Top Seven Mistakes Writers Make and What to Do About Them

Writers often get stuck because they make assumptions about writing, finishing, publishing, and promoting their books. A recent client confessed that he thought a book was just too big a project. Using professional, respected information, writers can finally realize their book dream.

1. They postpone writing their book.

I don't know an author who is sorry they wrote a book. They only wish they had written it sooner. Speakers can expand a talk; coaches can expand how-to articles; business people can share tips and short information pieces. Everyone put out a
salable, respected book. They sell well today-on the Internet, at back-of-the-room, and can be a great boost to your credibility as a professional.

2. They write chapter one and other chapters before investing marketing time in the essential "Seven Hot Selling Points," one being writing the book's thesis.

The thesis evolves from answering what one major challenge or problem your book will solve. If the author can't answer his potential buyers question "Why should I buy your book?" clearly, quickly and concisely, he won't sell many copies. Another advantage of writing the thesis before writing the chapters is that the writer will write more focused, compelling copy, saving time not going off track or writing two books under one cover.

The thesis for Time Management for the Creative Person, by Lee Silber, is "Offers right-brain strategies for stopping procrastination, getting control of the clock and calendar and freeing up your time and your life."

3. They think they have to be an expert, great writer, or do mountains of research.

Write books on subjects you have passion for, and want to learn more about. As you research, interview, and write, you become the expert. Rough out what questions your readers will want answered; organize them in categories, which can then
become the table of contents and the actual chapter titles. Know your book's message is significant, and has readers who want and need it.

4. They aren't sure their book is significant enough to warrant their love, attention, and time.

If your book shares something new, something unique, something useful, it is significant enough to be written. Think about your audience out there, what they want and need. Think about yourself too. We each need to share our gifts with others. If we don't, we stagnate, wither and stop the natural flow.

Whether your book becomes a great seller or not, write it because you can. Expect rewards too. "Affluere" from the Latin meaning to flow, translates to affluence. The more you put your self into your book; the more rewards will flow your way.

5. They wonder if their book will sell.

Plentiful markets or your preferred audience want your information. Whether you write personal growth, how-tos, business, or even poetry, your audience awaits your talent.
When you stir their emotions with specific benefits, they will pay the price. Check out what is on the bookstore shelves, and on web publishing sites to see what's selling well. Self-help sells well, so do mysteries, parent/children, romance and sex.

6. They think they are alone is a long, difficult project.

Use your friends and associates to brainstorm with you. Let them give you feedback on the title, thesis, and one chapter at a time. They become peer editors, and also will give you even better words and ideas than yours to help make your book dream a reality. Take a community college, teleclass, or adult school class in book writing and publishing. Research on the Web. Subscribe to newsletters on book writing, publishing, and marketing. When the time is right, hire a book coach.

7. They think publishing is too long, too expensive, and too difficult.

With the eBook and Print Quality Needed (PQN) and Print on Demand (POD) printing technologies, an author can get their professional looking book out within a month, a few months, but definitely in less time than with traditional publishing.

With coaching and other professional services for parts of the project, the author is already selling books before they are printed -and writing at least three times faster, at practically nothing to one-third the cost. One client, Daisy Williams, of "Some Daisies Do Tell" sold 100 copies before she printed through PQN. Think of the cash flow she created to invest in advanced marketing.

Rethink your former assumptions about book writing. You can quickly correct them when you do a little more investigating.

Web Writing: Create Writing Flow With Four Uncommon Connectors

Connectors -- conjunctions, punctuation, and transitional phrases -- allow readers to process information promptly by creating balance and relationships between sentence parts. The connectors are performing the same work as verbs, objects, modifiers and multiple subjects.

Here are four uncommon connections that will create an easier flow for your readers:

1. Parallel Constructions. This side-by-side structure builds the bond between multiple joined parts. Example: In the children's story, Peter Pan stresses the need "for Wendy to sew" his shadow back on, "for her to return" to Never Never Land with him to take care of the Lost Boys, and "for them to leave" before her parents returned.

2. Beginning your sentence with a conjunction. One way to divide a long sentence or several independent clauses is to make each clause an independent sentence. And, but and or are three common conjunctions used frequently. This shortens the sentence, creates a conversational level, and keeps the reader moving forward.

3. Creating A Series Without A Conjunction. Using punctuation, usually commas but not limited to them, instead of words to separate, opens the door of possibilities in the reader's mind. It allows them to "feel" the "something more" and mindfully fill in their own words. The series allows readers to sense a separateness rather than a joined relationship. Example: Tinker Bell got angry, didn't like Wendy, flew frantically around the room. Many times editors want to add a conjunction -- and, but or or -- to the last series. When actually it is intentionally not added to create the feeling of possibilities. Ask yourself, "Do I want to create this feeling, or be more adamant with the reader?"

4. Listing Your Series In Order of Length -- From Short to Long. Arranging the words of your series from short to long and from simple compound/ complex make the process easier to understand. And if you can list them in alphabetical order it expands flow. There has also been research done on how people try to memorize and slow down when they read this type of series.

In the first example, parallel construction, the listing was an exception. The complex part was in the middle because of the chronological series of events.

In the first paragraph, "verbs, objects, modifiers and multiple subjects" is listed in the short to long and create an easier reading flow. If you read the sentence this way: "The connectors are performing the same work as modifiers, multiple subjects, verbs, and objects" your mind stops and goes. Many times this causes the reader to be confused or even for them to exit.

Web writing differs from paper-printed writing because of the way it is read. People scan what they read. This is people don't blink and they approach the Net with a mind set of information overload. Additionally, this is why there are different structural rules. Using connectors is just one such change you need to make in your writing for the World Wide Web.

Revving Up Your Writing Productivity

Productivity begins by recognizing and valuing your brilliance, time, and space. It starts with awareness of what works and what does not. It continues with examining what needs grease, or other needs. Search for the truth for what you need in order to rev up your writing.

1. Long to-do lists. Long to-do lists can be emotionally draining without even knowing it-- even overwhelming and paralyzing at times. We all know it's important to set our priorities. To reduce its negative efforts on our psychic it is important to limit your to-do list to only what you have time to accomplish for that day. It is also important to be specific about what part of a long-term project can you accomplish that day as well. If you write down, "work on my ebook for 12 hours this week" it holds a different energy than, "work on my ebook for 1 hour today."

Fieldwork: Break down the bigger projects into daily doable chunks so you get that "accomplishment high" of checking them off. This is also a quiet but effective motivator. Try it, you'll see.

Every morning review your to-do list. Get honest with your time. If you only have one hour and your list requires three, don't' set yourself up for feeling like a failure because you didn't things completed. Move and reschedule the other two items. By getting honest with your time, and commitments, you begin to see higher productivity as well. If you complete your list sooner, just pull from the next day, and you will feel like you are ahead of the game instead of behind the eight ball.

2. Plan. Before you begin to write, create a quick one page writing plan. The writing plan can be just for that day or just that particular writing time. It only takes five or ten minutes after you get use to creating one.

Fieldwork: Start with recording what your vision is for that writing time or project. See the end result, feel it, and it will become a reality. Is it an e-mail, printed and mailed, or uploaded to your web site? Or is it a simple warm up or exercise to increase your writing skills? See it completed with as much detail as possible.

Next, what is your writing mission in eight words or less? Continuing on...What is your writing objective or objectives, strategy and plan?

Like I said earlier, it doesn't have to be anything fancy. I've done many on napkins or several Post-It notes that were handy.

If defining a whole writing project, you might want to create something more permanent. What matters is clarity and the picture of the end result. As Dr. Stephen Covey says in the 7 Habits of Highly Effective People, "Begin with the end in mind." Meaning begin with a vision of what the result looks like and feels like.

3. Leverage your time. If you can pay someone else to do less money than what you charge, delegate it. If your brilliance is stronger in writing and not typing or editing, stick with the writing. Hire out the typing and editing. If you are thinking you can't afford it, then you haven't found a way to value your time and your plan is off. You may most likely not be working on your right priorities.

Fieldwork: Check and rework your plan so that you leverage your time. Be honest with your self and what is your brilliance. Only one item contains the highest energy, the others may come class, but one stands out. Focus on that one and watch the miracles occur. Who else can do the other items so you can stay focused on your brilliance?

4. Process -- a series of actions bringing about a result. Prolific writers use many processes that range from how they write -- ink, tape recorded, voice recognition software, stenographer, court reporter -- to everything else that requires to complete their goal.

Fieldwork: What are your processes? Draw a flow chart of your writing process, editing, sales or marketing, filing or any other processes that accompany your writing. In each area, ask yourself, "What can be completed easier and faster?" Can an interactive form on your web site save you time? Would an interactive appointment process save you time? Can a virtual assistant provide support? When asking questions, let cost aside, and allow all possibilities to enter.

5. Systems -- a group of interrelated elements. What is your backup plan for operating without electricity? What system backs you up when your bridge line collapses in the middle of a class? What system do you use if your hard drive fails or heaven's forbid there's a fire? What systems require backup plans, what can slide, and for how long? How do you communicate your backup plans to others?

Fieldwork: Make a list of your systems and then create some contingency plans.

6. Support. Do you have a support team? Who do you call to pass on a project that you prefer not to do or you are too busy to handle? What about when your editor or editors are on vacation or busy themselves with other projects? Do your editors understand your topics? Example: If you are a coach, does your editor understand coaching? If an engineer or accountant, do they understand the lingo? Do they need to? Do you have a hardware technician or two available? Software specialists? Can they come on short notice?

Fieldwork: Make a list of support personnel and add names to each of those areas.

7. What are your power writing hours? They change frequently. What works on Mondays may not on Thursday because you are sleep deprived by this time every week.

Fieldwork: Track your power hour patterns for a few weeks. Also record what affects any changes, like a TV-show you stayed up late to watch. Heavy meals late at night. Look for the patterns and then make new choices that create big changes in your writing production.

8. Do whatever it takes to stay unconfused. Too many thoughts flying around in the old noggin? Try this system that I adore when this occurs.

Fieldwork: Create a make-shift white board if you don't have one. Use the side of a bookcase, picture, or semi- glass wall. Using Post-It notes, write one idea per note, and paste them up. Stand back and take a large picture view. What is appearing? Move them around according to your needs. What do you see? Nothing, give it some space and return and take another look. Keep moving, adding or deleting until patterns and pictures appear.

9. Exit plan. What is your exit plan for the writing or project? Do you plan to get out if something occurs? What is your measurement when you no longer want to be a freelance writer, what to move on to something else, or even just use writing in a different manner? If you are writing an ebook, what happens if it isn't making any money? When do you say, that's enough effort on this, write it up to experience, learn from it, and begin spending your energy on something else.

Fieldwork: Never take any new project one, until you know what your exit plan is for it. Practice writing them even if they are a sentence or two. This shifts your thinking that stuff is forever because nothing is.

10. Environments do affect your writing. It might not matter if it's well-organized. Do you have different areas or places that provide different energy for different types of writing? Do you prefer to sit in a garden to write a garden article? Then again, you may prefer to sit in your car. Can you sit in a bookstore to write one way? In the library, another? The kids playing loudly for another? Totally quiet for yet another?

Fieldwork: Know what environment fuels what type of writing for you. Make a list, then plan your writing around those environments. Notice as your topics change so will the environments need to change.

Reviving up your writing productivity begins with you -- good communication internally and externally. My friends tell me that they can recognize the gleam in my eye when something is taking form so they allow me space without interruption to take record my thoughts. Is this what you need? If productivity needs revving. Think, what it is and ask for it.

Celebrating Writing and Life

Every morning I excitedly get out of bed. Just a few minutes of goals and visions for the day swirl in my head. No lingering for me, no alarm, no wishful notes too. Just me in my night gown with no hat.

I sit down to enter my dreams and what can notes. In my journal entries that began long ago with a tiny book and its lock and key. I used to dwell on all the icky things back then but now I write God with my cheers and glees instead.

I remember the days I knew not whether I was going to live or die. I also never thought I'd see why cancer came by. I'm glad I had cancer because today I like the who I've become. Which would have never occurred had it not appeared.

If I dwell, I can remember the day of an accident that left me in a wheel chair for years. Because I know if I do, today there will be a lot of have nots and heart of tears too.

As a coach I've been trained to be in the present moment with me. Thank goodness for apple trees. For if it had not been for growing things fresh air would not have been. And I would not be able to enjoy breathing it all in.

Next I write wisdom, only wisdom that I can share. I know that someone will be here and be inspired because I'd cared. I travel through my day with a soul of glee. Knowing, really knowing, this is the right place for me to be. The excitement occurs when I pick up my pen and get the surprise of how far its all come.

I know there were days long ago when I dreaded my day. I'm glad, I'm glad, there aren't none of them anymore. For when their inklings first appear, I now have the training and support to make them disappear. Coaching made me work so that I can appear.

When I crawl under the covers at night, I smile with prayer at the difference I made in everyone's life this day. Just because I was there. Before I drift off to sleep my sugar plums swirl with what next I can do with my pen. I nod off to sleep, gracefully and slow, lingering on the stories yet to be told.

Occasionally there is a 2 am up. Just because what was swirling before needs to be said. So I honor the time with my pen and then its back to la-la-land I go. I'm so glad of my passion, my life. It allows everything to be said. After my last eye lid shutters, my last thought is tomorrow's putter.

Three Tips to Improve Your Writing Rhythm

As a professional copywriter, not only do I do a lot of writing but I also look at a lot of writing. One of the things I've noticed that set the good/great writers from the so-so is rhythm.

What I mean by rhythm is how the writing sounds. The rhythm of the words and sentences. It's a subtle aspect of writing, one not normally talked about, but that doesn't lessen its importance.

Unfortunately, rhythm is also tough to teach (which is probably why it isn't talked about very much). It's something felt deep inside, like it is with music. It isn't as straight forward as pointing out a grammar error. What makes it tougher is that everyone has his/her own style and own unique rhythm. However, these three tips should get you started thinking about your own writing rhythm and how to improve it.

1. Watch out for long sentences. In fact, you might want to consider avoiding them altogether.

There's nothing inherently wrong with long sentences. And there are times where longer sentences are necessary (see next tip -- but note I said longer and not long). The problem is that long sentences have a tendency to turn into flabby sentences.

Think of a sentence as an eel. The longer it gets, the more slippery and elusive it becomes. Long sentences are sentences just waiting to slither far away and completely out of your control.

So what's going on with long sentences? One problem is they're tiring to read. By the time readers reach the end of a long sentence, they've most likely forgotten the subject/verb/point of the sentence. And they're probably too tired or too lazy or too busy to go back to the beginning of the sentence and sort the whole thing out.

Another problem is long sentences lack punctuation. Punctuation is a big part of rhythm. The start and stop of a period. The bated breath of an em-dash. Think of punctuation as your percussion section.

But when you write a long sentence, all you have to work with is the quiet sigh of the unobtrusive comma. Yes, they have their place. But it's a subtler instrument. (Think triangle rather than kettledrum.)

A good rule of thumb is to make sure a single sentence doesn't go over 30 words. If it does, strongly consider breaking it in two. Or three.

2. Vary sentence length. In music, a steady beat is usually a good thing. In writing, it's considered one of the deadly sins. (Okay, not really. But it still isn't good writing.)

If every sentence is the same length, your writing is going to get pretty dull pretty quick. You need short sentences, longer sentences (but not too long) medium length sentences and very short sentences.

How do you know if your sentences are all the same? Does your piece sound monotonous? Are you getting a sing-song voice in your head when you read it? Better take a closer look at those sentence lengths. They're probably all pretty close to being the same.

3. Sentence fragments are a good thing. Forget your fourth-grade English teacher. Forget that obnoxious green line in Microsoft Word telling you your grammar is wrong. In copywriting, as well as in many other forms of writing, sentence fragments are a lifesaver. Those fragments allow you to quickly and easily vary your sentence length. Plus, they can help your writing sound conversational. People talk in sentence fragments. Therefore, reading sentence fragments gives people the impression you're talking to them -- in your own voice and your own style.

So what's a sentence fragment? A sentence that isn't complete. It's missing something -- noun, verb, both. It's not a complete sentence.

Rhythm in writing is much more than just what's going on with your sentences. (Not that we've covered everything that goes wrong with sentences.) But it's a good place to start.

Creativity Exercises -- Get in touch with your writing rhythm

Hearing things out loud is a good way to start getting in touch with your writing rhythm. You may have heard of this technique to find mistakes -- and yes, it's a good way to discover errors. But, this is also an excellent way to start getting to know your own unique rhythm.

Start by reading your own work out loud. If you've never done this before, try not to be too hard on yourself. Chances are you're going to discover all sorts of problems -- including too long sentences and paragraphs where all the sentences are the same length. Make a note of what needs fixing.

Once you fix it, read it out loud again. Then read it the original way. Listen to the difference. Even better, try to feel the difference -- deep inside, in your gut. Our gut is an excellent rhythm sensor.

You should also read out loud things you haven't written. And read a variety of things -- plays, novels, direct mail pieces, newspaper articles, Web sites, poems. Read bad writing and read writing that's so beautiful your knees buckle. Listen to the rhythm while you're reading. How does it make you feel? More importantly, how does it make your gut feel? Your gut will never lie to you -- learn to trust it.

Leveraging Your Writing

A frequent conversation I have with my writing clients is how to best utilize their writing to gain more exposure and to create more income. If there is one thing that will accomplish both of these objectives, it's learning how to leverage your writing.

I suggest that you write something once, then use it in various mediums. Here's an example. I offer a teleclass series called Getting Clear About the Writing Process. I spent several days developing the content for that four week, one hour per week series. I recorded the classes and produced a workbook from the written content. I will be selling the recordings as CDs and downloadable MP3 files, and the workbook will be offered in both printed and downloadable file formats. Eventually, I will use the content to produce a book on writing, and will record that book for sale as a book on tape. I am also planning to submit portions of the content to magazines and online sites that are seeking guest columnists. And finally, I will be expanding the content to begin offering live workshops and retreats for potential writers.

My goal is to use any writing I create a minimum of five different ways, more if possible. Some will be direct income; others will be for marketing purposes. From my example, here are the methods I am using:

1. Teleclass Content

2. CDs

3. MP3s

4. Workbook

5. Downloadable PDF file

6. Articles for publication

7. Book

8. Book on tape

9. Workshops

10. Retreats

Another form of leverage is to use parts of what you've written to create another completely new piece. I save all my writing, regardless if I use it immediately or not. This week, as I was finalizing my chapter for the next book in my coaching book series, A Guide to Getting It: Sacred Healing, I used writing I had done several years ago titled, "Breaking the Pattern: The Seven C's of Transformation." Although it was not published at the time I wrote it, I've used various versions and parts of it in several other works that have subsequently been published.

Writing is like piecing together a quilt. Sometimes just one sentence from a work you've already written will fit nicely into a new piece. Other times, I've used an entire article and put it in a longer piece, such as a chapter in the series, or in the book I am writing for publication next year.

The creative process is like diving for pearls. You might write ten pages and only one sentence works well for your current use. Or you might write ten sentences and they are all pearls. Combining bits and pieces from different writing sessions has resulted in some of my best work.

Then there are the times that I write something that doesn't seem very dazzling or pertinent at the time I wrote it. Then-sometimes years later-I will read it again and the message is completely apt and the writing is compelling. I'm sure you've had the experience of reading a book and getting a specific message from it, then reading it again a year or two later and another completely different message jumps out at you. It's the same with your own writing. So keep everything you work on, whether it's on the computer or in long-hand. You never know when you will be leveraging it in one way or another!

Gaining Writing Experience

Some Catch-22, huh? In the writing business, you can't get published until you have some experience. If you can't get published until you have experience, how do you get experience? How do you get publishing clips to show all those publishers who want to see "previously published clips"? It's almost as if Lily Tomlin's telephone operator character came up with this: "Is this the party to whom I'm speaking? Are you the unpublished writer who has published clips I can look at? (Snort, snort!)"

What's an unpublished writer to do? Get published, of course! I'm not being flippant; I'm serious. Think about your life. There are a number of things you can write about right now (essays and travel articles about that great place you stumbled upon last summer). There is a lot more you can write about if you do a little research (an article regarding something that has been on your mind-your mother's illness? The stringent standards of learning being enforced upon elementary school students?). How about doing an article about the writer's conference you attended?

Now you have your ideas, but where do you get them published? You might start with your local newspaper. If they're like most newspapers, they're in need of fillers from time to time. They might even be in need of freelance reporters during the summer and the holiday seasons. Talk with your newspaper's editor. Be frank. Tell him/her that you need some publishing experience in order build your portfolio. In addition to putting some published clips in your "clip file," you'll also gain valuable experience and hone your craft. Then when you write that novel starring the investigative reporter, you'll know the lingo?and the editor can say, "I knew that author when?."

Op-ed pieces are another way to go; and if you query the right market, you could make some good money while acquiring these published clips. We all have opinions. If you can write about a hot subject and express your opinion on it succinctly and objectively, you're in the position to write an op-ed piece. Let's go back to the standards of learning issue. While you realize little Johnny needs to get a good education, you also realize the importance of playtime and "down time." You don't want Johnny to be a prime candidate for a stress-induced heart attack at age 32. Many other parents feel this way. Some don't. Some would say, "Standards of learning?" Talk with other parents to get conflicting views and write the article.

Though some shudder at the very words "non-paying market," if you're an unpublished writer seeking clips, it's a good alternative. After you get those clips, it's not so great to work for free; but at this point, you need the exposure and experience, and they need the articles. I think it's a fair trade as long as you work for a web site, e-zine, print magazine, newsletter, or even charitable organization that you would be proud to have worked for. It won't do you any good to have clips with grammatical errors (either yours or theirs) or content that isn't credible.

Entering contests is another way to get clips, though this is more of a writing sample. Still, if you win or even place in the contest, this will lend some weight to your writing. This is especially true if you're a genre writer. Romance Writers of America even has a contest called the Golden Heart Contest wherein the winner has the "best unpublished manuscript." Malice Domestic is a contest for mystery writers. While these "biggie" contests are great, small contests are a boon to the unpublished writer as well. One caveat: There are a lot of bogus contests out there. Before you pay any sort of fee, check out the contest.

Five Golden Rules for Writers

Regardless of what sort of writer you are and how much you love to write, there are probably days when you'd rather clean ditches than face another blank page.

As writers, we face common challenges; staying motivated and confident, avoiding "writer's block," and meeting goals (on time!) are some of the toughest. Here is some of the best practical advice I've come by, or discerned myself, for becoming and remaining productive, creative, and content while traversing the writer's path. Try implementing these "Five Golden Rules" and see if they work for you.

Golden Rule #1: Avoid dwelling on past work: get on with it.

This is maybe the most important, and most difficult to follow of the Golden Rules. There is actually a subset of rules under this category, since there are many ways to "dwell" and many things to dwell on. Take heed, then, that thou shalt never:

* Stop writing for a time because you received a discouraging rejection letter. Whether or not you've been published yet, mark a file folder "Acceptance Letters" and expect to fill it eventually. Your day will come.

* Stop writing for a time because you've completed something or because you've had an acceptance. There is a tendency to relax, to say: "Ah, I've done it." Savor the moment, sure; but don't get overly lazy with your writing. Move on to your next project.

* Reread every sentence, paragraph, etc. after you've just written it. Learn to disengage your "editor" self until the work is finished -- you'll be much more efficient and prolific this way.

Golden Rule #2: Accept rejection gleefully!

Well, maybe not "gleefully." But it is true: you can learn from rejections. Therefore:

* Test your work on other writers you admire and listen to what they bring up, both the compliments and the criticisms.

* If you receive a rejection letter that contains comments on why your piece was turned down, read it, file it, and think about it; decide if you should edit the work some more before sending it out again. Chances are if the editor took the time to write a note to you, they saw some kind of potential in your work -- that's the next best thing to being accepted!

* Finally, remember that you must study your markets carefully, and be selective about what article, story, etc. you send to what publication. Rejection might simply indicate that you sent your work to the wrong place.

Golden Rule #3: Keep track of everything ... everything.

If you are sending stuff out to editors, you must keep track of what you send, where you send it, and when you send it.

One good way to keep a log is to create a table, either with your word processor or by hand, with columns marked for: 1. Title of work or query; 2. Title of journal, magazine, etc. you sent to; 3. Date sent; 4. Date accepted or rejected (mark A or R, date); 5. Other places the work was sent.

* Make sure not to leave out 5, since you don't want to waste time re-sending a piece to somewhere it has been turned down. You might want to mark beside 2 how long you expect to wait for a reply, if you have this information.

* Print off extra copies of your cover letters and keep them in a file with the submitted pieces attached.

* You might also want to log how many hours you spend writing each day, week, etc., to help keep you honest.

* Organize your correspondence, research materials, notes, and other important documents and keep them in handy portable file boxes.

Golden Rule #4: Write about what interests you.

Everyone has heard the sermon about writing "what you know." It's good to keep in mind, however, that what you don't yet know can be learned, through research or contact with other people.

* As long as it interests you, it's a topic worthy of pursuing. Go to the library and look it up;watch a documentary; conduct interviews with experts; listen to people's stories, memories and impressions. Then write.

* If it bores you silly, but you feel you should write about it because: (a) it's a marketable subject/theme; (b) someone has asked you to write about it; (c) everyone else is writing about it; or (d) nobody else is writing about it -- go ahead, if you'll receive proper compensation for your boredom. If not, leave it alone.

* If your subject excites you tremendously, but seems to bore everyone else, you can: write it anyway because it's good for the soul; scour the publishing world for a suitable market, since there's bound to be someone who shares your (possibly obscure) interest; or slant your article/story to suit a particular publication.

Golden Rule #5: Stare at the wall; drink some coffee; scribble.

You can substitute the ceiling, some tea, and doodling if you wish. As long as you get away from the work for a bit to relax, ponder, daydream, pet the cat. "But that's a waste of precious time," you say. Not true. On the contrary: you can't ignore this rule and expect to flourish as a writer. Why? Because "goofing off" actually serves to fuel your imagination and restock your creative resources. You can't expect to function physically without sleep, right? Likewise, you can't expect to function as a writer unless you occasionally . . .

* Do other creative things, whether you're "good" at them or not. Make a cartoon with stick figures. Try watercolors. Take a dance class. Improvise a song while you shower.

* Move around. You'll notice that your mind tends to go numb at about the same point your butt does: that's your signal to get up and take a walk outside, wrestle with the kids, do Tai Chi, whatever. Just move.

* Is there a character in your story whose been giving you grief? Maybe you haven't gotten to know her properly yet, or she you. Invite her to shuffle about your brain while you peel potatoes and ask her a few questions -- you'll be surprised at how agreeable she becomes.

* Get out of the house! Or office. Cabin fever is a continuous occupational hazard for writers, but you don't have to succumb: get together with friends, or simply be around other people in a public place.

There you have them, the golden rules. Maybe you knew them already -- at least intuitively. I find, however, that it's good to be explicit about how we structure and govern our writing lives. Without rules to live by, and goals to strive for, our art suffers -- languishes from lack of discipline and drive. So buck up and commit the rules to memory, recite them once a day. And write, write, write!

Lisa E. Cote is a published short story writer and poet, and a professional writer and copy editor, specializing in Web copy. She is the founder of Elitelit.com, a resource site and online journal for creative writers. Lisa teaches online workshops based on her writing prompt tool, the Instant Muse Story Starter, helping her students (and herself) to live by the Golden Rules.

How To Write More Powerful Reports

There is one key difference between reports and most other forms of business writing, and we get a hint of that in the word, "report." Whereas with many other forms of written comms you can be a little creative and put your own slant on your words, in a report you must not. Not in theory, anyway.

In a report, you're supposed to report - not embellish, embroider, influence, etc. Just the facts and nothing but the facts.

This does not, however, mean that reports need to be dull and boring. It does, however, mean that you can't make the content more interesting than it really is. Impossible? No, it just takes some good organization and clear writing.

Before we go any further, there are numerous books and training courses on the market that teach you the formalities and practicalities of report writing. Some are more long-winded than others. Most of them are good.

Here in this article I can't do what other writers do in a book, so if you need to write reports a lot, I recommend that you buy one or two of the most popular books and study them. What I'm doing here then, is to highlight the points I think are most important to help you make your reports more readable, and the information in them come across more vividly.

If you work in a larger organization, there will probably be set formats for reports, at least for the internal variety. Whether you like them or not you're normally obliged to stick to them. However the way you roll out and write your content is still up to you.

So what are the key points to focus on?

1. Write for your reader

Don't allow yourself to fall into "businessese" jargon and phrasing no matter how much you or other people may feel it's more appropriate. It isn't. Use language and tone of voice that your key readers will feel comfortable with. If you don't know what they feel comfortable with, find out. It's well worth taking the trouble, because it will make the report much more enjoyable for them to read - a good reflection on you.

If your report is to be read by a wide variety of different audiences, focus your language on the most important groups. Ensure that less topic-literate readers are catered for by using discreet explanations of technical terms or perhaps a short glossary of terms as an appendix within the report.

2. Organize your information sensibly

Start by writing yourself out a list of headings which start at the beginning and finish with the conclusions of your information. If you must include a lot of background information before you get into the "meat" of the information, section it off clearly with headings that say that it's background ("Research Project Objectives," "Research Methods Used To Collate Information," "Personnel Involved In Questionnaire," etc.) so those who know it all already can skip straight to the important stuff.

Make sure your headings "tell the story" so someone glancing through those alone will get the basic messages. (You'll find that busy executives will thank you for doing this, especially when they have 16 other, similar reports to read in a crowded commuter train on the way into a meeting to discuss all of them.) Then fill in the details under each heading as concisely as you can.

3. Use an "executive summary" to tell it in a nutshell

Depending on the nature of your report you may be expected to include an executive summary, or at least an introduction that captures the key points of your information. The objective of this is to give the reader the key issues as quickly as possible. Write this after you've done the body of the report, not before. Use your list of headings as a guide.

Keep strictly to the facts - this is still part of the report, not your interpretation of it. Strip each sentence down to bare bones with minimal adjectives and adverbs. Use short words and sentences. Don't just get to the point - start with it and stick to it.

4. If your interpretation is called for, keep it separate

If part of your remit is to comment on the report and/or its conclusions, keep this separate from the main body of information. (Blocked off in a box or under a clearly separated heading will do.)

Naturally as you're professional you will be as objective as possible. But if you do feel strongly one way or another, ensure that your argument is put as reasonably as possible without going on for pages and pages. Remember, brief is beautiful, although it's harder to write briefly (and include all the important points) than it is to produce words in abundance.

5. Don't get carried away with illustrations

Graphs and charts are great to illustrate important issues and like the man said, "a picture is worth a thousand words." However ensure that those you use are of a level of complexity that will be understood by the least topic-literate of your readers. There's nothing more irritating than a graph that takes you 20 minutes to decipher. It's not so much a case that readers are too stupid to understand a complex graph, as it is that they don't want to spend too much time working it out. The easier/quicker you make it for readers to understand and assimilate your information, the more successful your report.

Try, also, to keep graphs and charts physically adjacent to the text that talks about the same thing. There's nothing more irritating for the reader if they have to keep flipping from front to back of a document. (When in doubt, think of someone reading your report on that crowded commuter train.)

6. Cut the clutter

Still on that topic, try to avoid including too many diverse elements in your report, no matter how long and involved it is. If you do need to include appendices and various bits of background material, research statistics, etc., make sure they're neatly labeled and contained at the back of your document.

As I suggested earlier, don't ask readers to skip back and forth, directing them with asterisks and other reference directing symbols. If you're writing a medical report or paper then you're obliged to include these when quoting references from other papers, but please keep even these to a minimum. They're very distracting and can break your reader's concentration.

7. Take some trouble to make it look nice

I know you shouldn't judge a book by its cover, but people do. Like it or not. According to UK Image consultant Tessa S, when you walk into a meeting, 55% of your first impression of someone is reflected exclusively in the way you're dressed. Documents fall into the same hole. So how your document looks goes a long way to creating the right impression of your work, and of you.

Obviously if a report is due to go outside your organization and particularly to clients or customers, you will be careful to ensure it's polished and clearly branded with your corporate identity and all that. However, how an internal report looks is important, too, although your Head of Finance might have apoplexy if you bind it in expensive glossy card. Be sensible with the internal variety - neat, understated, groomed looks don't have to cost much but they "say" a lot about the value of your report (and you.)

8. A minute on minutes

I think minute-taking is a horrible job, having done so for 6 years while on a charity fundraising committee. And being useless at handwriting (thanks to decades of computers and typewriters) never mind shorthand (was thrown out of secretarial school after 3 weeks) I struggled for months to scribble everything down to précis later, until I realized that my brain was a far more efficient filter of information.

At the end of each agenda item, I asked myself the classic reporter questions of "who, what, where, when, why, how and how much." All I had to do was jot down a few words and when I got home to my trusty PC, I could expand those into realistic summaries of what went on. As much of the dialogue in meetings is either unnecessary, repetitive, or both, simply use your brain as a filter. That's what it's trained to do for you in your day-to-day life, so it works for meetings too.

One word of warning though; don't wait too long before your work up your minutes. Another trick the brain does is to forget after a few hours or a day or so at most...

10 Tips To Help You Pack More Power Into Your Business Writing

1. Before you write anything down define not what you want to say, but what your message must achieve. Keep that firmly in focus at all times and use it as the main goal for everything you write. Ask yourself "does this concept/approach /clever headline/earnest mission statement/ really help the message achieve its objectives?" If the honest answer is no, alter it or rethink it completely.

2. Identify your target audience and get to know them very well. No matter how beautifully structured your message is if it doesn't take into account the real circumstances and needs of the audience, it won't work. Align your message's objectives with these circumstances and needs.

3. Study the media you'll be using; be aware of how people will receive your message and where your message will be competing for their attention, use your common sense and creativity to make it stand out in the crowd. (Or if the crowd's too big, reconsider the choice of media if that's within your power.)

4. Now develop your message based on these issues, and add in the final magic ingredient ? "what's in it for them?" Successful business messages are always based on benefits for the target audience - either actual or implied. Ensure you know the difference between features and benefits, and how to convert features into benefits.

5. Research the way your target audience speak and communicate, and phrase your message in their language - which may not necessarily be yours. Avoid corporate pomposity and unnecessary jargon. Talk to "you," not some vague third party, and keep your English as simple as possible, especially when your message is going to people who originate from other cultures.

6. Traditional grammar and even spelling mostly have been thrown out of the window. However there are still a few grammar rules you need to follow if you don't want your message to look amateurish. Your knowledge of the audience and how they communicate will dictate your writing style to a large extent. Don't let catchwords, "internet-speak," emoticons, etc. obscure your message or its benefits.

7. Time pressures and the influence of the internet have made us into a world of browsers, even when we're reading brochures and other print. Unless it's very short organise your offline text so readers who are browsing get the key points very easily. Always separate technical detail and other lengthy data from the main text so readers aren't obliged to plod through it unless they want to.

8. Never be tempted to transplant text written for print into an online environment. Online text is as different from offline text as a PC screen is from paper. Because reading from screens is so unfriendly, online text must be very short and crisp and must make it extremely easy for readers to absorb the key points. Don't let web designers talk you into flamboyant graphics that could inadvertently swamp your message.

9. When you give a speech, make sure you write it for yourself and your natural way of speaking - not your (or someone else's) idea of how an important business person should speak in public. Use a tape recorder to get an objective view of your voice, style, weaknesses and strengths. Keep sentences short with only one idea in each. Avoid telling jokes unless you're naturally funny. And rehearse, rehearse, rehearse.

10. If you think you may be out of your depth with a business writing project (e.g. a TV commercial, major direct marketing campaign, complex video or business theatre script) you're probably right - so call in a professional writer. Don't risk embarrassing yourself or your organisation with an attempt that's amateurish - there's no shame in admitting you can't be an expert at everything!

Applying KISS Principle in Writing

I have added a new word to my vocabulary. Logorrhea. We've all been touched by it. What is it? The Word Spy defines it, "excessive verbosity and long-windedness. Also know as verbal diarrhea."

Basically, you'll see plenty of examples of logorrhea in online blogs and content. Do you read every online or email content word for word? Most people quickly scan such content. Jakob Nielsen and many other experts confirm this theory.

It's best to keep it short 'n sweet. There are online Web sites that require 1000+ word articles. This does not mean running free and writing wordy. Ezine editors require tightly written articles. Here are a few tips to help you ensure your writing is concise.

I'm pretty guilty of using qualifiers. While researching this article, I attended a meeting where the manager used, "basically" in every other sentence. That word rang in my head that I said it while talking with her.

Basically, these qualifiers are the "um" of writing. Like "uh" and "um" in conversation, the sentence with the qualifier says the same thing without them. Let's take a look. Reread the second paragraph of this article without the word, "basically." Doesn't it sound better? It gets the same point across.

Forget the following words: "pretty," "rather," "totally," "really," "quite," "basically," "actually," and "very." OK, there
may actually be situations when you need to use one of these words, but use it with care. After all, we can't imagine life or Elvis Presley without "thank you very much."

I worked for a manager with a PhD and he liked giving us articles relating to our work. I hated these articles. They were written by and for people with PhDs. Come on, you know what I mean. Every word in these papers are at least eight letters long and require frequent dictionary use. It makes readers feel stupid. Remember people are scanning online content and they'll more likely absorb simple phrases. People are not stupid. They're overloaded with too much information. If it's complex, they'll skip it and move on. Besides, no one likes a show-off.

How often have you heard, "large-sized" or "biggie-sized" in advertising? That's fine for TV or radio advertising. For
writing, well, it's wordy. We can lop off the "sized" and simply write "large" or "big" object. Instead of "mud-covered shoes," use "muddy shoes." Dump the "beautifully-dressed" for "beautiful."

When I was a wee gal, articles written by me had passive voice. Er, I did it again. That should be, "I wrote articles using passive voice." The hardest part is to avoid it when you don't have a subject or don't know who is the performer.

In passive voice, the subject receives the action expressed by the verb. There are two parts in passive voice: a form of the verb "to be" plus a past participle. Instead, use active voice where the subject performs the action of the verb.

The article was written by Meryl. [passive]
Meryl wrote the article. [active]

I vote for the second sentence. It's crisp.

In this day and age long phrases don't cut it anymore. I read somewhere comparing online reading to a quick shower as opposed to newspaper-reading to be enjoyed like a long, hot bath. It hit home. I'm infamous for starting each morning with a cup of coffee and my newspaper. With every sip, I slowly devour each page of the newspaper. After I finish reading the paper, I turn on the computer and quickly surf pages to get updates.

Go back to the first sentence in the previous paragraph. That phrase of five words could be dumped for one word: "today." Same meaning, isn't it?

There are many online examples on cutting wordiness and wordy phrases. Search for "eliminating wordiness" and you should find plenty of examples.

Time to edit this article and reduce wordiness. Of course, I'll leave the examples for your learning pleasure.

Want to start a publishing revolution?

Calling all publishers, editors, journalists and freelance writers. It's time to breathe more life into your copy. Turn your articles into living pieces that spark measurable debate, get closer to your readers and engage their mind and soul - we're talking revolution.

As it was in the beginning

Publishers have for many years relied on letters to get eedback from their readers and although email has opened up this method of communication it is still time consuming and difficult to process with only a fraction of the received correspondence ever being used.

Let's face it, as well as being an overhead for the publisher, to most people it is an unrewarding medium in terms of effort required and response received, just think of the number of letters that go unpublished and unread.

As it is now

The Internet has brought new channels of communication and has opened up opportunities that allow us to challenge traditional methods. The Internet is now a mature technology, no longer the preserve of the new fad brigade but a technology that has been embraced by a global population, young and old alike and it allows us now to re-evaluate the way things are done. Newspapers, trade journals, magazines and ezines now have the opportunity to change the mental process.

When people read an article they often would like to comment, and historically this has required them to feel strongly enough to put pen to paper; or with the creation of the Internet send an email. Sure emails are easier but it still takes time to craft an email and time for the majority, is what they haven't got. The letters page although interesting are at best a snapshot of comments; a well crafted and well written letter on any given subject may hold the view of the majority, or the minority, as it is a free text medium and difficult to measure.

As it should be

Now consider the advantages of linking articles to online surveys where as a publisher you will have the ability to obtain valuable feedback from your readers and in a form that can be easily measured. Just as important as you communicating with your readers is giving your readers a way to communicate with you where they know it will count.

Want a snapshot of opinion? Did they like that article? Did your readers agree with what was said or do they take the opposite view?

Now it's easy

In the past surveys would have taken considerable effort to design and publish and altogether was a process too long winded and therefore reserved for the niche and bigger topics.

The advantage over letters and e-mails are that all the feedback is managed and measured and sites like Survey Galaxy will provide you with a real time poll that you can either keep to yourself or share with your readers.

It's not even one or the other now

Link each article to an online survey and not only extend the life of the article as people have a channel to express their views, but involve your readers in the discussion where they now know their opinion will be counted.

You think they would rather send an email? - no problem - include the facility within the survey and get the best of both worlds.

It's fast, low cost, and easy to do; it will engage and empower the reader, provide excellent feedback and having established a dialogue you then have the opportunity to link to other related articles.

Keys to Characterisation

Far too many inexperienced writers create flat, stereotypical characters: the brave fireman, the damsel in distress, the strict schoolmistress. The best characters are those who evoke emotions within the reader ? fear, admiration, affection, laughter, horror? If the writer fails to make us care about the characters, no matter how ingenious the plot, we will toss the story aside without a second thought.

Every character should be unique. There are no two people in this world exactly the same. Each of us has an individual personality; everything we do derives from the governing aspects of that personality. The following factors contribute to our uniqueness:

Names
Appearance
Possessions / props
Speech
Body language
Habits
Behaviour
Background
Major traits

These factors are best used in combination. For example, Charlie's broken spectacles combine with his habit of tripping over things. Natasha's boasting photographs of her new house combine with her loud voice that demands to be heard. A character who displays only one of these factors is nothing short of mundane.

Let's look at these issues more closely.

1) Names

Everyone needs a name. Names identify who we are; they can be associated with status, be notorious, unusual, or nondescript. Some beginning writers struggle over naming their characters. Names often hold symbolic association. Pip in Great Expectations is like a seed growing through childhood to adulthood. Lemuel Gulliver is 'gullible' in his travels through Lillput, Laputa and beyond. A character should not be given the first name that pops into your head. It requires more thought than that.

2) Appearance

We do not remember every detail of someone's appearance, but hone in to something that differentiates them from others. In Harry Potter, Ron Weesley's distinguishable feature is his red hair. In Edmond Rostand's play Cyrano de Bergerac, the title character has a large nose. Appearance can be used to reveal personality moreover. For example, someone with dirty fingernails, besides being unclean, is far from a perfectionist; they are neither fussy nor obsessive. The relationship between appearance and reality has always fascinated authors. Appearances can be used to deceive after all. Frankenstein's monster is inhumanly ugly and yet his natural impulses are benevolent. Oscar Wilde's Dorian Gray is stunningly beautiful in everything but his soul, his reality, which is as foul as the rotting canvas hidden out of sight.

3) Possessions and props

Appearance ties in closely with personal possessions (or props). Everyone has possessions, including their homes, clothes, books, and cars. Even a homeless beggar views the street corner on which he sleeps as his own. Let's look at more examples. Margaret never leaves the house without her bulging handbag. Charlie wears a pair of broken spectacles fastened together with sticky tape. Natasha goes nowhere without a photograph album containing pictures of her new five-bedroom house. Such concrete objects reveal aspects of character. Margaret carries her handbag, stuffed with everything she could ever need, because she feels insecure without it. Charlie is so clumsy that he doesn't bother to buy a new pair of spectacles for he will only sit on them again. Natasha's photographs scream out, "I am a shameless show-off!"

4) Speech

Speech evokes personality, both what is said, the content, and the way in which it is said, the manner. Nick is arrogant; his speech is long, loud, and self-interested. Emma's occasional social shyness, on the other hand, is mirrored in her short speeches. Sometimes she only utters a monosyllable in reply to a prying question. Content and manner, moreover, reflect social class. A university lecturer will use different language than a pub barmaid (even if talking about the same subject.) Also note that people have their own set of speech idioms: Nick waffles, "etc, etc" at the end of each sentence; Emma utters, "don't you think" to engage her listener's approval.

5) Body language

Body language falls into two categories: voluntary and involuntary. We shake our head when we mean to say "no," for example; we smile when we mean to be friendly. Voluntary body language, conversely, may be used to deceive. Sophie laughs loudly at her boss's jokes even though they bore her to tears. Involuntary gestures are difficult to feign, however, as we tend not to realise we are making them. Sally rubs her left earlobe when she is nervous. Daniel folds his arms across his chest when he feels defensive.

6) Habits

No one is perfect; we all have habits (sometimes very irritating habits!) Mike blinks his eyes excessively. Anne clears her throat every five minutes. Adam picks invisible bits of fluff off his jacket sleeves obsessively. Aunt Hettie pushes her 50 year old false teeth in place, each time they slip from her gums, with a tongue as red as a slab of raw liver. Yuk! Habits can be revolting, irritating, amusing or endearing. Whatever they are, they make characters memorable.

7) Behaviour

Most of us have behavioural patterns such as working long hours, over-eating, spending too much money, heavy drinking, or taking an evening walk at 8:30 precisely. Behaviour under stress reveals a great deal about a character's personality. Alan's wife dies unexpectedly, and yet he continues his usual daily routines - he is pretending that nothing has changed, that she will be home for dinner as usual. Even under extreme stress, however, behaviour should remain consistent. For example, Sue never drinks alcohol. It would be out of character for her to turn to alcohol when she loses her job. Instead she turns to something that is consistent with her previous behaviour ? her voluntary work at the local hospital perhaps. Even the most spontaneous of individuals is consistent in his/her spontaneity.

8) Background

No one just 'exists' as they are. We become what we are because of our background and past experiences. Our history shapes our thoughts, actions and motivations. Sam's mother died when she was eleven years old. As an adult she is far more independent than her friend Jane who was mollycoddled by a protective mother. Luke is scared of animals because, as a small child, a stray dog viciously attacked him. Daniel is overly ambitious because his older brother ridiculed him. Background is especially important when creating believable 'villains'. Very few people are innately evil. Serial killers crave power over another person's life; it makes them feel important to dictate who can and cannot live. Why do they seek this perverse power? Maybe they were abused and beaten as helpless children. That does not justify their crimes in our minds, but it justifies them in their minds. But how do we explain why not all abused children grow up to be abusers? Some grow up to be excellent parents. Clearly, background alone doesn't make a person what they are. It is their major psychological trait, because it dictates how they interpret their background, which makes them what they are.

9) Major trait

All characters have a major trait that dictates their personality and motivates their actions. Greed. Fear. Kindness. Guilt. Envy. Ambition. Worry. Creativity. Obsession. Kate is ruled by kindness and always puts others first. Steve is ruled by arrogance and always puts himself first. A ruling trait reveals itself in action and speech. How would arrogant Steve act in a crowded street? He would forge ahead single-mindedly, pushing everyone out of his way. How would Kate act in the same situation? She would allow herself to be pushed aside by the likes of Steve. Major trait affects every aspect of a person's life. Kate never moved away to university with her friends, although she was bright enough to, because she felt it her duty to stay at home with her widowed mother. No one is all-perfect however. Kate worries excessively, despite her kind-heartedness, about anything and everything. No one is all-imperfect either. Steve has a wonderful sense of humour when he is not being arrogant. Even your most beloved heroes and heroines have faults and weaknesses.

Be Your Own Literary Agent and Get Published

So you're one of 20 million Americans who want to write a book. If you've already written a manuscript, chances are you're looking for agent representation. In the past few years, as an editor and literary consultant for www.TheOmnibus.org, I've had the opportunity to read more than 1,000 book proposals. Most, I'm sad to report, were inadequate because the author did not follow a few, very simple guidelines.

Before you complete your manuscript and send it on its way to prospective literary agents or publishers, take the time to make sure you have a professional query letter and (short) synopsis, and that you have edited your manuscript. If you can not do these chores, then find someone who can.

Also, make sure you're able to distinguish your manuscript from other books on the same subject, that you can identify the audience for which you are writing, and determine the marketability of your finished book. These are the most important questions agents and publishers will ask, and it will impress them that you've done your homework.

You should already have researched the market to determine how many books on the same subject are currently available. A handy tool is to use the Internet and search the large booksellers online. These services not only provide a list of books on the same topic, but often a synopsis and the book's audience as well. Your book needs to stand out, not duplicate what's already available.

Agents and publishers also want to know your ideas for publicity and promotion of your book, including how you intend to reach your target market, and any helpful contacts you may have.

Another common mistake is to assume agents and publishers will respond at their own expense. You need to include a self-addressed, stamped envelope so companies can acknowledge receipt of your proposal. If you would like to have your material returned, be sure to send an envelope that is large enough and has enough postage for them to mail your proposal back to you. Proposals that do not include an envelope and postage generally will not be acknowledged or returned.

Some companies will accept e-mail submissions. Because of the threat of viruses, they usually won't open e-mails with documents attached. Many will read e-mail queries that include a short resume, a synopsis and sample chapters that have been copied and pasted into the body of the e-mail.

As mentioned, for security reasons companies do not like to open attachments without prior contact with the writer, and prefer you follow regular submission procedure. If prior contact has been made by e-mail, response and acknowledgments often will be made by e-mail.

If you are submitting book proposals by e-mail, it is wise to advise the companies in your cover letter the type of word processing program and version of that program that you used. Text is best transmitted through e-mail by converting it to Plain Text Format, ASCII (with no hard returns).

Take the opportunity to edit the work, correct misspellings, improper word usage, etc., before submitting it. It's not a good idea to send complete manuscripts by e-mail unless they are requested.

Let's break it down:

How Your Book Differs from Others
* What is your book is about?
* What is the reason that prompted you to write your book?
* Why is your book needed by others?
* What are its unique features?

Identify Your Audience
* Describe the audience you are targeting with your book.
* What is your level of expertise (no experience, beginner, intermediate, advanced)?
* What are some specific applications or uses for your book (e.g., sports, education)?
* Who would be the most likely candidates for purchasing your book?
* Why should they buy it and share it with their friends?

Beat Your Competition to Market
* List three to four books that compete with the project you are proposing.
* How do they compare to your book in length, spectrum, format, and visual appeal?
* Are there any that seem remotely comparable?
* What are the differences among your approaches?

Publicity
* Gather a local, regional, state and national media contact list.
* Consider contracting a company to make a website for your book.
* Do you have access to any authors who may provide a "blurb" for your book?

Don't Forget the Postage
* Include a SASE with all queries.
* If you want your manuscript back, include enough postage for its safe return.

Electronic Submissions
* Check if the company accepts electronic (e-mail) queries and proposals.
* Make sure you're not spamming hundreds of agents/publishers at a time.
* Only include a short query, a bio, a synopsis, and the first three chapters in your e-mail.
* Don't send attachments.
* If you are asked to submit an attachment, let them know the software program.
* Consider sending the file as Text only.