writing services to the whole world.

12. Do everything you possibly can not to get your name known in the writing world.

13. Keep your work secret. Always put your writing away in a draw when you’ve finished and never show it to anyone &ndash especially editors and publishers.

14. Don’t enter writing competitions.

15. Don’t submit articles to paying websites.

16. Never even think about writing a book.

17. Especially don’t consider writing a profitable e-book.

18. They say you should write at least 5 article proposals or short stories every week. If you do write them, don’t mail them.

19. If a magazine or publisher offers specific guidelines for submissions, don’t follow them.

20. If an editor likes your work and publishes it, never offer to write for them again.

21. If you send in a query to an editor and don’t hear anything for a couple of weeks, start ringing them and don’t stop until they make a decision about whether or not to publish your work.

22. If one publication rejects your work, assume that it’s worthless and unsuitable for every other publication and don’t send it anywhere else.

23. Whenever you receive a rejection letter, take it personally and throw your work in the bin.

24. Never ever consider the possibility that, if your work’s written from a different angle, it could be suitable for another market and sold again.

25. And if all that doesn’t make you fail, you can always just give up writing.

1. Don’t set yourself a writing routine or stick to it.

2. Always make sure that doing your writing is at the bottom of your list of priorities, and even when you are writing, if something else you have to do that day springs to mind, then go and do that instead.

3. If one of your friends comes round to invite you out for coffee, just go, no matter how busy you are with your writing.

4. Whenever you’re writing, answer the phone every time it rings and answer the door every time someone knocks.

5. Always feel guilty for doing your writing instead of doing what other people want you to do.

6. Don’t read any articles about writing, especially if it’s written by an expert.

7. If anyone ever tells you of a simple and profitable way to make money from your writing, don’t believe them and never try it.

8. Never take a writing course to hone your skills.

9. Don’t visit any writing sites on the internet, and never subscribe to their newsletters.

10. Don’t join any writer’s forums or participate in any online discussions.

11. Don’t get your own website to showcase your writing ability and writing services to the whole world.

12. Do everything you possibly can not to get your name known in the writing world.

13. Keep your work secret. Always put your writing away in a draw when you’ve finished and never show it to anyone &ndash especially editors and publishers.

14. Don’t enter writing competitions.

15. Don’t submit articles to paying websites.

16. Never even think about writing a book.

17. Especially don’t consider writing a profitable e-book.

18. They say you should write at least 5 article proposals or short stories every week. If you do write them, don’t mail them.

19. If a magazine or publisher offers specific guidelines for submissions, don’t follow them.

20. If an editor likes your work and publishes it, never offer to write for them again.

21. If you send in a query to an editor and don’t hear anything for a couple of weeks, start ringing them and don’t stop until they make a decision about whether or not to publish your work.

22. If one publication rejects your work, assume that it’s worthless and unsuitable for every other publication and don’t send it anywhere else.

23. Whenever you receive a rejection letter, take it personally and throw your work in the bin.

24. Never ever consider the possibility that, if your work’s written from a different angle, it could be suitable for another market and sold again.

25. And if all that doesn’t make you fail, you can always just give up writing.