Custom Essay Writing Services

In 1865 at the 5th Worldpostkonference in Karlsruhe, Germany there was the first suggestion to induct a kind of “postpiece” with an integrated postmark. But this suggestion was rejected because of moral aspects.

At the end of 1869 in Austria there was an idea of an “correspondence-card” with an imprinted postmark. This card did cost 2 Kreuzer in contrast to a letter with 5 Kreuzer. In 1870 this idea was picked up in Germany. They have educed forms that had to prepay with a postmark though. Particularly in the German-French War in 1870/71 lots of cards were send via field post. These cards mostly showed landscape-motives of the conquered areas.

In 1872 the name “postcard” was born and for the first time firms did photos on the cards. One year later these cards were also available with imprinted postmarks. At the turn of the century postcards were offered in tobacco- and stationery shops.

Types of postcards:

Picture postcards:

The front-side of the postcard shows one or several photos of a holiday resort. On the back-side the sender has space for writing a few nice sentences to the receiver. The first picture postcard was send from a printer and bookseller named Albert Schwartz at the 10th July 1870.

Reply cards:

In 1872 the first postcard with an attached reply card appeared. Later these cards were also sold with imprinted postmark. That meant, that the sender also paid the postage for the receiver. In 1992 the production of these types of cards was stopped.

Film postcards:

On these cards you can find portraits of famous film stars and film-scenes. This idea came from the Ross-publishing house in the years between 1910 and 1920. About 40000 motives were published and today these cards are still popular collectibles.

Serrated postcards:

Since the 1st June 1913 postcards of an ordained series were delivered in form of stripes and later in sheets, too. Because the writing machine was more and more omnipresent in this time, you could write on these stripes one after another without changing the card. Later the serrated postcard was sold with a reply card, too.

World postcards:

Since the 1st July 1875 it was allowed to send postcards internationally. On these cards the imprints were of another language, for example in French. Later these cards were also available with a replay card. But it was more expensive because of postage increase due to a special handling like airmail or registered mail for example.

E-cards:

The

In 1865 at the 5th Worldpostkonference in Karlsruhe, Germany there was the first suggestion to induct a kind of “postpiece” with an integrated postmark. But this suggestion was rejected because of moral aspects.

At the end of 1869 in Austria there was an idea of an “correspondence-card” with an imprinted postmark. This card did cost 2 Kreuzer in contrast to a letter with 5 Kreuzer. In 1870 this idea was picked up in Germany. They have educed forms that had to prepay with a postmark though. Particularly in the German-French War in 1870/71 lots of cards were send via field post. These cards mostly showed landscape-motives of the conquered areas.

In 1872 the name “postcard” was born and for the first time firms did photos on the cards. One year later these cards were also available with imprinted postmarks. At the turn of the century postcards were offered in tobacco- and stationery shops.

Types of postcards:

Picture postcards:

The front-side of the postcard shows one or several photos of a holiday resort. On the back-side the sender has space for writing a few nice sentences to the receiver. The first picture postcard was send from a printer and bookseller named Albert Schwartz at the 10th July 1870.

Reply cards:

In 1872 the first postcard with an attached reply card appeared. Later these cards were also sold with imprinted postmark. That meant, that the sender also paid the postage for the receiver. In 1992 the production of these types of cards was stopped.

Film postcards:

On these cards you can find portraits of famous film stars and film-scenes. This idea came from the Ross-publishing house in the years between 1910 and 1920. About 40000 motives were published and today these cards are still popular collectibles.

Serrated postcards:

Since the 1st June 1913 postcards of an ordained series were delivered in form of stripes and later in sheets, too. Because the writing machine was more and more omnipresent in this time, you could write on these stripes one after another without changing the card. Later the serrated postcard was sold with a reply card, too.

World postcards:

Since the 1st July 1875 it was allowed to send postcards internationally. On these cards the imprints were of another language, for example in French. Later these cards were also available with a replay card. But it was more expensive because of postage increase due to a special handling like airmail or registered mail for example.

E-cards:

The

Many struggling writers come to me asking what they can do to improve their writing. They continually face problems with sentence and paragraph structure as well as surface errors such as spelling, grammar, and punctuation. They know the basic rules of English and can often be very effective helping other writers revise their work but somehow manage to overlook the errors in their own drafts.

It is a common problem and the solution is a dirty little secret among writers. It is a dirty secret because it is so simple and writers often feel foolish practicing the method — read your writing out loud.

The human brain is very sophisticated. When you read to yourself then it will automatically make corrections for you. This means that you will read the words, structure and meaning you intended to create whether or not you actually achieved your goal. However when you read out loud your brain cannot trick your ears and you will hear awkward sentence structure. The process of reading out loud will also allow your eyes to catch surface problems that you might skim over when reading to yourself.

While employing the simple technique of reading your work out loud to catch your writing errors can help you improve your work, it is only one technique. Often the root cause of many writing problems lies with the writer’s individual writing process — or the lack of one. Spending time developing a process for your writing is the single most effective way to improve the quality of writing experience as well as the work it produces.

Even after you have developed your personal writing process you must also allow yourself time to brainstorm, write, revise and edit. Too often the reason that revision and editing are not effective is because the writer attempts these processes too close in time to the initial draft. Allow yourself at least a day but preferably longer between drafts, revision and editing and you will be amazed at the results you can achieve.

Today most writers tend to draft electronic versions of their paper. I do so myself. However I know that I can more effectively revise and edit on the printed page. When I complete a draft I print it out and then set it aside to let it ferment. After returning to the project I am able to bring a fresher eye due to our time apart as well as different perspective because the words are in print rather than on screen. Give it a try and see how it works for you.

The technique of reading your work out loud may be simple but it is extremely effective and employed by writers at all levels and of all ages, however it works best when you combine it with an effective writing process, allow enough time for an adequate drafting and revision process, and revise and edit drafts on the printed page. You can become a better writer if you employ these simple strategies and tips.

Self-publishing has become common practice for many writers who want accolades of having a book published, no matter who publishes it. Writers choose self-publishing for various reasons. Many writers desire the freedom and business aspects of publishing work independently. A self-published writer is one who is in control of every aspect of their published work. The publishing industry defines self-publishing as authors publishing their own books or other media, instead of with a third-party publisher. Today’s technology has increased the pool of self-publishers, but it still represents only a small percentage of the publishing industry in terms of sales. The proliferation of media channels, such as blogging, video, and audio content, has contributed to the increase in self-publishers.

THE BUSINESS OF SELF-PUBLISHING

The business of self-publishing books and other media is different from any other business. The absence of a traditional publisher makes self-publishing unique. The author of the content takes on the role of the traditional publisher. The author controls the editorial content, arranges for printing, markets the material, and distributes the material to consumers and retailers. Self-publishers publish their books in printed form, or choose print-on-demand with no inventory. Many self-published authors decide to subsidize their work rather than making money from it. Digital printing technology has evolved self-publishing into digital photo book printing. Self-publishers are able to get individually printed photo books from firms like Apple’s iPhoto, FotoInsight, Snapfish, and Printing-1.

THE MOTIVES OF SELF-PUBLISHING

Many writers have varied motives to self-publish. One common reason is the writer’s work is not of interest to the commercial publisher, and otherwise not marketable. Another common reason is the writer prefers to retain complete editorial control over content. Many writers are unwilling to compromise editing of their work, and some writers prefer to have their work presented “as is.” Literary agents and book agents may deny publishing a book because the author is unknown and does not have a substantial resume. Self-publishing may also be an alternative for writers who have written material on a popular topic but the topic is only interesting in a small geographic area. Literary agents and book agents may also deny publication because the book addresses an obscure topic in which few people are interested. Writers of controversial works may also choose to self-publish, as many traditional publishers refuse to work with controversial writings. Some authors choose self-publishing because they want a larger royalty from retail sales.

IS SELF-PUBLISHING A SHORTCUT TO SUCCESS?

Self-publishing is not a shortcut to having a printed book. Depending on what your goals are, it may or may not be a direction you would like to take. In the hard copy world, self-publishing is costly. Getting a book into print costs more money than many writers want to spend. This is why the Internet is a blessing — it’s free. You can either start up a free website of your own and post your novel, or pay a small monthly sum and sell your writing online. If you can write well enough to catch someone’s attention, your readers may be willing to pay for a download of your book. By self-publishing online, you avoid the normal book publishing costs and still get exposure. Who knows, you may be lucky and grab the attention of a publishing guru who thinks you could make a lot of money from your self-published book.

Whatever your reason is for self-publishing, you should know that self-publishing requires extensive work. Self-publishing involves a long list of tasks, which include prepublication and publication. Prepublication includes editing or obtaining editing for the manuscript, proofreading, establishing yourself as a legal retail business, and obtaining an ISBN “Cataloging in Publication” number.

The publication process involves formatting the manuscript, providing front matter and back matter, and providing cover art for the front and back covers and the spine of the book. Self-publishers must also obtain printing quotes, determine how to deliver the manuscript to the printer, and pay for printing and delivery of finished books.

Publishing a book online is easier than publishing in the world of hard copy. The result is not as glorified, but it is a step towards success in the published realm. The more experience you can get writing, the better writer you will be.

You have completed your ms, and now what?

You may ask yourself:

How can I submit it to publishers?

How can I present it?

Here comes the cover letter. It is not difficult to write one, just follow the instructions below.

Submitting the right cover letter to the editors /publishers will increase your chances of getting your work accepted!

What is a cover letter?

It is a letter that goes with your work. You can’t send your work alone. You need to say something about it and about yourself in the cover letter.

This letter is very important as it is this document that will persuade prospective editors/publishers to read your work.

It is not difficult to write a cover letter, but you should be careful not to omit any essential info. If you don’t do it right, you can’t expect success.

I will help you do it right. If I can write a cover letter, you can do it, too. It’s easy.

Let’s get started!

• First write your name, address and contact number/e-mail on the right side of an A4 sheet.

• Next, write the editor/publisher’s name and address on the left side, below your personal info.

• Write the date on the right side.

• Start with : Dear Mr/Ms &ndashname of publisher

It’s better to write the name of the publisher if you know it. If you don’t, start with: Dear Sir/Madam

• Keep in mind that the letter is formal. Don’t use any contractions such as I’m or it’s.

The first paragraph

Now you can add the first paragraph. It goes like this:

‘I enclose the synopsis of my book/article and I wonder if you would be interested in it.’

• Now give the publisher sufficient info about your book/article. Tell him in 1-2 lines the content of your book/article.

e.g. Let us suppose you’ve written a book about Turtles.

You can write:

TURTLES is about keeping and caring for turtle pets indoors.

The main body

You should tell the publisher why the people are going to read such a book, and who is going to buy it.

e.g. TURTLES is a pet book that would interest children from 8-16 years old, and all pet lovers as well. This book is original because it is written with children at that age in mind , and it is practical and easy to read.

• You must convince the publisher that you are qualified to write on the subject.

e.g. ‘ This book is based on my own experience in turtle

breeding. Or ‘ I have worked in a pet shop for two years…’ . You can add any experience you’ve had on this subject. Ask yourself:

Any other experience relevant?

Any studies?

Any research?

More tips

• Be brief and informative. One page of an A4 sheet is enough.

• Now, if you wish, mention in your letter that you also enclose a sample chapter of your book.

e.g ‘I also enclose a list of chapters and a sample

chapter for you to read.’

The cover letter usually goes with a synopsis, a sample

chapter and a list of chapters.

This is the complete proposal package and I always do so myself. However, you can send a cover letter and a synopsis only, but be prepared to have a sample chapter ready whenever you are asked to by a publisher to submit it.

It usually takes a lot of time before you get a reply, so you may as well send the whole package to save time.

• State that you enclose a s.a.e ( a second envelope that is stamped and addressed to yourself). They are not going to reply if you don’t enclose this.

• Close the letter. Be polite.

e.g. ‘ Thank you for your time.

I look forward to hearing from you at your earliest

convenience.

Yours sincerely

Your full name

Your e-mail address

• If you wish to use the internet to submit your work, follow the same procedure-of course there’s no need for a s.a.e.

Last notice

Before you submit any work, read the regulations thoroughly . Some publishers do not accept sample work via e-mail!

Now, you are ready to write your own cover letter.

GOOD LUCK!

———————————————————————-

748

Like many authors, writing a novel was always an aspiration. When I finally started the process, in Shades of Darkness, Shades of Grace I had a great story that had evolved from real-life events. Still, the majority of my experience was writing nonfiction, a style that generally called for straight facts with less emphasis on descriptive elements. Exceptional fiction requires authentic details that pull the reader into the world in which the story takes place. I discovered that one of the best ways to do this is to construct the narrative around a calendar.

Wanting feedback on the story, I sent an early draft of the manuscript to an editor I’d learned of through one of my writing groups. While she liked the novel, she noted there was no specific timeline of years or events, and felt the story could essentially be taking place at any time. The editor suggested using a calendar with actual dates and specific years during which the story would be set. By taking this approach, it not only helped me plan the story better, but a historical reference of Jesse Ventura’s election as governor of Minnesota in 1998 or making note of the Aquatennial Festival held in Minneapolis each July could be woven into the narrative and enhance the authenticity of the book.

Implementing her advice, I constructed a five-year calendar over which the story in Shades of Darkness, Shades of Grace unfolds. The calendar not only worked well as an organizational and research tool, but it also served to focus the book over a definite time period. In real life, the events that inspired Shades of Darkness occurred over a much longer period of time, making for an unwieldy time frame that dragged on too long, offered no sense of closure, and risked boring the reader. By using a specific calendar, those events could be compressed into a much shorter and intense span.

Employing a real calendar also heightened the dramatic effect of the narrative. In a crucial incident near the end of book, Paul Pierson is arrested for domestic battery in a scheme orchestrated by his ex-wife. Threatened with spending the weekend in the county jail if bail money cannot be raised, the scene takes place over the New Year’s holiday of 2000/2001. Only by using a real calendar did I discover that if Paul were arrested on Saturday December 30, 2000 he could be looking at several days in jail. In 2001 New Year’s Day fell on a Monday, and banks would not have reopened until Tuesday, January 2. Utilizing real dates offered the dramatic dilemma of the Pierson family frantically pooling their financial resources to keep Paul from extended jail time.

Working off a calendar can also combat one of the hazards many authors confront &ndash writer’s block. Once I had the basic framework of the novel laid out across a calendar, if I was having difficulty with a particular chapter or scene, I could write another chapter and return at a later point to the problematic area with renewed inspiration. For many authors I’ve known, it can be easier to write out-of-order when the energy strikes than to force a writer to compose a manuscript in linear fashion. A calendar not only helps an author render a vivid story, but can be a useful tool in tracking the progress and consistency of the plot.

The initial version of the calendar was bare bones &ndash an outline of the main scenes that comprised the novel. From there I began writing individual scenes, building on them and incorporating the crucial details, many of which were discovered through research. Those descriptions that make a scene real might be as ordinary as the weather on Halloween or the once-in-a-lifetime occurrence of the Millennium, experiences any reader could relate to.

Details should engage the reader and connect them to the characters, setting, and narrative. This editor taught me a great lesson &ndash that for fiction to truly come alive requires authentic details. For many authors, those details can often be found within the framework of a calendar.

24 million adults in the United States consider themselves creative writers but less than 5% have ever been published anywhere. 172,000 titles were released in 2005. It has been estimated that at any one time there are between 5 to 6 million manuscripts looking for a publishing home. Many writers are turning toward publish-on-demand (POD) houses like iUniverse, AuthorHouse and Publish America to get their books into readers’ hands. About 25,000 titles will be released by POD houses in 2006. Does a publish-on-demand book, sometimes called vanity or subsidy publisher, help a previously unpublished writer get closer to the brass ring of a commercial publishing contract? Or does it bump them down a rung on their climb up the publishing ladder?

Writers often comment that a publish-on-demand book will at least “get their name out there” or that a POD book will show that they are capable of writing a 50,000 to 100,000 word manuscript. But does a POD book really help get a writer commercially published? That question was asked of nearly 60 successful literary agents in the Hill and Power 2006 Survey of Literary Agents.

These agents’ collective opinion is that a publish-on-demand book seriously hurt an author’s chance at being commercially published. Agents were asked to rate their response from 1 - significantly hurt, to 5 - significantly helped. The average rating was 2. 28% declared a POD title to be neutral (a rating of 3) but half of those specified that a POD title would only help if the sales reached a significant level, from 5,000 to 10,000 copies. Just a handful of publish-on-demand titles have reached that level of sales. The average number of copies sold for a POD title is around 100.

The book publishing industry has never been easy to break into and these same literary agents see the environment getting a bit more challenging in the next year or so for unpublished writers. Combine that with the significantly increased number of unsolicited submissions agents say they’re receiving and writers need every boost they can get toward agency representation and the ultimate goal of commercial publication.

Unfortunately, contrary to what quite a few writers think, that boost isn’t going to come from a publish-on-demand book.

Like many authors, writing a novel was always an aspiration. When I finally started the process, in Shades of Darkness, Shades of Grace I had a great story that had evolved from real-life events. Still, the majority of my experience was writing nonfiction, a style that generally called for straight facts with less emphasis on descriptive elements. Exceptional fiction requires authentic details that pull the reader into the world in which the story takes place. I discovered that one of the best ways to do this is to construct the narrative around a calendar.

Wanting feedback on the story, I sent an early draft of the manuscript to an editor I’d learned of through one of my writing groups. While she liked the novel, she noted there was no specific timeline of years or events, and felt the story could essentially be taking place at any time. The editor suggested using a calendar with actual dates and specific years during which the story would be set. By taking this approach, it not only helped me plan the story better, but a historical reference of Jesse Ventura’s election as governor of Minnesota in 1998 or making note of the Aquatennial Festival held in Minneapolis each July could be woven into the narrative and enhance the authenticity of the book.

Implementing her advice, I constructed a five-year calendar over which the story in Shades of Darkness, Shades of Grace unfolds. The calendar not only worked well as an organizational and research tool, but it also served to focus the book over a definite time period. In real life, the events that inspired Shades of Darkness occurred over a much longer period of time, making for an unwieldy time frame that dragged on too long, offered no sense of closure, and risked boring the reader. By using a specific calendar, those events could be compressed into a much shorter and intense span.

Employing a real calendar also heightened the dramatic effect of the narrative. In a crucial incident near the end of book, Paul Pierson is arrested for domestic battery in a scheme orchestrated by his ex-wife. Threatened with spending the weekend in the county jail if bail money cannot be raised, the scene takes place over the New Year’s holiday of 2000/2001. Only by using a real calendar did I discover that if Paul were arrested on Saturday December 30, 2000 he could be looking at several days in jail. In 2001 New Year’s Day fell on a Monday, and banks would not have reopened until Tuesday, January 2. Utilizing real dates offered the dramatic dilemma of the Pierson family frantically pooling their financial resources to keep Paul from extended jail time.

Working off a calendar can also combat one of the hazards many authors confront &ndash writer’s block. Once I had the basic framework of the novel laid out across a calendar, if I was having difficulty with a particular chapter or scene, I could write another chapter and return at a later point to the problematic area with renewed inspiration. For many authors I’ve known, it can be easier to write out-of-order when the energy strikes than to force a writer to compose a manuscript in linear fashion. A calendar not only helps an author render a vivid story, but can be a useful tool in tracking the progress and consistency of the plot.

The initial version of the calendar was bare bones &ndash an outline of the main scenes that comprised the novel. From there I began writing individual scenes, building on them and incorporating the crucial details, many of which were discovered through research. Those descriptions that make a scene real might be as ordinary as the weather on Halloween or the once-in-a-lifetime occurrence of the Millennium, experiences any reader could relate to.

Details should engage the reader and connect them to the characters, setting, and narrative. This editor taught me a great lesson &ndash that for fiction to truly come alive requires authentic details. For many authors, those details can often be found within the framework of a calendar.

24 million adults in the United States consider themselves creative writers but less than 5% have ever been published anywhere. 172,000 titles were released in 2005. It has been estimated that at any one time there are between 5 to 6 million manuscripts looking for a publishing home. Many writers are turning toward publish-on-demand (POD) houses like iUniverse, AuthorHouse and Publish America to get their books into readers’ hands. About 25,000 titles will be released by POD houses in 2006. Does a publish-on-demand book, sometimes called vanity or subsidy publisher, help a previously unpublished writer get closer to the brass ring of a commercial publishing contract? Or does it bump them down a rung on their climb up the publishing ladder?

Writers often comment that a publish-on-demand book will at least “get their name out there” or that a POD book will show that they are capable of writing a 50,000 to 100,000 word manuscript. But does a POD book really help get a writer commercially published? That question was asked of nearly 60 successful literary agents in the Hill and Power 2006 Survey of Literary Agents.

These agents’ collective opinion is that a publish-on-demand book seriously hurt an author’s chance at being commercially published. Agents were asked to rate their response from 1 - significantly hurt, to 5 - significantly helped. The average rating was 2. 28% declared a POD title to be neutral (a rating of 3) but half of those specified that a POD title would only help if the sales reached a significant level, from 5,000 to 10,000 copies. Just a handful of publish-on-demand titles have reached that level of sales. The average number of copies sold for a POD title is around 100.

The book publishing industry has never been easy to break into and these same literary agents see the environment getting a bit more challenging in the next year or so for unpublished writers. Combine that with the significantly increased number of unsolicited submissions agents say they’re receiving and writers need every boost they can get toward agency representation and the ultimate goal of commercial publication.

Unfortunately, contrary to what quite a few writers think, that boost isn’t going to come from a publish-on-demand book.

You have completed your ms, and now what?

You may ask yourself:

How can I submit it to publishers?

How can I present it?

Here comes the cover letter. It is not difficult to write one, just follow the instructions below.

Submitting the right cover letter to the editors /publishers will increase your chances of getting your work accepted!

What is a cover letter?

It is a letter that goes with your work. You can’t send your work alone. You need to say something about it and about yourself in the cover letter.

This letter is very important as it is this document that will persuade prospective editors/publishers to read your work.

It is not difficult to write a cover letter, but you should be careful not to omit any essential info. If you don’t do it right, you can’t expect success.

I will help you do it right. If I can write a cover letter, you can do it, too. It’s easy.

Let’s get started!

• First write your name, address and contact number/e-mail on the right side of an A4 sheet.

• Next, write the editor/publisher’s name and address on the left side, below your personal info.

• Write the date on the right side.

• Start with : Dear Mr/Ms &ndashname of publisher

It’s better to write the name of the publisher if you know it. If you don’t, start with: Dear Sir/Madam

• Keep in mind that the letter is formal. Don’t use any contractions such as I’m or it’s.

The first paragraph

Now you can add the first paragraph. It goes like this:

‘I enclose the synopsis of my book/article and I wonder if you would be interested in it.’

• Now give the publisher sufficient info about your book/article. Tell him in 1-2 lines the content of your book/article.

e.g. Let us suppose you’ve written a book about Turtles.

You can write:

TURTLES is about keeping and caring for turtle pets indoors.

The main body

You should tell the publisher why the people are going to read such a book, and who is going to buy it.

e.g. TURTLES is a pet book that would interest children from 8-16 years old, and all pet lovers as well. This book is original because it is written with children at that age in mind , and it is practical and easy to read.

• You must convince the publisher that you are qualified to write on the subject.

e.g. ‘ This book is based on my own experience in turtle

breeding. Or ‘ I have worked in a pet shop for two years…’ . You can add any experience you’ve had on this subject. Ask yourself:

Any other experience relevant?

Any studies?

Any research?

More tips

• Be brief and informative. One page of an A4 sheet is enough.

• Now, if you wish, mention in your letter that you also enclose a sample chapter of your book.

e.g ‘I also enclose a list of chapters and a sample

chapter for you to read.’

The cover letter usually goes with a synopsis, a sample

chapter and a list of chapters.

This is the complete proposal package and I always do so myself. However, you can send a cover letter and a synopsis only, but be prepared to have a sample chapter ready whenever you are asked to by a publisher to submit it.

It usually takes a lot of time before you get a reply, so you may as well send the whole package to save time.

• State that you enclose a s.a.e ( a second envelope that is stamped and addressed to yourself). They are not going to reply if you don’t enclose this.

• Close the letter. Be polite.

e.g. ‘ Thank you for your time.

I look forward to hearing from you at your earliest

convenience.

Yours sincerely

Your full name

Your e-mail address

• If you wish to use the internet to submit your work, follow the same procedure-of course there’s no need for a s.a.e.

Last notice

Before you submit any work, read the regulations thoroughly . Some publishers do not accept sample work via e-mail!

Now, you are ready to write your own cover letter.

GOOD LUCK!

———————————————————————-

748