Custom Essay Writing Services

There are many popular casino-style games, but nothing matches the growth and popularity of poker and how poker influences society. Poker writing covers limitless topics in the gaming world; and poker writing can be a blend of journalism, feature writing, sports writing, entertainment writing, travel writing, food writing, technical writing, and so on, depending on what you choose to write.

WHAT DOES FREELANCE POKER WRITING INCLUDE?

You might think “freelance poker writing” is exactly that: writing about poker games. You might also think poker writing is about writing for one specific market: poker magazines. This might have been true years ago, but not so today. The expanding market of online and offline poker and gaming magazines is one small fragment, out of dozens of paying markets, to find freelance work. The Internet has spawned many online writing opportunities, such as blogging, writing for poker and gaming websites, self-publishing, and writing SEO articles for companies and affiliates. And “poker writing” is more than writing about the games of poker. Poker writing encompasses the influences of poker, such as entertainment, technology, psychology, law, lifestyle, money, travel, and so on. Writing about poker and gaming, along with their influences on society, is limitless.

Many successful freelance writers tap into an arsenal of online and offline media outlets to sell their work, not just to poker and gaming magazines. Their recipe for success is simple: they write varied topics related to poker and gaming that don’t just fit into a specific poker magazine, but also fit (with some reslanting) into many other non-poker magazines and media outlets (i.e. trade magazines, regional magazines, newsletters, tourism guides, newspapers, websites, blogs, ebooks, etc.) that cover varied subjects (such as gambling, gaming, professional sports, sports betting, travel, lifestyle, women’s issues, money, finance, real estate, hobbies, and so on).

WHY POKER IS ON THE MINDS OF SO MANY PEOPLE

To write about poker, you need to know why it is on the minds of so many people. Why all the excitement? What do players see in a little game of cards? Many people fall in love with playing poker because it challenges the mind; poker games are thrilling and competitive; and let’s face it, we love the winnings. The winnings in poker games, even online, can trail with many zeros. What other game can you play with a $40 entry fee and win a couple of hundred thousand dollars, or as with WSOP winners, several million? It’s what lures the crowds to the game. Once players begin to play, everyone is a legend in their own mind. The enticement and excitement of winning drives players to want to play more. Typically, players just play more and more once they discover Texas Hold’em.

Even if you aren’t playing poker for the money, you will quickly become aware of the jackpots of money that poker players play for online and offline. Many people play poker because of the great challenges of the mind. Amarillo Slim (en.wikipedia.org/wiki/Amarillo_Slim), another legendary poker player once said, “Poker is a game of people….It’s not the hand I hold, it’s the people that I play with.” Most of the older players do play with dollar signs glinting in their eyes. On the other hand, if you read some of the articles written about Slim in the past, you’ll discover he enjoyed beating his opponents as much as anyone else.

Guru.com, CraigsList.com and Elance.com showcase job postings for many different freelance opportunities. If you have the skills to write on gambling, specifically poker, then you’ll never be short on writing gigs.

In fact, a search on a handful of job boards produced many writing opportunities, from blog posting, to writing articles on poker games and strategies.

POKER WRITING OPPORTUNITIES

If you want to write about poker and gaming, the opportunities are there. If you are educated about poker and you can write well, the opportunities will be endless. However, you have to be better than average to earn a decent income as freelance poker writer. You must know your “stuff” in this field.

Writing about poker and its players requires you to learn about the games of poker and about the players whom people want to read. For instance, Doyle Brunson and Amarillo “Slim” Preston are two old timers who many consider two of the last living legends of the game. However, Brunson pulls a crowd more so than Preston. People look for articles, books and information on Doyle Brunson because he is still an active player in Las Vegas. Furthermore, Brunson lives where poker rooms are on every corner, whereas Amarillo Slim lives in, well, you guessed it&ndashTexas!

A freelance poker writer has many opportunities. For starters, a poker writer can write from home because of the online games and tournaments. The online poker rooms (the ones offering the large satellite tournaments) are newsworthy as are many of the sit and go tournaments that offer large purses. Writers find ample topics and stories to pull from in this capacity alone. People want to read what’s going on in the online poker rooms. As a new writer, you need to write as much as you can on the subject of poker no matter where people play it.

In addition to the newsworthy opportunities online, web content is a huge marketplace for freelance writers. Writers who can write content-rich articles related to poker and gambling are in high demand.

To succeed as a poker writer, you will need to find your niche. However, you don’t necessarily have to stay within your niche market. Many writers will write on poker and cover online and offline games. They’ll cover the World Poker Tour for an offline gambling magazine one day and write an informative “How to Spot a Poker Cheat” article the next day for an online website. Poker writers like the ability to remain diverse but it pays to have a niche.

For example, there are several writers on Elance.com who write web content for gaming websites but still pick up a couple of writing gigs offline in magazines and for newspaper articles. Respectively, several notorious authors and professional poker players write primarily as book authors and authorities on their game but occasionally they will snatch a writing column for an online poker website.

Don’t fool yourself into thinking the gigs you have online will allow the offline writing jobs to fall in your lap. You have to keep your options open. You will need to apply for most of the work you get, even after you become well-known within the industry. However, if you’re good, you’ll very seldom face competition for the writing jobs you want.

When you become established in your niche, clients, editors and colleagues will willingly generate referrals for you. In fact, if you are well-informed and can stand out as a leading authority on poker, you can create your own jobs if jobs don’t randomly come your way. You’ll be able to query an editor with ideas and convince the editor to publish your articles. You may be able to query a book publisher with a manuscript idea and have it accepted for publication.

In addition, the offline writing jobs on assignment are often lucrative. Most of the writing jobs on assignment will allow you to live like a high roller, or at the very least, a low roller with some great perks. Poker writers normally stay where the action takes place, which is commonly in a casino. If you’re covering a World Poker Tour event, you’ll likely stay in upgraded casino accommodations; after all, the casino knows you are writing on the event and they’ll likely want you to plug their plush rooms and their many amenities.

On assignment writing jobs will enable you to eat in marvelous dining restaurants, stay among the upper echelon of poker players in suites or upgraded rooms and enjoy hosted parties among poker players. Writing on assignment as a poker writer enables writers to stay in some of the most elegant resorts in the world while enjoying the lifestyle of the pampered poker player. And trust it when you see it in magazines and hear about it online, these professional players are pampered.

Before you obtain your first job assignment as a poker writer, you need to learn all you can about poker. Read everything there is to read. Listen to everything and anything you can on the subject. Flip on the TV set and watch some live game coverage and learn the terminology. Poker tournaments and poker coverage are constantly on TV, especially in the evenings and on weekends.

PERKS OF A FREELANCE POKER WRITER

Poker writers who travel to some of the casino destinations hosting world events such as the WSOP (.worldseriesofpoker.com) or the WPT (World Poker Tour &ndash .worldpokertour.com ) find they can enjoy a lifestyle many freelance writers dream about. Not every freelance writer can endure the schedule of these writers. However, if you are a writer who can face the unpredictable scheduling of events in the World Series of Poker, have a great personality and excellent people skills, then your chances to live a jet-set lifestyle in the world of poker is better than what many writers might think.

Life is better as a poker writer than it is in most areas of writing. You will be rubbing shoulders with people in Sin City and many other casino destinations where money is no object. Remember, money is no object to a great number of poker players. Stakes are always high. With that in mind, remember who you are and where you are. Remember to capture the story, and not the party.

You will get a free ride pass as a poker writer if you can achieve a name for yourself in the poker world. You will have the things only high rollers can get just because the right people want YOU to remember their name. Naturally, this will only happen after you become recognized as a poker authority. If you strive to achieve it, you will know what the inside of the suites at the MGM and Paris Las Vegas look like because you’ll be staying in them. You won’t walk or hail a cab in Vegas. You’ll be riding in a limo, free of charge. Best of all, when you are on a job, you will drink and eat what you want and never see a bill. Welcome to success. Revel in it and know you’ve worked hard for it.

There are many popular casino-style games, but nothing matches the growth and popularity of poker and how poker influences society. Poker writing covers limitless topics in the gaming world; and poker writing can be a blend of journalism, feature writing, sports writing, entertainment writing, travel writing, food writing, technical writing, and so on, depending on what you choose to write.

WHAT DOES FREELANCE POKER WRITING INCLUDE?

You might think “freelance poker writing” is exactly that: writing about poker games. You might also think poker writing is about writing for one specific market: poker magazines. This might have been true years ago, but not so today. The expanding market of online and offline poker and gaming magazines is one small fragment, out of dozens of paying markets, to find freelance work. The Internet has spawned many online writing opportunities, such as blogging, writing for poker and gaming websites, self-publishing, and writing SEO articles for companies and affiliates. And “poker writing” is more than writing about the games of poker. Poker writing encompasses the influences of poker, such as entertainment, technology, psychology, law, lifestyle, money, travel, and so on. Writing about poker and gaming, along with their influences on society, is limitless.

Many successful freelance writers tap into an arsenal of online and offline media outlets to sell their work, not just to poker and gaming magazines. Their recipe for success is simple: they write varied topics related to poker and gaming that don’t just fit into a specific poker magazine, but also fit (with some reslanting) into many other non-poker magazines and media outlets (i.e. trade magazines, regional magazines, newsletters, tourism guides, newspapers, websites, blogs, ebooks, etc.) that cover varied subjects (such as gambling, gaming, professional sports, sports betting, travel, lifestyle, women’s issues, money, finance, real estate, hobbies, and so on).

WHY POKER IS ON THE MINDS OF SO MANY PEOPLE

To write about poker, you need to know why it is on the minds of so many people. Why all the excitement? What do players see in a little game of cards? Many people fall in love with playing poker because it challenges the mind; poker games are thrilling and competitive; and let’s face it, we love the winnings. The winnings in poker games, even online, can trail with many zeros. What other game can you play with a $40 entry fee and win a couple of hundred thousand dollars, or as with WSOP winners, several million? It’s what lures the crowds to the game. Once players begin to play, everyone is a legend in their own mind. The enticement and excitement of winning drives players to want to play more. Typically, players just play more and more once they discover Texas Hold’em.

Even if you aren’t playing poker for the money, you will quickly become aware of the jackpots of money that poker players play for online and offline. Many people play poker because of the great challenges of the mind. Amarillo Slim (en.wikipedia.org/wiki/Amarillo_Slim), another legendary poker player once said, “Poker is a game of people….It’s not the hand I hold, it’s the people that I play with.” Most of the older players do play with dollar signs glinting in their eyes. On the other hand, if you read some of the articles written about Slim in the past, you’ll discover he enjoyed beating his opponents as much as anyone else.

Guru.com, CraigsList.com and Elance.com showcase job postings for many different freelance opportunities. If you have the skills to write on gambling, specifically poker, then you’ll never be short on writing gigs.

In fact, a search on a handful of job boards produced many writing opportunities, from blog posting, to writing articles on poker games and strategies.

POKER WRITING OPPORTUNITIES

If you want to write about poker and gaming, the opportunities are there. If you are educated about poker and you can write well, the opportunities will be endless. However, you have to be better than average to earn a decent income as freelance poker writer. You must know your “stuff” in this field.

Writing about poker and its players requires you to learn about the games of poker and about the players whom people want to read. For instance, Doyle Brunson and Amarillo “Slim” Preston are two old timers who many consider two of the last living legends of the game. However, Brunson pulls a crowd more so than Preston. People look for articles, books and information on Doyle Brunson because he is still an active player in Las Vegas. Furthermore, Brunson lives where poker rooms are on every corner, whereas Amarillo Slim lives in, well, you guessed it&ndashTexas!

A freelance poker writer has many opportunities. For starters, a poker writer can write from home because of the online games and tournaments. The online poker rooms (the ones offering the large satellite tournaments) are newsworthy as are many of the sit and go tournaments that offer large purses. Writers find ample topics and stories to pull from in this capacity alone. People want to read what’s going on in the online poker rooms. As a new writer, you need to write as much as you can on the subject of poker no matter where people play it.

In addition to the newsworthy opportunities online, web content is a huge marketplace for freelance writers. Writers who can write content-rich articles related to poker and gambling are in high demand.

To succeed as a poker writer, you will need to find your niche. However, you don’t necessarily have to stay within your niche market. Many writers will write on poker and cover online and offline games. They’ll cover the World Poker Tour for an offline gambling magazine one day and write an informative “How to Spot a Poker Cheat” article the next day for an online website. Poker writers like the ability to remain diverse but it pays to have a niche.

For example, there are several writers on Elance.com who write web content for gaming websites but still pick up a couple of writing gigs offline in magazines and for newspaper articles. Respectively, several notorious authors and professional poker players write primarily as book authors and authorities on their game but occasionally they will snatch a writing column for an online poker website.

Don’t fool yourself into thinking the gigs you have online will allow the offline writing jobs to fall in your lap. You have to keep your options open. You will need to apply for most of the work you get, even after you become well-known within the industry. However, if you’re good, you’ll very seldom face competition for the writing jobs you want.

When you become established in your niche, clients, editors and colleagues will willingly generate referrals for you. In fact, if you are well-informed and can stand out as a leading authority on poker, you can create your own jobs if jobs don’t randomly come your way. You’ll be able to query an editor with ideas and convince the editor to publish your articles. You may be able to query a book publisher with a manuscript idea and have it accepted for publication.

In addition, the offline writing jobs on assignment are often lucrative. Most of the writing jobs on assignment will allow you to live like a high roller, or at the very least, a low roller with some great perks. Poker writers normally stay where the action takes place, which is commonly in a casino. If you’re covering a World Poker Tour event, you’ll likely stay in upgraded casino accommodations; after all, the casino knows you are writing on the event and they’ll likely want you to plug their plush rooms and their many amenities.

On assignment writing jobs will enable you to eat in marvelous dining restaurants, stay among the upper echelon of poker players in suites or upgraded rooms and enjoy hosted parties among poker players. Writing on assignment as a poker writer enables writers to stay in some of the most elegant resorts in the world while enjoying the lifestyle of the pampered poker player. And trust it when you see it in magazines and hear about it online, these professional players are pampered.

Before you obtain your first job assignment as a poker writer, you need to learn all you can about poker. Read everything there is to read. Listen to everything and anything you can on the subject. Flip on the TV set and watch some live game coverage and learn the terminology. Poker tournaments and poker coverage are constantly on TV, especially in the evenings and on weekends.

PERKS OF A FREELANCE POKER WRITER

Poker writers who travel to some of the casino destinations hosting world events such as the WSOP (.worldseriesofpoker.com) or the WPT (World Poker Tour &ndash .worldpokertour.com ) find they can enjoy a lifestyle many freelance writers dream about. Not every freelance writer can endure the schedule of these writers. However, if you are a writer who can face the unpredictable scheduling of events in the World Series of Poker, have a great personality and excellent people skills, then your chances to live a jet-set lifestyle in the world of poker is better than what many writers might think.

Life is better as a poker writer than it is in most areas of writing. You will be rubbing shoulders with people in Sin City and many other casino destinations where money is no object. Remember, money is no object to a great number of poker players. Stakes are always high. With that in mind, remember who you are and where you are. Remember to capture the story, and not the party.

You will get a free ride pass as a poker writer if you can achieve a name for yourself in the poker world. You will have the things only high rollers can get just because the right people want YOU to remember their name. Naturally, this will only happen after you become recognized as a poker authority. If you strive to achieve it, you will know what the inside of the suites at the MGM and Paris Las Vegas look like because you’ll be staying in them. You won’t walk or hail a cab in Vegas. You’ll be riding in a limo, free of charge. Best of all, when you are on a job, you will drink and eat what you want and never see a bill. Welcome to success. Revel in it and know you’ve worked hard for it.

Becoming a successful freelance public relations writer requires you to write persuasively and analytically. The key to persuasive writing is the key to good writing in general: know your audience. Public relations work requires you to address various audiences, such as:

1) Your customer base. Your customers already have some idea about what your client does;

2) Potential customers. Most won’t know about your client directly, but they might be familiar with similar products, services, or programs;

3) The press. They are interested only in whether the service or product your client has to offer is worthy of mention in their publication.

When you get a public relations assignment, your job is to take in all the data related to whatever your client has to offer. Maybe your client is offering a new product line, a new community outreach program, or news about a change in ownership. Your job is to: 1) analyze that data for key points; 2) determine how the data might affect the marketplace and consumers; and 3) communicate the data in a clear, concise form.

Taking in the data is the easiest part. Your client should provide you with all the data you need, plus any contact information you might need to interview people for quotes, statistics, point-of-views, etc. You need to think about how to connect what your client is offering with the needs and desires of his audience.

Example 1:

If a high-end brokerage firm wants to distribute a press release about their response to a recent rise in gold prices, you may need to research the stock market to determine what that means to investors. If you know your target audience, then you know exactly where to look to find out their typical concerns. Typical research methods may include Internet searches, investor forum posts, guides to investment, etc.

Example 2:

If you need to generate PR aimed at a particular trade group or a segment of an industry, such as promoting a local cleaning service, then you need to brainstorm ways in which your client’s cleaning service provides cheaper or better care than his competitors.

Once you’ve done the background work, writing PR is simple. Your client should provide you with all the pertinent information about length and venue. What you need to do is communicate the details, connect it to audience’s desires, and present any information that links the audience back to the client with the use of contact information, store locations, event dates, and so on.

Since there’s an expectation that PR is persuasive, advertisement-like material, you have slightly more leeway with the writing than you might with informative, research-based material; but again, the audience comes into the balance.

If you’re writing a report on the release of a new video game aimed at a teen-centric gaming magazine, a dry style won’t be of much use to you. If you’re writing about the breakthrough of a new control chip for an overseas microprocessor, you don’t want to make too many assertions about how this will “revolutionize the industry,” or anything that a highly-trained engineering department can’t back up. In general, stick to the facts as closely as you can. Your articles should have the blend of rational restraint and promotional zeal so you communicate effectively.

Where do you get public relations jobs? Corporate PR departments are your best bet for well-paying, steady work. Some large corporations will have their own in-house staff of marketing writers, and may not be interested in taking on freelancers except at certain times. Another good choice would be local non-profit groups, political organizations, or social clubs. These rely on effective PR to grow and thrive, and you can pick up a good deal of work from just one or two groups. A drawback to non-profits or other groups is they may not have a big budget or they may not be able to pay consistently. Make sure you trust the group before you commit to full-time PR work.

Above all, be careful of doing PR for individuals. This type of PR can be among the most enjoyable assignments, depending on your interests. Individual PR projects may include promoting someone’s self-published book or writing press releases for a garage band, and so forth. The downside is individuals typically have little or no budget for PR, and they often want you to work for free, alleging that “it’ll be good for your reputation” or that “once I get successful I can pay you.” Never do PR work (or any freelance writing work) for free. It wastes your time and it won’t advance your career, except for building a portfolio of writing samples. At worst, it can lower average writing rates to the point that good freelancers go out of business. It’s not good for you, for your trade, or for your fellow writers. So don’t do it!

If you have the ability to analyze complex material quickly and convey it clearly and persuasively into words that your audience understands, then you are on your way to having a successful career as a public relations writer.

Becoming a successful freelance public relations writer requires you to write persuasively and analytically. The key to persuasive writing is the key to good writing in general: know your audience. Public relations work requires you to address various audiences, such as:

1) Your customer base. Your customers already have some idea about what your client does;

2) Potential customers. Most won’t know about your client directly, but they might be familiar with similar products, services, or programs;

3) The press. They are interested only in whether the service or product your client has to offer is worthy of mention in their publication.

When you get a public relations assignment, your job is to take in all the data related to whatever your client has to offer. Maybe your client is offering a new product line, a new community outreach program, or news about a change in ownership. Your job is to: 1) analyze that data for key points; 2) determine how the data might affect the marketplace and consumers; and 3) communicate the data in a clear, concise form.

Taking in the data is the easiest part. Your client should provide you with all the data you need, plus any contact information you might need to interview people for quotes, statistics, point-of-views, etc. You need to think about how to connect what your client is offering with the needs and desires of his audience.

Example 1:

If a high-end brokerage firm wants to distribute a press release about their response to a recent rise in gold prices, you may need to research the stock market to determine what that means to investors. If you know your target audience, then you know exactly where to look to find out their typical concerns. Typical research methods may include Internet searches, investor forum posts, guides to investment, etc.

Example 2:

If you need to generate PR aimed at a particular trade group or a segment of an industry, such as promoting a local cleaning service, then you need to brainstorm ways in which your client’s cleaning service provides cheaper or better care than his competitors.

Once you’ve done the background work, writing PR is simple. Your client should provide you with all the pertinent information about length and venue. What you need to do is communicate the details, connect it to audience’s desires, and present any information that links the audience back to the client with the use of contact information, store locations, event dates, and so on.

Since there’s an expectation that PR is persuasive, advertisement-like material, you have slightly more leeway with the writing than you might with informative, research-based material; but again, the audience comes into the balance.

If you’re writing a report on the release of a new video game aimed at a teen-centric gaming magazine, a dry style won’t be of much use to you. If you’re writing about the breakthrough of a new control chip for an overseas microprocessor, you don’t want to make too many assertions about how this will “revolutionize the industry,” or anything that a highly-trained engineering department can’t back up. In general, stick to the facts as closely as you can. Your articles should have the blend of rational restraint and promotional zeal so you communicate effectively.

Where do you get public relations jobs? Corporate PR departments are your best bet for well-paying, steady work. Some large corporations will have their own in-house staff of marketing writers, and may not be interested in taking on freelancers except at certain times. Another good choice would be local non-profit groups, political organizations, or social clubs. These rely on effective PR to grow and thrive, and you can pick up a good deal of work from just one or two groups. A drawback to non-profits or other groups is they may not have a big budget or they may not be able to pay consistently. Make sure you trust the group before you commit to full-time PR work.

Above all, be careful of doing PR for individuals. This type of PR can be among the most enjoyable assignments, depending on your interests. Individual PR projects may include promoting someone’s self-published book or writing press releases for a garage band, and so forth. The downside is individuals typically have little or no budget for PR, and they often want you to work for free, alleging that “it’ll be good for your reputation” or that “once I get successful I can pay you.” Never do PR work (or any freelance writing work) for free. It wastes your time and it won’t advance your career, except for building a portfolio of writing samples. At worst, it can lower average writing rates to the point that good freelancers go out of business. It’s not good for you, for your trade, or for your fellow writers. So don’t do it!

If you have the ability to analyze complex material quickly and convey it clearly and persuasively into words that your audience understands, then you are on your way to having a successful career as a public relations writer.

Abstract
Profuse leaders, last and up to date, be suffering with been identified as charismatic leaders. The inventor explains the telling of charismatic direction and its characteristics. Contrasting charismatic leaders and their running characteristics are discussed. An explication of the characteristics and behaviors of followers of charismatic leaders is discussed. Cultural and situational charismatic leaders are explained and why irrefutable individuals launch as leaders. A comparison and relationship between transformational, transactional, and charismatic operation styles is discussed.

Charismatic Running
Brotherhood is made up of myriad numerous types of leaders. A particular of these types is charismatic leadership. Charismatic regulation was introduced all the turn of the century and has been researched and studied ever since. The leaders that are defined as charismatic leaders expose characteristics that followers connect to. Charismatic leaders’ posses’ characteristics that assign them to win follower’s respect and support for his or her beliefs or visions. Leaders from all walks of brio both healthy and wretched suffer with been identified as charismatic leaders because of their skill to incline others that their beliefs were right. The story, characteristics, charismatic leaders, and charisma affiliated to other leadership styles thinks fitting be discussed in this paper. Charismatic operation can be a effective command configuration that can be adapted to to rehabilitate societies and organizations or it can also be employed for detrimental purposes.

The German sociologist Max Weber is the personally responsible to save introducing the idea of charisma as being a type of leadership. Weber believed that leaders who dominated charismatic influence qualities were tremendously esteemed persons. In arrears to his check in on leadership, sociologist began to reading the concept of charisma in both group and state walks of vivacity in the early twentieth century.

Talcott Parsons is widely credited with importing Weber to the Joint States; Parson’s introduced his duty The Protestant Ethic and the Spirit of Capitalism in 1937 which dominated American sociology exchange for decades. Parson’s judgement of Weber’s ideas was challenged all about the decades nigh renowned sociologist such as Pope, Cohen and Hazelrigg. They believed that Parson’s views of Weber’s ideas were distorted aside misinterpreting the German’s true ideas.

Lowell Bennion was the chief person administrative in regard to making available Weber’s authentic ideas in the United States. He translated Weber’s ideas and writings from German to English in a dissertation, Max Webster’s Methodology, where not a hundred copies were published in 1933. Bennion’s dissertation was written 13 years after Weber’s expiration and was influenced nigh scholars who were Weber’s contemporaries. (DiPadova, 1996)

According to DiPadova, Weber introduced the concept of charisma when viewing testimony in regards to religion. In this he describes three types of power:
1) charismatic authorization (“the alien or internal rule in excess of gazabo made possible during the persuasion of the ruled in this supernatural power of the commandant”)
2) traditional authorization (“the traditionalistic convention of valet is based on the faith in that which has always been”); and
3) rational-legal authority (based on unprejudiced rules and norms. Its normal ambassador is the bureaucratic sway made credible around the superiority of the formal juridic rationalism of the Occident”) From these three types of power sociologist began to research Weber’s authoritative influence ideas. Charismatic guidance was not researched strongly until the 1970’s where sociologists began to examine and experiment with charismatic administration ideas. (DiPadova, 1996)

Since Weber introduced the conception of charismatic directorship into sodality, many charismatic leaders have been identified. Leaders that are considered charismatic leaders apt to from equivalent fundamental characteristics.

These characteristics are:
1) Self-confidence and self presumption
2) Need seeking power and deficient authoritarianism
3) Proficient power
4) Referent power
5) Communications and for effect skills
6) Means, emphatic, outgoing, and intense

Leaders such as John F. Kennedy, Martin Luther Sovereign, Charles Manson, and Adolph Hitler were considered charismatic leaders. All four leaders possessed self-reliance and self nerve along with other charismatic characteristics. They believed in their “eidolon” whether good or bad. As leaders they were capable to urge others to escort and fight for the purpose the plan they essentially believed in. Numerous followers believed so whole-heartily in the wraith that they committed killing and even suicide.

People that imitate the charismatic leader possess multifarious of the still and all characteristics as their leaders. Characteristics of followers:
1) Identify with the commandant and the leader’s beliefs
2) Heightened emotional levels
3) Willing subordination to the conductor
4) Feelings of empowerment

Followers of charismatic leaders over again on there leaders deludedly because the chairperson is so self-assured in his beliefs that whatever the kingpin says or does is accepted by all without explanation or thought. Leaders of unerring cults and sects over again appeal to followers that are one and unsure; these followers are looking for someone that intent obtain repress of their “crummy” lives and assorted are looking seeing that a station to belong.

Some sociologist believes that a yourself becomes a charismatic commandant if the situation arises. These situational charismatic leaders form characteristics alike resemble to the following:
1) Crises
2) Chide interdependence
3) Invention
4) More receptive to hard cash
5) Organizational downsizing

Lee Iacocca became a charismatic mr big because of the state of affairs at hand. He was masterful to lure the Chrysler Corporation destroy into being because of his charismatic directorship abilities. Cultural charismatic leaders time after time be brought up when cultures and their cultural values are threatened. These situational leaders raise unlearning and the search suitable contemporary actions. Numerous arise when standard officials cannot meet an organization’s necessary on the side of leadership. Charismatic leaders over again appear because the civilization is with a bun in the oven or prophesizing the leader’s arrival. When this happens dependable characteristics have a hand in to charismatic leadership.

These characteristics are:
1.) Sexually transmitted crises
2.) Carries or spreads a “message”
3.) Stimulates responsibility or shame
4.) Unreal stature is assimilated

Charismatic leaders that evolve because of cultural unrest exhibit to be religious leaders that followers think of as “prophets” or “saints”, these leaders be proper the carry to salvation.

Charismatic initiative can acquire both a disputing and a positive bearing on the public and organizations. In the Collective States exclusively charismatic leaders such as John F. Kennedy and Martin Luther Ruler tolerant of there regulation abilities to produce society a better lieu for all individuals and races to live and work. While on the other hand Charles Manson reach-me-down his charismatic control abilities to talk his followers to give horrendous murders on arbitrarily individuals. Hitler convinced millions that his beliefs were the exclusively unswerving beliefs; in revolve his followers committed murders because they believed in Hitler’s vision. Few studies have been made on the striking of charismatic command on alliance and organizations. Charismatic leaders that weight society can be regal as just or unethical charismatic. The ethical charismatic wants what is benign as a remedy for society or the structure and its members, while the unethical charismatic is motivated alongside personal power and acquisition and pursues anything which makes him or her look greater and stronger.

Transformational supervision is the leadership defined beside a work-based the board relationship. In this relationship the principal promotes alignment past providing okay unrelated rewards and appealing to the intrinsic motivation of the collaborators. Transactional administration is the leadership defined by an economically-based truck relationship. In this relationship the chairlady promotes unchangeability close to providing external (beneficial or negative) rewards to the collaborators. Transformational command is the contrary of transactional leadership. Transformational leaders tend to be active with values, ethics, standards, and long-term goals, while transactional leaders woolly on exchanges between leader and follower. Numberless politicians are elected to office because they are transactional leaders; they pledge the voters to change laws and policies in the big board on the side of their vote. A person can be both transformational and transactional depending upon the situation. Evangelists in the direction of illustration are transformational leaders when they are troublesome to convert followers to their creed and at the uniform as it happens they are transactional leaders when they entice their followers to support fat in exchange an eye to a modern honour zone or invocation book. Transactional leadership tends to be transitory; the gaffer is impressive as large as the relationship between bandmaster and apprentice is mutually beneficial. Transformational regulation tends to suffer with a aromatic shackles or reduce on its followers, there is no want to “cool one’s heels” promises and gifts. Transformational leaders organize followers because the followers credit in the constant vision as the leader. The transformational chief places the retainer on a foot almost as high as the joined he or she is preaching from. The bandleader makes the servant discern grave and that the attendant is making a important contribution to the vision.

In transformational governorship, charisma plays a major role. Charisma is defined as a unusual disposition characteristic that gives an idiosyncratic extraordinary or irregular power. Leaders that influenced charisma materialize to be qualified and have piercing expectations looking for themselves and their followers. They also articulate ideological goals to their followers. These characteristics that define a charismatic special is the anyway characteristics or traits that a transformational captain possess. Some sociologist interchanges transformational governorship with charismatic direction because the two are closely related. Charismatic and transformational leadership take precautions the followers with a vision and a sense of duty, they instill arrogance aggregate their followers. Charismatic leadership, intellectual stimulation, and inspirational regulation are components of transformational leadership.

Charismatic supervision in every part of this century has evolvement into a intense, coercive regulation style. The charismatic chairwoman should possess characteristics that deputize him or her hardly phenomenal and mystical. Leaders and followers forced to interest the unchanged visions and goals on the charismatic bossman to survive. Charismatic initiative qualities are mutually shared close to other leadership styles such as transformational and transactional leadership. Charisma is a trait that a eminent conductor should be experiencing to appropriate for an competent leader. As viva voce not later than Bass in 1985 he states that, “Charisma is in the vision of the beholder and, the case, is affiliated to the beholder. Nevertheless, the charismatic mr big actively shapes and enlarges his or her audience toe strength, assurance, assertiveness, thirst, and opportunities seized.”

You can level a term paper service, stretch line, research letterhead, premise or dissertation on Charismatic Control topics at our masterful form toll essay article checking which provides students with impost term paper on past immensely prepared conjectural writers. Serious quality and no thievery make sure! Complete b reach educated explore ms belles-lettres improve at an affordable cost.

SEO writing is one of the newer forms of freelance writing spawned by the Internet Age, and as such, SEO writing is an excellent way — if at times a frustrating way — for budding writers to cut their teeth in the freelance writing scene. SEO writing takes a fair amount of imagination and some engineering grit, but if you like puzzles, then freelancing as an SEO writer will interest you.

SEO, or “Search Engine Optimization,” has its roots in the early days of the Internet. Once early Internet marketers realized they could manipulate search engine rankings with meaningless content and keywords, a whirlwind of keyword-stuffed web pages swept across the Internet, all designed to push their content — and the products they sold — to the top of search engine lists. This sharply increased user traffic and potential profits. It wasn’t uncommon to see web pages with only a few short paragraphs of copy with large, seemingly-blank areas of space. However, if you highlighted these blank areas of space with a cursor, it would reveal massive strings of invisible keywords. SEO writers used to embed invisible keywords in text to rank the webpage higher in search engines for nearly any remotely-relevant search term.

Fortunately for good web design, search engine programmers became aware of this flaw, and they refined their search engines to ignore such obvious “keyword stuffing.” This major change has made search engines rank web pages more relevant of the actual content and not the stuffed keywords. Content providers responded to this by developing SEO writing, which ideally gets the same results as open keyword-stuffing, but provides a better-designed, better-written page as well. It’s a “best of both worlds” compromise: content providers willing to invest in SEO writing get to keep their high search engine rankings and readers get more smoothly integrated and keyword-dense text.

There are bad SEO writers and good SEO writers. Bad SEO writers aren’t aware of exactly how search engines work, and will try stuffing text with ten or twenty commonly-used search terms (”sex,” “money,” and the like) ten or twenty times apiece, without caring whether the actual text reads well. These days search engines are sophisticated enough to ignore these kinds of transparent keyword-stuffing efforts, a defense which only good SEO practice can get around.

A skilled SEO writer:

- Uses only one or two search terms per page;

- Uses unique, natural-language search terms;

- Integrates search terms smoothly with text;

The difference between a good and bad SEO writer are in the results. Good SEO writers can provide actual results in the search rankings. Their SEO writing talents keep the client’s web pages on the first page of search engine results and create additional revenue for the client. Bad SEO writers don’t keep client pages in the first page of search engine results; they create nearly unreadable, transparently phony text, and don’t get paid well at all. If you want to succeed as a freelance SEO writer, you first need to learn to be a good one.

Writing integrated text is often the most difficult part of good SEO writing. The rule is you should use each search term once or twice in a 250-word block of copy. This is fine if your search term is something like “bond portfolio,” but what do you do if your search term is more like “high-yield gold investment bond package bonds”? This is where the “puzzle” aspect of SEO writing comes in: no matter how cumbersome your search term, you need to find a way to make it sound natural.

Skilled SEO writers employ some tricks for awkward keyword phrases, such as the following:

- Enclosing the search term in quotes (making it seem like a precise technical term, rather than just clunky phrase); and

- Defining the term at the opening of the article and using it further on, or drawing comparisons between two SEO terms (requiring you to refer to both frequently).

There aren’t any hard-and-fast rules to integrate keywords effectively; every keyword set is different and every article has different needs. But with imagination, you can get your prose to read naturally while still being SEO-worthy. Just remember the other principal rule: don’t overstuff keywords in text, but rather space your keywords adequately throughout the text.

Who offers SEO writing jobs? Virtually any company with enough money and enough willingness to maintain a high web presence. Be careful of the keyword lists you take on. Generally speaking, if the client has a long keyword list and he needs many keywords in his text, then most search engines will rank his webpage low and you may not be able to achieve the results he wants. To establish yourself as a freelance SEO writer (and to get some much needed practice in SEO writing), you’ll probably need to take some of these jobs at some point. Take a look on freelance writing message boards, in classified ads, and make inquiries at local businesses who either have a web presence, or who you think are ready to develop one. Chances are excellent that companies with new websites can use a skilled SEO writer.

Keep at it, learn the tricks, and remember that SEO writing is a very in-demand skill. Once you build a reputation for yourself, you can command both higher prices and higher-profile (yet easier) assignments regularly.

SEO writing is one of the newer forms of freelance writing spawned by the Internet Age, and as such, SEO writing is an excellent way — if at times a frustrating way — for budding writers to cut their teeth in the freelance writing scene. SEO writing takes a fair amount of imagination and some engineering grit, but if you like puzzles, then freelancing as an SEO writer will interest you.

SEO, or “Search Engine Optimization,” has its roots in the early days of the Internet. Once early Internet marketers realized they could manipulate search engine rankings with meaningless content and keywords, a whirlwind of keyword-stuffed web pages swept across the Internet, all designed to push their content — and the products they sold — to the top of search engine lists. This sharply increased user traffic and potential profits. It wasn’t uncommon to see web pages with only a few short paragraphs of copy with large, seemingly-blank areas of space. However, if you highlighted these blank areas of space with a cursor, it would reveal massive strings of invisible keywords. SEO writers used to embed invisible keywords in text to rank the webpage higher in search engines for nearly any remotely-relevant search term.

Fortunately for good web design, search engine programmers became aware of this flaw, and they refined their search engines to ignore such obvious “keyword stuffing.” This major change has made search engines rank web pages more relevant of the actual content and not the stuffed keywords. Content providers responded to this by developing SEO writing, which ideally gets the same results as open keyword-stuffing, but provides a better-designed, better-written page as well. It’s a “best of both worlds” compromise: content providers willing to invest in SEO writing get to keep their high search engine rankings and readers get more smoothly integrated and keyword-dense text.

There are bad SEO writers and good SEO writers. Bad SEO writers aren’t aware of exactly how search engines work, and will try stuffing text with ten or twenty commonly-used search terms (”sex,” “money,” and the like) ten or twenty times apiece, without caring whether the actual text reads well. These days search engines are sophisticated enough to ignore these kinds of transparent keyword-stuffing efforts, a defense which only good SEO practice can get around.

A skilled SEO writer:

- Uses only one or two search terms per page;

- Uses unique, natural-language search terms;

- Integrates search terms smoothly with text;

The difference between a good and bad SEO writer are in the results. Good SEO writers can provide actual results in the search rankings. Their SEO writing talents keep the client’s web pages on the first page of search engine results and create additional revenue for the client. Bad SEO writers don’t keep client pages in the first page of search engine results; they create nearly unreadable, transparently phony text, and don’t get paid well at all. If you want to succeed as a freelance SEO writer, you first need to learn to be a good one.

Writing integrated text is often the most difficult part of good SEO writing. The rule is you should use each search term once or twice in a 250-word block of copy. This is fine if your search term is something like “bond portfolio,” but what do you do if your search term is more like “high-yield gold investment bond package bonds”? This is where the “puzzle” aspect of SEO writing comes in: no matter how cumbersome your search term, you need to find a way to make it sound natural.

Skilled SEO writers employ some tricks for awkward keyword phrases, such as the following:

- Enclosing the search term in quotes (making it seem like a precise technical term, rather than just clunky phrase); and

- Defining the term at the opening of the article and using it further on, or drawing comparisons between two SEO terms (requiring you to refer to both frequently).

There aren’t any hard-and-fast rules to integrate keywords effectively; every keyword set is different and every article has different needs. But with imagination, you can get your prose to read naturally while still being SEO-worthy. Just remember the other principal rule: don’t overstuff keywords in text, but rather space your keywords adequately throughout the text.

Who offers SEO writing jobs? Virtually any company with enough money and enough willingness to maintain a high web presence. Be careful of the keyword lists you take on. Generally speaking, if the client has a long keyword list and he needs many keywords in his text, then most search engines will rank his webpage low and you may not be able to achieve the results he wants. To establish yourself as a freelance SEO writer (and to get some much needed practice in SEO writing), you’ll probably need to take some of these jobs at some point. Take a look on freelance writing message boards, in classified ads, and make inquiries at local businesses who either have a web presence, or who you think are ready to develop one. Chances are excellent that companies with new websites can use a skilled SEO writer.

Keep at it, learn the tricks, and remember that SEO writing is a very in-demand skill. Once you build a reputation for yourself, you can command both higher prices and higher-profile (yet easier) assignments regularly.

I had no idea that my work on a motion picture would cause a high-profile death penalty case to end up with the California Supreme Court. Jesse James Hollywood had been gone for nearly three years by the time I became involved. He had totally disappeared. Vanished into thin air. And he seemed so completely removed from the writing project I was about to begin.

The FBI and other federal and local law enforcement authorities trails had all but dried up. That’s why the prosecutor assigned to the case, Santa Barbara County Senior Deputy District Attorney Ron Zonen, who had also prosecuted Hollywood’s four co-defendants &ndash and a guy named Michael Jackson &ndash agreed to work with us. Mr. Zonen had wanted to create a sort of global wanted poster to see if someone somewhere in the world might be able to ID Hollywood, pick up the phone, and help global law enforcement authorities nab him. Zonen had already worked with the producers from the television show America’s Most Wanted, who featured the fugitive on nine of its shows between 2000 and 2003, and he wanted his man, badly.

Hollywood’s name had become daily fodder for national headlines after word of the murder originally hit in early August of 2000. All the news pundits had named him as the ringleader of a band of middleclass, pot-selling social misfits, and the one responsible for orchestrating the fifteen-year-old’s kidnapping and murder. But no one apparently had a clue as to where he had disappeared to when I took the call from an old buddy who wanted to make a motion picture about the youngest man ever on the FBI’s Most Wanted List.

In April of 2003, writer/director Nick Cassavetes and I trekked up north to meet with Mr. Zonen at the Santa Barbara County District Attorney’s office. Ronald J. Zonen had been Chief Trial Deputy for the Santa Barbara County District Attorney’s office since 1991. He was an affable man with a smooth demeanor and when we were finished, he gave us several volumes of trial transcripts from Hollywood’s co-defendants, and we left. At the time, Leonardo DiCaprio and Tobey McGuire were set to produce Alpha Dog, and I had no idea that I’d end up writing a highly controversial novel based on the tragic story, or that I’d end up being a crusader in the battle to save Mr. Hollywood’s life. I was also not prescient enough to envision DiCaprio or McGuire falling off the project, nor Justin Timberlake, Bruce Willis, Sharon Stone, Anton Yelchin, Emile Hirsch, or Ben Foster climbing on.

After reading through the transcripts that Mr. Zonen had provided, plus others from Hollywood’s co-defendants’ trials and appeals, I realized we did not have enough information to write a truthful story about what had actually taken place. I talked this over with Cassavetes, and we agreed that I should go back to Santa Barbara to get more information from Mr. Zonen. We needed more detail and deeper insight into character and motivation for story purposes. We needed police reports, photographs, witness interviews and much more. And amazingly, we got them. I got Mr. Zonen’s entire file from prosecuting Hollywood’s four co-defendants, including copies of all the videos and audiotapes, the defendants’ confessions, the prosecutor’s trial notebook, the defendants’ psychological records and probation reports, and more. I also arranged to have Mr. Zonen &ndash along with the lead detective working the case &ndash take us up to Lizard’s Mouth, a trailhead located atop the mountains separating Santa Barbara and the Santa Ynez Valley, to discuss the murder with us at the very spot where the victim’s body had been discovered in a shallow grave some three years earlier.

This combined with all the information accrued from the interviews Cassavetes and I had conducted enabled me to prepare a 239-page story chronology that I used to help Nick write his screenplay. He went on to direct Alpha Dog and I set out to write my book. Unfortunately, or fortunately, depending on how you look at it, in March of 2005, after one of the greatest international manhunts in history, Jesse James Hollywood was captured in a Brazilian jungle, and I was about to be thrust into the legal hot seat.

James Blatt is one of America’s most astute criminal defense attorneys. He dresses like a zillion bucks and wears the disarming smile of a ruthless professional. After Jesse Hollywood’s capture, his father, Jack, who was a consultant on Alpha Dog, told Mr. Blatt about all the information I had gathered for the film and book projects; how I had become the world’s leading authority on the case. He thought I might be able to aid Mr. Blatt in trying to save his son’s life. When we met, Blatt questioned me about all the information I had gathered. By the time the meeting ended, the defense attorney appeared quite impressed with what he had heard. Later that summer, he asked me to testify in his client’s death penalty case. He wanted to build a record of all informational exchanges between Mr. Zonen and myself. He wanted to recuse the Santa Barbara County District Attorney’s office for prosecutorial misconduct for having turned over their file to me.

The only problem with this strategy was that my testimony was needed to do it. Since I was the only one to repeatedly meet with Mr. Zonen, I was the only one who could testify as to what he had given me. I found myself caught in a “Sophie’s Choice” type situation. If I testified, I could help save Jesse James Hollywood from death row. But at the same time, my testimony could be used as the cornerstone for criminal prosecution against Mr. Zonen and his office for what Mr. Blatt termed “illegal misconduct.” Since I’m totally against bringing death to any living being, I wanted to help Mr. Blatt save his client’s life. But on the other hand, Mr. Zonen had been very good to me. He had been totally cooperative in providing us with material for the movie and book. As conflicted as I felt, as much as I wanted to help save Jack Hollywood’s son’s life, I could not be responsible for bringing criminal charges against a man I considered a good friend. So I refused to testify. Ultimately, the California Attorney General agreed not to pursue criminal charges against Mr. Zonen or the DA’s office, and I reversed my position and agreed to testify.

In September 2005, Hollywood’s attorney filed a motion to recuse the entire District Attorney’s office. In support of the motion, Mr. Blatt declared that he had attended “the first and only public screening to date” of Alpha Dog, and that the film portrayed his client “in an extremely inflammatory manner, as extremely manipulative, vicious, selfish, and without any redeeming character traits whatsoever.” He further stated that several of the public movie viewers had described his client as being nothing short of a “monster,” and that at the conclusion of the film, special thanks were given to the Santa Barbara Sheriff’s Department and to Ron Zonen.

The trial court denied Hollywood’s motion, but ended up ordering me to turn over the notes and tapes from all the interviews I conducted. The defense then appealed the case. In its wisdom, the California Court of Appeal agreed with the defense and, after an evidentiary hearing by the trial court, recused Zonen (but not his entire office) from the case. In his concurring opinion, Justice Gilbert succinctly noted: “However appalling the crime for which defendant was charged, he, like anyone charged with a criminal offense, is entitled to a fair trial with all its attendant constitutional and statutory safeguards.” In this case, the prosecution had fallen short of this requirement.

Every high-profile case carries with it the risk of the prosecutor falling into the trap of cozying up too much with the media. Prosecutors, as well as other law enforcement agencies, often find themselves playing up to the media as if there are two trials to win &ndash the one in the courtroom as well as the one with the court of public opinion. When handling high-profile cases, prosecutors must take to heart the conflict of interest they create when buddying up to the media. They can easily become lost in the quest for personal glory or profit. This appeared to be what happened with the case involving the Duke lacrosse team, where the DA’s pretrial contacts with the media raised questions about his ability to handle the matter fairly, resulting in his recusal. There were similar complaints regarding the prosecution of the Jenna 6 case out of Louisiana.

Prosecutors do not represent clients. Rather, all decisions made in their cases are supposed to center around the best interests of the public. And part of these considerations must be to act responsibly when interacting with the media. There are certain guidelines they must follow to make sure their statements (and actions) do not materially prejudice a legal proceeding. According to the ABA Model Rules of Professional Conduct, prosecutors must make sure their comments do not have a “substantial likelihood of heightened public condemnation of the accused.” They must also be sure to prevent “investigators, law enforcement personnel” and other employees or persons assisting from making such statements to the media.

Prosecutors do, in the alternative, have certain First Amendment rights. However, again, those rights do not go unlimited when dealing with the media in a high-profile case. The prosecutor must still be responsible for pursuing a just result. He or she must act in a manner that puts the public’s interest above that of the individual prosecutor. Thus, their goal must be to make sure that justice is done in all instances, not that they win the case.

In the Hollywood matter, I was afraid that the Santa Barbara District Attorney’s office had lost sight of their responsibilities. They had continuously misrepresented the true facts and the motivations involved in the case to the media, and they seemed totally bent upon demonizing Hollywood and his co-defendants. For all intents and purposes, Hollywood, during his nearly five years of being at large, had been convicted in absentia. I believed there to be no way for him to receive a fair trial. Public sentiment wanted him dead for what they believed he had done. And this was due to the way the prosecutor and associated law enforcement agencies had dealt with the media. They acted as though their only goals were to assure that Jesse James Hollywood was not only captured, but that the public was set up to convict him and sentence him to death. True justice did not seem to be a part of their plan. I felt it my moral responsibility as a fellow human being to do what I could to make sure this did not happen.

I had no idea that my work on a motion picture would cause a high-profile death penalty case to end up with the California Supreme Court. Jesse James Hollywood had been gone for nearly three years by the time I became involved. He had totally disappeared. Vanished into thin air. And he seemed so completely removed from the writing project I was about to begin.

The FBI and other federal and local law enforcement authorities trails had all but dried up. That’s why the prosecutor assigned to the case, Santa Barbara County Senior Deputy District Attorney Ron Zonen, who had also prosecuted Hollywood’s four co-defendants &ndash and a guy named Michael Jackson &ndash agreed to work with us. Mr. Zonen had wanted to create a sort of global wanted poster to see if someone somewhere in the world might be able to ID Hollywood, pick up the phone, and help global law enforcement authorities nab him. Zonen had already worked with the producers from the television show America’s Most Wanted, who featured the fugitive on nine of its shows between 2000 and 2003, and he wanted his man, badly.

Hollywood’s name had become daily fodder for national headlines after word of the murder originally hit in early August of 2000. All the news pundits had named him as the ringleader of a band of middleclass, pot-selling social misfits, and the one responsible for orchestrating the fifteen-year-old’s kidnapping and murder. But no one apparently had a clue as to where he had disappeared to when I took the call from an old buddy who wanted to make a motion picture about the youngest man ever on the FBI’s Most Wanted List.

In April of 2003, writer/director Nick Cassavetes and I trekked up north to meet with Mr. Zonen at the Santa Barbara County District Attorney’s office. Ronald J. Zonen had been Chief Trial Deputy for the Santa Barbara County District Attorney’s office since 1991. He was an affable man with a smooth demeanor and when we were finished, he gave us several volumes of trial transcripts from Hollywood’s co-defendants, and we left. At the time, Leonardo DiCaprio and Tobey McGuire were set to produce Alpha Dog, and I had no idea that I’d end up writing a highly controversial novel based on the tragic story, or that I’d end up being a crusader in the battle to save Mr. Hollywood’s life. I was also not prescient enough to envision DiCaprio or McGuire falling off the project, nor Justin Timberlake, Bruce Willis, Sharon Stone, Anton Yelchin, Emile Hirsch, or Ben Foster climbing on.

After reading through the transcripts that Mr. Zonen had provided, plus others from Hollywood’s co-defendants’ trials and appeals, I realized we did not have enough information to write a truthful story about what had actually taken place. I talked this over with Cassavetes, and we agreed that I should go back to Santa Barbara to get more information from Mr. Zonen. We needed more detail and deeper insight into character and motivation for story purposes. We needed police reports, photographs, witness interviews and much more. And amazingly, we got them. I got Mr. Zonen’s entire file from prosecuting Hollywood’s four co-defendants, including copies of all the videos and audiotapes, the defendants’ confessions, the prosecutor’s trial notebook, the defendants’ psychological records and probation reports, and more. I also arranged to have Mr. Zonen &ndash along with the lead detective working the case &ndash take us up to Lizard’s Mouth, a trailhead located atop the mountains separating Santa Barbara and the Santa Ynez Valley, to discuss the murder with us at the very spot where the victim’s body had been discovered in a shallow grave some three years earlier.

This combined with all the information accrued from the interviews Cassavetes and I had conducted enabled me to prepare a 239-page story chronology that I used to help Nick write his screenplay. He went on to direct Alpha Dog and I set out to write my book. Unfortunately, or fortunately, depending on how you look at it, in March of 2005, after one of the greatest international manhunts in history, Jesse James Hollywood was captured in a Brazilian jungle, and I was about to be thrust into the legal hot seat.

James Blatt is one of America’s most astute criminal defense attorneys. He dresses like a zillion bucks and wears the disarming smile of a ruthless professional. After Jesse Hollywood’s capture, his father, Jack, who was a consultant on Alpha Dog, told Mr. Blatt about all the information I had gathered for the film and book projects; how I had become the world’s leading authority on the case. He thought I might be able to aid Mr. Blatt in trying to save his son’s life. When we met, Blatt questioned me about all the information I had gathered. By the time the meeting ended, the defense attorney appeared quite impressed with what he had heard. Later that summer, he asked me to testify in his client’s death penalty case. He wanted to build a record of all informational exchanges between Mr. Zonen and myself. He wanted to recuse the Santa Barbara County District Attorney’s office for prosecutorial misconduct for having turned over their file to me.

The only problem with this strategy was that my testimony was needed to do it. Since I was the only one to repeatedly meet with Mr. Zonen, I was the only one who could testify as to what he had given me. I found myself caught in a “Sophie’s Choice” type situation. If I testified, I could help save Jesse James Hollywood from death row. But at the same time, my testimony could be used as the cornerstone for criminal prosecution against Mr. Zonen and his office for what Mr. Blatt termed “illegal misconduct.” Since I’m totally against bringing death to any living being, I wanted to help Mr. Blatt save his client’s life. But on the other hand, Mr. Zonen had been very good to me. He had been totally cooperative in providing us with material for the movie and book. As conflicted as I felt, as much as I wanted to help save Jack Hollywood’s son’s life, I could not be responsible for bringing criminal charges against a man I considered a good friend. So I refused to testify. Ultimately, the California Attorney General agreed not to pursue criminal charges against Mr. Zonen or the DA’s office, and I reversed my position and agreed to testify.

In September 2005, Hollywood’s attorney filed a motion to recuse the entire District Attorney’s office. In support of the motion, Mr. Blatt declared that he had attended “the first and only public screening to date” of Alpha Dog, and that the film portrayed his client “in an extremely inflammatory manner, as extremely manipulative, vicious, selfish, and without any redeeming character traits whatsoever.” He further stated that several of the public movie viewers had described his client as being nothing short of a “monster,” and that at the conclusion of the film, special thanks were given to the Santa Barbara Sheriff’s Department and to Ron Zonen.

The trial court denied Hollywood’s motion, but ended up ordering me to turn over the notes and tapes from all the interviews I conducted. The defense then appealed the case. In its wisdom, the California Court of Appeal agreed with the defense and, after an evidentiary hearing by the trial court, recused Zonen (but not his entire office) from the case. In his concurring opinion, Justice Gilbert succinctly noted: “However appalling the crime for which defendant was charged, he, like anyone charged with a criminal offense, is entitled to a fair trial with all its attendant constitutional and statutory safeguards.” In this case, the prosecution had fallen short of this requirement.

Every high-profile case carries with it the risk of the prosecutor falling into the trap of cozying up too much with the media. Prosecutors, as well as other law enforcement agencies, often find themselves playing up to the media as if there are two trials to win &ndash the one in the courtroom as well as the one with the court of public opinion. When handling high-profile cases, prosecutors must take to heart the conflict of interest they create when buddying up to the media. They can easily become lost in the quest for personal glory or profit. This appeared to be what happened with the case involving the Duke lacrosse team, where the DA’s pretrial contacts with the media raised questions about his ability to handle the matter fairly, resulting in his recusal. There were similar complaints regarding the prosecution of the Jenna 6 case out of Louisiana.

Prosecutors do not represent clients. Rather, all decisions made in their cases are supposed to center around the best interests of the public. And part of these considerations must be to act responsibly when interacting with the media. There are certain guidelines they must follow to make sure their statements (and actions) do not materially prejudice a legal proceeding. According to the ABA Model Rules of Professional Conduct, prosecutors must make sure their comments do not have a “substantial likelihood of heightened public condemnation of the accused.” They must also be sure to prevent “investigators, law enforcement personnel” and other employees or persons assisting from making such statements to the media.

Prosecutors do, in the alternative, have certain First Amendment rights. However, again, those rights do not go unlimited when dealing with the media in a high-profile case. The prosecutor must still be responsible for pursuing a just result. He or she must act in a manner that puts the public’s interest above that of the individual prosecutor. Thus, their goal must be to make sure that justice is done in all instances, not that they win the case.

In the Hollywood matter, I was afraid that the Santa Barbara District Attorney’s office had lost sight of their responsibilities. They had continuously misrepresented the true facts and the motivations involved in the case to the media, and they seemed totally bent upon demonizing Hollywood and his co-defendants. For all intents and purposes, Hollywood, during his nearly five years of being at large, had been convicted in absentia. I believed there to be no way for him to receive a fair trial. Public sentiment wanted him dead for what they believed he had done. And this was due to the way the prosecutor and associated law enforcement agencies had dealt with the media. They acted as though their only goals were to assure that Jesse James Hollywood was not only captured, but that the public was set up to convict him and sentence him to death. True justice did not seem to be a part of their plan. I felt it my moral responsibility as a fellow human being to do what I could to make sure this did not happen.

Freelance speech writing is the champagne of freelance writing; it offers a high degree of creativity, a high-profile clientele, and the chance to have your work heard among elite people. Of course, there are downsides as well: your style is restricted to that of the speaker, and the pool of jobs is substantially smaller than many other forms of freelance writing. But on the whole, the advantages make it very attractive to pursue gigs as a freelance speech writer.

Speech writing is one of the oldest forms of communication. Much of what we consider good rhetorical practice today goes back to the Romans and Cicero. Until the previous century, long rhetorically-polished speeches were a central (and enjoyable) part of serious literature, from the hieratic diatribes of Shakespeare’s Lear to the long burlesque flights of Dickens’s heroes and grotesques. Today, speech writing is mostly confined to large formal parties, serious events, and political careers, but something of the dignity of the art’s long history still adheres to people’s ideas about roaring good speeches. Speech writing is the art of making people appear both persuasive and dignified, of turning ordinary people into sources of entertainment and wisdom. As expected, writing speeches effectively can be difficult to do well.

The key to effective speech writing–as well as the key to effective writing in general–is to know one’s audience. In speech writing, the audience is a literal one: an employee pool, a group of wedding guests, or a rural electorate. The speechwriter should, before setting even one word to paper, find out who the speech is intended for and take this into account when structuring the work.

Once you know your audience, know your speaker. As Bernard Shaw once said, it’s impossible to make a silk purse from a sow’s ear — or at least, people don’t want to believe it’s possible. If the CEO you’re writing for is known as a good ol’ boy, down-to-earth businessman, it won’t ring true if your speech contains a number of high literary allusions and elaborate rhetorical constructions. If you’re writing for a museum curator, opening with an off-color joke and referring to “the folks back home” is not necessarily the best way to go.

You not only have to know about your client’s perceived character, but about his or her actual speech rhythms. Interview your client if possible, or if not possible, try to get access to videos, tapes, or other recordings. This should give you some idea of voice, and some understanding of how best to express your ideas in the “client’s words.” If a speech doesn’t sound natural coming from the client’s mouth, the speech won’t work and you won’t develop a good reputation that leads to more assignments. So put in the time, get a good idea of the client’s voice, and use it exclusively in your work.

Framing your speech around the subject matter can be tricky, but fortunately all the prep work you’ve been doing will make it a much simpler proposition. If you know your audience, your client’s speech style, and your client’s public perception, you’ll have a decent compass for navigating your speech through possible dead areas, out of dark, depressing moments, far to the lee of excessive frivolity, and generally on an even course from the first attention-getting moment to the conclusive point. It’s difficult to know exactly how a speech will play before it’s actually delivered, but you can get a rough idea by reading your drafts to a friendly audience (spouse, friends, children), or by tape-recording yourself delivering the speech into a mirror. A good speech doesn’t have dead moments, doesn’t bore, and reaches a series of short, conclusive points to keep the audience’s attention from wandering over time. If you do plenty of revision work and get a real idea of how your speech sounds when read aloud, you can fine-tune appropriately in order to ensure a successful speech, and a satisfied customer.

Of course, getting customers in the first place can be tricky: the speechwriting market is usually fairly small and fairly exclusive, since only the very wealthy can usually afford to have professional speechwriters work for them. The Catch-22 here is that the very wealthy typically only want established, proven speechwriters, a difficult preference for novice speechwriters to deal with. You can establish yourself and build a reputation, however, by advertising heavily in local papers, club newsletters, and anywhere likely to need a speech writer at some point in time: wedding planners, local organizations, startup corporations in your area. This may not be the best-paying work, but it’s essential to building a proven reputation as a good speechwriter. Once you have some gigs under your belt, start upping your level of advertising to include corporate newsletters and trade journals, and make sure to network at every event where you’ve written a speech. Word gets around, and eventually, if you promote yourself well, it’ll get to the right people.

In any case, it’ll be some time before your speech writing is well-known enough to command high prices, and to allow you to make it the exclusive focus of your freelance writing career. Keep up some other freelance jobs, write speeches whenever you get the opportunity, and keep up the self-promotion among the right circles. If you’re talented and you’re fortunate, you can make the switch to the champagne of freelance writing, and achieve that most satisfying of jobs: you can become a successful freelance speech writer.