Why Ezine Articles Make Me Dance

Written by Timothy Ward

I wrote my first ezine article in December 2001. I titled it 'The Power of Online Friendship'. It was five paragraphs long and contained 3 typos. I used it to promote 'The Free Promotion Tips Ezine', an ezine of mine that has long since faded intorepparttar Great Void of Cyberspace. I still think it's one of my most moving articles.

I danced aroundrepparttar 149411 house, riverdance-style, for about 10 minutes when I readrepparttar 149412 email from Chuck Bowden,repparttar 149413 editor of Your Ad Space Ezine, who promised to use my article. That was quite possibly one ofrepparttar 149414 happiest days of my adult life.

I'm aware that most of you have more thrilling lives than me and, therefore, would not find getting an article published online to be a crowning acheivement in your life. I, however, live a life of loneliness and solitude and would thank you not to rub your lives in my face.

I've written many more ezine articles since then and have had most of them used by various ezines and websites. Sometimes when I'm tired of sorting out spam or signing up for free promotional programs just to get 50 free visitors to my site, I like to type my name, followed byrepparttar 149415 word 'articles' into Yahoo or Google. I take a few moments to go throughtrepparttar 149416 results and see where some of my articles have been used.

How to Break In and Succeed as a Screenwriter

Written by Brian Konradt

Screenwriting is a competitive trade. To distinguish yourself as a prize-winning writer you need to master organizational skills, take creative risks, and learn how best to present your final product. Forrepparttar aspiring screenwriter, Tom Lazarus' book, "Secrets of Film Writing" is one ofrepparttar 149166 best. An exceptional screenwriter with five produced screenplays, Lazarus developed this book for beginning writers enrolled in his classes at UCLA.

This article examines a few ofrepparttar 149167 many techniques outlined in "Secrets of Film Writing" and provides examples of screenwriters who succeeded with Tom Lazarus' guidelines.

ORGANIZATION IS KEY Master organization and you're closer to producing a stellar screenplay, not a mediocre one. Ask yourself these questions:

1) Doesrepparttar 149168 screenplay have a clear beginning, middle and end? 2) Doesrepparttar 149169 story drift aimlessly or does it make its point successfully?

These may seem like basic questions, yet many screenwriters grapple with organizational problems.

Lazarus addresses this issue in his book; he recommends writers use one of four organizational methods to ensure their screenplays flow smoothly: outlines, treatments, index cards, and scene lists. All four of these tools are equally effective. Writers need to be discreet to decide which organizational crutch best suits their needs.

In writingrepparttar 149170 screenplay forrepparttar 149171 Hollywood feature film "Stigmata," Lazarus chose to use a scene list for organizational support since he already had specific ideas aboutrepparttar 149172 chronology and action details of his story. To writers who have difficult organizing and prefer a different method, Lazarus says, "Go for it, because no one is going to see it. It's a process. There is no wrong way."

MAKE IT INTERESTING Writing is a process. Great screenwriters take creative risks. Without an interesting story, evenrepparttar 149173 most organized screenplay will be unmarketable. The goal should never be to copy another writer's style; instead exercise your own imagination and experiment with different ways to spark your story.

When Warner Brothers hired Tim McCanlies to adapt Ted Hughes' famous English novel "The Iron Man" forrepparttar 149174 screen, he struggled with whether he should remain true to Hughes' vision or develop a new story based loosely onrepparttar 149175 original book's events. McCanlies chose to do something risky and wildly creative; he Americanized "The Iron Man" by settingrepparttar 149176 story inrepparttar 149177 1950s duringrepparttar 149178 Cold War terror and renamed it "The Iron Giant." His calculated risk proved worthwhile. American audiences related torepparttar 149179 film and appreciated its examination of an unusual time in their nation's history. Also, English audiences embraced "The Iron Giant" despite its variation fromrepparttar 149180 original English text and awarded itrepparttar 149181 2000 BAFTA Award for best feature film.

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