On the Importance of Page One

(3 min. read)

beautiful journalist looks typewriter

Page One challenge

Whenever I happen to read my students’ essays and theses, I seldom need more than a couple of minutes to make an opinion about the quality of their work: evaluation of research always involves the same sequence of steps–

  • read the title to pick out the most significant words (keywords) in it and to learn about the subject of the research paper;
  • study the Contents page, which is supposed to outline the general logic of the research;
  • look through the introduction really quickly, to see how the author identifies the goal, the tasks and the main methodology of the research; and
  • take a quick look at the section called ‘Conclusion’.

If I see some red flags in these parts of the thesis, I open the text at a random page and read a couple of random sentences: this gives me understanding of the author’s level of professionalism, awareness of the ‘rules’ of academic writing, and the amount of effort put into the writing of this thesis. After reading of a few sentences, I can easily say whether the author did a thorough, diligent work of writing or not. Quite often, when the writing style is complex and even unclear, it reveals quite the opposite of professionalism. This is why the best works of science are written in such a language that even an 8-year-old can understand what the talk is about in the research.

Before I started writing fiction, I thought that similar evaluation of fiction manuscript swould be impossible, because fiction writing is such a creative process and it is always absolutely unique. Now, when I have finished a few works of fiction, I realize (and strongly support) the fact that evaluation of a fiction manuscript by editors and agents is also done in a similar way, by means of applying a certain sequence of actions which serve as bench mark measurements to identify the level of the author’s professionalism and talent.

Johannes_Vermeer_The_Geographer

Johannes Vermeer. The Geographer. 1668.

 Every evaluation involves applying some system of measurements to the object of evaluation; even such thing as talent of a master in any form of art can (and should) be measured.

This is what Carly Watters, a literary agent, writes in her blog about reading manuscripts of fiction authors:

“I wish I had time to give writers (and their books) more of a chance but I can tell a lot by one page: sense of dialogue, setting, pace, character, voice, and writing talent–yes, usually all from one page. Five at the most.”

Carly gives us her measurement criteria: sense of dialogue, setting, pace, character, voice and the general impression of the author’s writing style which she calls writing talent. I am very thankful to Carly for sharing this with us. Isn’t it great to know how your first page will be assessed by a professional?

But how can we measure talent? I kept asking myself this question until I have done evaluation of dozens of graduate students’ thesis. The answer is quite simple: the talent of a scientist is measured by the readers’ ability to understand and follow his/her writing.  During life, with lots of reading and learning experiences, every person develops a certain pattern (stereotype) of mental strategies which help us understand each other’s way of thinking. The professionalism (and also the talent) of a scientist is his/her ability to use commonly accepted patterns to explain their unique ideas in a simple and attractive way.  I think the evaluation of a fiction writer’s talent is done similarly: if the narration ‘sounds’ attractive, realistic, exciting and quite simple to digest, the manuscript is good and is worth reading. The very first page will inevitably reveal this.

In her article, Carly Watters suggests a few tips to attract the reader to your manuscript from the very first page:

  • Learn how to balance what readers need to know vs. what you, as the writer, want to tell us;
  • Learn what “start with action” really means;
  • Let us know who has secrets; keep the reader curious;
  • Be wary of information dumps;
  • Introduce characters on a need-to-know basis; and
  • Never assume a reader is going to finish your first page, first chapter, or whole book.

You can look up her explanations about each tip in her article. The bottom line is, every author needs to know these ‘tricks’ and check their whole manuscripts for compliance with the editors criteria, because, in fact, they are not the editors’ whims, but the common, universal patterns of perception of fiction, which form readers’ expectations of our books. This is why her majesty Page One is so important, and this is why I am off to  sit down and check my own Page One for compliance with these requirements– right away!

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William T.Howell Allchin. Open Book.

Writing with a Good ‘Flow’

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How much of rhythm should prose have? It is obvious that achieving a certain rhythm (I would even call it a ‘beat’) is critical in poetry, but in prose… should we care at all?

Dictionaries, which, in fact, are perfect antithesis to poetry, say:

In writingrhythm is defined by punctuation and the stress patterns of words in a sentence. Long sentences sound smoother, while short sentences make your content snappier.

Well, honestly, this definition does not look complete to me. Some significant component is missing here, because this definition speaks only about the mechanics of writing, but says nothing about the author’s talent of creating individual ‘beat’ that makes every sentence sound like this author’s unique, personal accent.

When we describe our most favorite books of fiction, we often say, among other things, that “they are easy and pleasing to read and have a good flow.” Critics usually say that “this is all down to the structure and length of sentences”, as well as to the amount of syllables in each chosen word-combination, and the breaks / pauses which the author puts on certain places. [Richard GilbertBen Smith]

writing that flows

When the authors of prose discuss their work, they like to brag about ‘making it sound nice’,  but unfortunately, with tons of books being published today, readers are becoming less and less interested in having it ‘flow’. And writers in their turn, stop paying attention to the ways they put words together.

Still, some people are used to reading fiction aloud in their heads, I am one of them. This habit makes us look for the desired rhythm in the first place. We would never finish a book which ‘is not good in the sound and rhythm’, and to my mind, it is the sound and rhythm that immeduately gives away a talented author. It is the rhythm that will either keep the readers turning pages, or bore them to a stop.

Let us look at a few examples, I just made a little analysis for this article:

Rhythm and Sound in W.S,Maugham’s Prose

It’s a funny thing about life; if you refuse to accept anything but the best, you very often get it.” W.Someset Maugham

.._._._._;._._…_, …_._.

[A] [Y] [A] [A]  [jU]  [E] [E] [A] [E]

Rhythm and sound pattern: [a]-[a]  [e]-[e]  [a]-[e]

There are three rules for writing a novel. Unfortunately, (pause) no one knows what they are.” W.Someset Maugham

.._ _._.._.; ._..(pause) ._._.._

[E-U] [A] [A]  [O] [O] [A] [A]

Rhythm and sound pattern: [a]-[a]-[o]  [o]-[a]-[a]

Love is only a dirty trick (very short pause) played on us to achieve continuation of the species.” W.Someset Maugham

.._._._(very short pause) _…_…_._

[A] [eO] [Y] [A] [Y] [A] [Y]

Rhythm and sound pattern: [a]-[y]  [a]-[y]  [a]-[y]

In W.Somerset Maugham’s writing, the rhythm is complex, but you can sense the patterns which he follows in every sentence. There is a whole set of such patterns, but the set is unique for every individual writer.

This is what we call ‘авторский почерк’ (author’s unique handwriting or style) in Russian, and I am sure this is true for every piece of literature in every language of the world: the combination of rhythm and sound is the main criterion of every talented author’s unique manner of writing.

Here are a few more examples:

Rhythm and Sound in Ursula K. Le Guin’s Prose

What sane person could live in this world and not be crazy?”

Rhythm and sound pattern: [a]-[o]  [o]  [o]-[a]

When you light a candle, you also cast a shadow.’

Rhythm and sound pattern: [a]-[a]  [a]  [a]-[a]

Morning comes whether you set the alarm or not.’

Rhythm and sound pattern: [a]-[a]  [e]  [a]-[a]

Of course, rhythm is especially important in certain genres of prose, like fantasy, or — if we think deeper — also in mystery, in suspense, in romance, in… ah, everywhere!

Look at Neil Gaiman’s sentences: aren’t they truly poetic?

Rhythm and Sound in Neil Gaiman’s Prose

It is a fool’s prerogative to utter truths that no one else will speak.’

Rhythm and sound pattern: [u]-[o]   [a][u]   [o]-[y]

Tomorrow may be hell, but today was a good writing day, and on the good writing days nothing else matters.’

Rhythm and sound pattern: [a]-[e]   [a][e]   [a][e]   [a]-[e]

‘Sometimes that’s enough to see you safe wherever you go. But mostly, it’s not.’

Rhythm and sound pattern: [a]-[a]   [a]-[o]   [o][o]

Well, every talented author has a unique signature rhythm that keeps her readers turning pages. I think every writer should continuously explore their personal rhythms of writing. It is also very useful to study reader responses to different rhythms, melodies of speech and beats if we want to develop unique ways of writing and become recognizeable by our writing style.

writing-roller-coaster

‘One Man’s Meat…’ (A few words about clichés)

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Every EFL (English as a foreign language) teacher always feels happy to find a new frequently used word or a popular phrase and share it with her students. As I was looking through recent publications about the art of writing this morning, I ran across an article called ‘The List of Clichés You Should Strike Down in Editing‘. The article offers great tips on writing for authors and provides “a non-definitive list of clichés to avoid”.

My first thought on seeing it was: “Oh, it is good to know for my future writing experiences.” But the longer I studied the list, the more interested I became.

“Wait a minute,” I said to myself, “as a foreigner, I didn’t even know that some of these word combinations have a reputation of hackneyed phrases, and probably people in other English speaking countries wouldn’t find them ‘hackneyed’, either.

hackneyed (1)

Then I thought that, as long as these phrases have gained the reputation of being used too often, they are probably well-understood and accepted by thousands of people, which means… that my students need to know them!

Really, what can disgust an editor becomes a desired tidbit for a teacher and her students. Here is the list from the article. Learners of English, enjoy!

Chip off the old block
Loose cannon
Ace up his sleeve
Scared of his own shadow
Add insult to injury
Avoid like the plague
Let the cat out of the bag
Bad to the bone
Cross that bridge when we come to it
Bald-faced liar
Trial by fire
Bark is worse than his bite
Beggars can’t be choosers
Armed to the teeth
Bee in her bonnet
Ugly as sin
Bent out of shape
Bend over backwards
The bigger they are, the harder they fall
Let off some steam
Burning the candle at both ends
Caught red handed
A checkered past
Until the cows come home
Take the bull by the horns
Fit as a fiddle
Chomping/Champing at the bit
Come hell or high water
Cute as a button
No stone unturned
The devil is in the details
All your eggs in one basket
Don’t rock the boat
Down in the dumps
Beat around the bush
Driven up the wall
Keep an ear to the ground
Level the playing field
Barking up the wrong tree
Everything but the kitchen sink
For all intents and purposes
Force to be reckoned with
In the nick of time
It goes without saying
Knock it out of the park
Neither here nor there
Bite the bullet
Nothing to sneeze at
Older than dirt
Open a can of worms
Pleased as punch
Quiet as a mouse
Weed them out
The whole hog
Go the whole nine yards
Work like a dog
Get up on the wrong side of the bed
Yanking your chain
Nip it in the bud
Tough as nails
At the end of the day
When push comes to shove
No use crying over spilt milk
Back to the drawing board
Phone it in

hackneyed

Learning to Outline

book_outlineIn the Soviet time, when I studied at school and later at university, no one ever bothered to teach us any methods of writing. We never did any training in organizing or planning compositions, not to mention such things as structuring book plots or writing marketable outlines. As far as I know, the situation has not changed much since then in the post-Soviet educational establishments, so many of my compatriots, even those with diplomas of journalists (no universities have ever had any programs for fiction writers here) have a good understanding of how to plan, or structure, or organize a text. So, I have been learning to do this from A to Z, previously as an academic books author and now as a beginner in fiction writing.

I really loved to study K.M.Weiland’s book “Structuring Your Novel” and I have her brilliant novel structure scheme on my table all the time:

RESIZED-structuring-your-novel-visual-chart-screenshot My other favorite guide is the 3-Act Structure guide, which is skillfully described by Emma Johnson  and a number of other experts in methodology of writing.

Three-act-structure_1

Yes, I prefer to call it by a boring word methodology, because in fact, it is always a method that turns any action into a skill.

Method is the only tool that can turn a spontaneous action into a skill.

In my culture the learners of this kind would be called “samouchka” (“самоучка”, Rusian: a self-studying person), which means that I often have to develop my own methods of doing things. So I do.

I have developed a convenient scheme of outlining fiction books for potential marketers, based on the existing novel structuring methodologies, which I mentioned above. Below, is my little scheme (or model):

A Novel Outline Model

With [some unusual condition that distinguishes him] [the main character’s name] is looking forward to a [the main character’s primary intention or goal]. Instead he walks into [First Disaster], and [Point of no return].


[The second main character’s name] has been [the 2-nd main character’s condition in the beginning of the book]. But [his/her initial intention/goal] is confounded by [the conflict of the story].


[The main character’s name] becomes involved into [Second Disaster (The Midpoint: the main character’s push to action, his move to different circumstances)], so he/she is seeking [the main character’s new goal]. Instead, he/she discovers [the 2-nd Pinch point event, when the antagonist’s power is reaffirmed], and faces [Third Disaster (an event that provokes the inexorable course towards the Climax].

I have played with the model, trying to create outlines for my books, and it seems to work well! With this structure (plus some time spent on polishing of the outline) I can create outlines a lot faster than just by doing it out of my mind. You are very welcome to try it, and please, tell me if you can think of improvements for this model.

I will greatly appreciate any comments and suggestions. Thank you!

author

Verbal Art Made Visible

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I’d like to begin this one with a quote:

“Conflict generates energy and that energy, at its best, reveals a universal truth. In almost every iconic masterpiece you will see this equation at work. Writers would be well served to seek out some of these iconic visual works and examine them closely.” Annie Weatherwax

These words belong to an artist, who found her way to writing fiction by studying masterpieces of visual art- a necessary component of education for every creative person, which so many representatives of the verbal arts world ignore today.

Conflict is a critical condition for plot development in fiction writing. Tension, its inevitable product, helps keep the story dynamics and thus, ensures its ripeness and thoroughness. As Annie Waterwax notes,

“Tension is a primary component in all forms of art, achieved by the conflict between opposing elements. It’s the tension that holds our interest. In a masterpiece, the energy created by that tension reveals a universal truth. And a masterful artist does this without the viewer knowing it. She slips the message into our collective subconscious unnoticed.”

This peculiar talent of knowing how to send ‘the message into our collective subconscious’ is often overlooked by writers as something irrelevant, and the reason why they cannot do it is lack of general aesthetic education. Sadly, fiction writing is rarely mentioned as an art form today (in my opinion, it still is); the widely accepted ‘standards’ of fiction writing focus mainly on genre, plot and structure requirements, while the artistic beauty of writing is just a nice additional bonus, welcomed mainly by publishers, because majority of readers are rather attracted by fast-pace plot development and intrigue than by the way it works to enrich our aesthetic personality. Overwhelming majority of people today prefer visual arts and music to reading, while appreciation for the beauty of writing style and its harmony with genre and structure of the story is regarded as an extravagant whim of the few.

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Still, knowing a lot about art in general helps every writer, because it broadens their imagination and develops their artistic taste. I am glad to see that the most appreciated fiction writers today (irrespectively of the genre they write in) are always people of good aesthetic taste (quite often, they are passionate art lovers). 

Putting it simply, developing a good aesthetic taste is a way to see more beauty around you, and- yes, one needs to learn to see beauty! And beauty is exactly that energy, mentioned above, which reveals universal truths to a person. Without learning about it, an author lacks necessary means of high-quality writing.

Our imagination is born deep inside our mind, in the storage of memory, knowledge and life experiences which we have accumulated during our lives. If we have a good deal of beautiful images, associations and emotional memories stored there, the final products of our imagination have more potential to be beautiful, too. Only an author who has a good taste for visual (musical and other) arts can create really beautiful verbal pictures and deliver them to other people’s minds. I think we should always remember this when we sit down to create our masterpieces in writing.

a-of-w3

Suspense… in Life and in Fiction Writing

 I have been reading about the role of suspense in fiction writing and, as it often happens in the world of writers, I found a number of excellent articles describing features and merits of suspense, but none of them provided a decent definition of the term. Some works characterize suspense as a “sense of anticipation or worry that the author makes the reader feel” (https://prezi.com/wyt6zmamrm9w/elements-of-suspense-in-literature/ or http://elementsoflit.weebly.com/foreshadowing-and-suspense.html), which provides general understanding of the role of suspense, but is a bit misleading because, according to this description, suspense is a human feeling: an emotion, that’s all.

The scheme which I posted above presents suspense in one row with other genres of literature: mystery, horror. It is not the first time that I see attempts to present suspense as a whole separate genre of litreature:

“So, you’ve been working on a new novel… what genre? Historical again?”

“No. Suspense.”

“Ah, I see.”

Maeve Maddox, the author of the article ‘Is Your Novel “Mystery,” “Thriller,” or “Suspense”?’ (https://www.dailywritingtips.com/is-your-novel-mystery-thriller-or-suspense/) calls suspense a separate genre of fiction, with a note that “sometimes the three are presented as separate genres, and sometimes they’re lumped together as Mystery/Suspense, or Suspense/Thriller”. This shows that many authors and critics today have realized that suspense is not necessarily a mystery or horror, it is something different, because its meaning has changed for the reader. The reader sees suspense as a puff of obscurity on her face.

Suspense2

Suspense is not necessarily a mystery or horror, it is simply a puff of obscurity on your face.

“SUSPENSE: the main character may become aware of danger only gradually. In a mystery, the reader is exposed to the same information as the detective, but in a suspense story, the reader is aware of things unknown to the protagonist. The reader sees the bad guy plant the bomb, and then suffers the suspense of wondering when or if it will explode.” (Maeve Maddox; Please, find the link above)

This description corresponds well with the above scheme and also shows specificities of suspense as a high-grade genre of fiction literature. So I have been wondering: isn’t it a sign signaling to all authors that a new genre has been born and is actively building its way into the list of “traditional” genres of fiction? Can I write in a letter to a literary agent: “My novel is a suspence with some elements of fantasy”, or would it be safer to call my novel a “suspense fantasy”, where the main accent falls on the word “fantasy”?

Can we call suspense a genre of fiction? If yes, how ripe is the genre today? Somehow I have no doubt that suspense will soon form into a separate, widely accepted genre of lirature, because in the 21-st century people who read are seeking for fast-paced, action-packed, yet emotional fiction, and suspense is exactly what they need, because it apeals to the readers’ hearts.

In their reviews of suspense, some authors just leave it without a definition and move right on to discussing the distinguishing qualities of suspense fiction in comparison with other genres. Here is, by the way, a very good analysis by Stephen James, called Six Secrets to Creating and Sustaining Suspense, available on Writers Digest at http://www.writersdigest.com/online-editor/6-secrets-to-creating-and-sustaining-suspense. In this article, the author looks at four factors necessary for suspense – reader empathy, reader concern, impending danger, and escalating rension – which are regarded as the author’s roadmap to the readers’ hearts. Then, the author suggests six ideas, or tasks, which a writer should set and achieve to create a good suspense effect in a piece of fiction:

  • put characters in jeopardy;
  • include more promises and less action;
  • keep every promise you make;
  • let the characters tell readers their plans;
  • cut down on the violence; and
  • be one step ahead of yur readers.

These tips, along with the detailed explanations provided in the article, must be very valuable for every author, as they set direction for an author’s effort, and still, these are just tools of suspense as a writing method, they are not the laws of a genre… yet.

Stephen James concludes his article with the words-

“No matter what you write, good prose really is all about sharpening the suspense.”

Well, if this statement is true, it does not make suspense a separate genre yet, but it surely makes it even more: a cross-genre requirement, a condition of achieving high quality of writing, a goal to which every author should strive, regardless of the genre they are trying to conquer.

Well, to me, the question is still there: what place does suspense have in contemporary literature? Is it already a separate genre or is it rather a method of writing?

Do you believe that in a couple of years, when more suspense masterpieces have arrived, all book stores will install shelves with a one-word sign “SUSPENSE”?

If you have answers to these questions, please, share. I will appreciate any comments on this. Thank you.

suspense3

Today, suspense is a method of writing, which is making its way to become a separate genre of fiction.

 

The Challenges of First-Person Narrative

“I would so hate to be a first-person character! Always on your guard, always having people read your thoughts!” ― Jasper Forde, Lost in a Good Book

Elephant-Sitting-Thinking-Contemplation-H

Writing from the first person is a big challenge, I realize it more and more every day. The most important thing is to keep the reader interested at all times, which means that the character has no right to be boring, even for a single moment!

When writing from the first person, it is very important to keep rational balance between narration and dialogue: if I allow my character to ramble, I’ll kill the readers interest in a few pages, but too many dialogues may be killing for the whole novel, too.

Then comes the necessity to follow “show not tell” rule: one of the most difficult tasks, because if I am the one who tells the story, I often have a temptation to simply tell it and go on.

Also, my character needs to have the voice – I mean, my character happens to be the one who experiences stuff and then learns the lessons and makes the conclusions – to accomplish the goal of the whole writing. My character becomes the one who sets the questions and answers them for the reader at the same time: the situation which seldom happens in real life and thus, is difficult to reproduce in a reader-attractive manner.

Finally, if I want to grab the readers’ attention and keep them excited to the very end, my character should continuously explore her own personality and “alter” it as she moves forward with the plot. The gradually accelerating pace of the narration should be inseparably connected with personality dynamics of the main character, and once this person is telling the story, she needs to take every step consciously, but then it is difficult to keep the air of mystery in the book: the story risks to become too predictable to be interesting! This is another challenge for the author.

It seems, I need to be a Mark Twain to do such a thing well enough! Talent, plus wit, plus tremendous life experience, plus really hard work, ah, yes – plus the ability to learn from one’s own mistakes: this is the formula of success for the task of writing a first person narrated story. Quite a complex one, don’t you think? 😉

 

“Cooking” Blog Headlines: My Signature Dish

signature dish 001

Correct me if I am wrong, but I believe that a smartly chosen headline can sell even an average article. Headline is the face of every text composition or document, no matter if it is long or short, creative or strictly logical, artistic or business-like. Every word of a headline works to represent the whole composition in search engines, in email, on social media, and can either attract the eye of the reader or do quite the opposite thing, which makes the task of crafting the headline crucially important.

Being a mother and wife with decades of experience in the kitchen, I can’t help but compare this process with cooking. Cooking is a skill, which – when properly used – can turn my daily work of processing food into a very satisfying, creative and surprisingly effective activity. Moreover, it gives me a chance to share my creative work with others… just like with blog writing! See for yourself: to cook a good dinner, we need to take care of four things-

  • to know what we are going to cook (a simple way to talk about goal setting);
  • to develop a method and a sequence of doing it;
  • to have necessary food ingredients and the kitchen equipment at hand; and
  • to decorate the final product and serve it properly, in order to get the best appreciation of the diners.

Well, this daily cooking scheme looks amazingly similar to blogging process, don’t you think? Cooking a blog article seems to follow the same methodology!

signature dish 01

I try to write for my blog quite regularly, so the task of giving names to the articles comes up a few times every week. The method I have developed is a kind of a recipe for cooking blog titles. These are the steps I take:

Step 1. Select 3-4 keywords

While I work on the article content, I write down 3-4 keywords, which describe the main idea of my article. These words usually become the basis for my working titleFor example, when I started writing this article, I picked four key phrases: blog article, create a title, craft a headline, headline writing howto (the idea to compare it with cooking process came to me later). This first step is very important, because it helps me set the direction of my thoughts, and then I check every passage of my article with the key phrases to see if the content corresponds with the working title.

Step 2. Answer the seven questions (below)

When the first draft of my article is ready and I have the working title, I can proceed directly to designing the final title. To do this, I ask myself a few questions-

  • Should I create a witty, inciting title or rather craft an informative headline*?

  • Who may want to read an article with this title/headline?

  • What words should I use or avoid in the title?
  • Is my title/headline catchy enough?
  • How long should my headline be?
  • Does it correspond to the content, structure, and style of my article?
  • Does my headline include the necessary keywords (is it satisfactory to both, my readers and the search robots)?

*There is some difference between the notions “title” and “headline”. To read more about it, go to page: http://blendmagazine.org/blog/2009/02/27/headlines-vs-titles/

Step 2 is the most creative one. I try to imagine my readers and, depending on how I visualize them, I come up with ideas of style, manner and length of my title. I won’t go into lengthy discussions here. You can simply apply these questions to an article that you are writing at the moment, and some ideas will flash in your mind right away.

Step 3. Personalize the title

To make my title attractive to many people, I need to enrich it with an emotional component. Some authors would express it by the phrase “make it sexy”, I would rather call it personalizing the title, which gives my readers a promise that, along with sharing the basic information, I will share a little about my personality. This makes me closer to the reader and simplifies the task of disclosing the subject of my article. Sometimes at this step I come up with an idea (like the one about comparing crafting of blog titles with the process of cooking), which makes me revise the whole article and sometimes rewrite it. But in most cases, revisions make the article better, so I don’t mind…

Step 4. Decorate and serve

At this step the article is finished and the title has been cooked. If I am satisfied with everything, I can proceed to publishing it in my blog. Quite often, I revise my articles days and weeks after they were published, and recently I found out that I am not the only one who does so. Honestly, I never expect the blog articles to be perfect: this is what blogging is about, isn’t it?

A blog article should be fresh and inventive in thought, but it does not have to be coursebook-precise or academically elaborate, it should simply catch the readers’ attention and provoke them to think. This is why I added Step 4 to my recipe. “Decorate and serve” means: make it visually attractive. Do not forget to develop a clear visual structure: break it up into easily identifiable parts, add numbering and bullets, or do whatever is necessary to make your article dish look edible and delicious.

Then, finally, add illustrations and serve.

signature dish 3

Here is a little bonus for you:

To read more on the topic, you are welcome to go to blendmagazine.org, where, inter alia, they provide a classification of article headline types. Enjoy:

7 Types of Headlines

http://blendmagazine.org/blog/2009/02/27/headlines-vs-titles/

1. The Know-it-All: these headlines offer practical advice or tips.

2. The Teacher: these headlines teach you something you didn’t already know.

3. The Gossip: these types of headlines stir up controversy, pique your interest, and often have you asking “and then what happened?”

4. The Instigator: these headlines make bold statements, which may or may not be true, but they make you want to click to find out.

5. The Nay-Sayer: these headlines convince you that what you don’t know will hurt you.

6. The Campaigner: these headlines provoke people who have similar problems or issues to click on the articles and connect with other like-minded people.

7. The Connector: these articles show the connection between two seemingly unrelated things.

A Few Facts About the English Language in Russian

 

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Несколько интересных фактов об английском языке, собранных с разных сайтов в Интернет. 

1. Английское слово «alphabet» происходит от названия первых двух букв греческого алфавита «alpha» и «beta».

2. В предложении «The quick brown fox jumps over the lazy dog» можно встретить каждую букву алфавита.

3. «I am» и «I do» — самые короткие предложения в английском языке с подлежащим и сказуемым.

4. В старые времена на протяжении определённого времени амперсэнд (символ “&”, в английском языке означающий союз “и”) был буквой английского алфавита.

5. Самые распространенные буквы в английском языке – это R, S, T, L, N, E. Реже всего используется буква Q.

6. Точка над буквой «i» в английском языке называется tittle (малейшая частица/капелька).

7. Самым длинным словом в английском языке, согласно Оксфордскому английскому словарю, является слово pneumonoultramicroscopicsilicovolcanoconiosis (обозначает болезнь легких, в слове 45 букв).

8. Самые длинные односложные слова в английском языке – это “screeched” (визгливо крикнуть) and “strengths” (сильные стороны).

9. «Almost» (почти) – самое длинное слово английского языка, в котором все буквы расположены в алфавитном порядке.

10. В английском языке есть слово с одной и той же гласной, которая повторяется 5 раз – «indivisibility» (единство, невозможность отделить).

11. “Four” (четыре) – единственное числительное в английском языке, количество букв которого соответствует обозначаемому числу.

12. Слово “set” (в значениях существительного и глагола) имеет больше значений, чем любое другое слово в английском языке.

13. Слова «racecar» (гоночная машина), «kayak» (каяк/байдарка) и «level» (уровень) являются полиндромами, то есть одинаково пишутся и читаются справа налево и слева направо.

14. Единственное слово в английском языке состоящее из 15 букв в котором буквы не повторяются “uncopyrightable” (не охраняемый авторским правом).

15. Ни одно слово в английском языке не рифмуется со словами «month», «orange», «silver» и «purple».

16. Буквосочетание “ough” в английском языке может читаться девятью различными способами. Следующее предложение содержит их все: “A rough-coated, dough-faced, thoughtful ploughman strode through the streets of Scarborough; after falling into a slough, he coughed and hiccoughed.”

17. Самое функциональное слово в английском языке – это «shit». (О способах его использования подробно можно прочитать здесь http://www.funfacts.com.au/the-most-functional-word-in-the-english-language/ )

18. В английском языке больше всего слов (около 800 000) и самые богатые синонимические ряды. Американский президент Бенджамин Франклин собрал более 200 синонимов слова «пьяный» (англ. drunk), включая такие «шедевры» как «cherry-merry», «nimptopsical» и «soaked».

19. Самая сложная скороговорка в английском языке – это “The sixth sick sheik’s sixth sheep’s sick”.

20. Согласно закону штата Иллиной (Illinois), в штате запрещено говорить по-английски – официальным языком здесь принято считать американский.

21. «God be with ye»- полная версия слова «goodbye».

22. Древнейшее слово в английском языке – town (городишко), означает, как правило, городок с населением не более 5 тысяч человек

23. Со словами month, orange, silver, purple, английские поэты не могут найти рифму.

24. В одной верхней строке клавиатуры можно набрать английское слово «typewriter».

25. Когда-то слово «pants» считалось ругательным в Англии, теперь его используют на каждом шагу.

i-love-en

 

What Distinguishes a Successful Blogger in 2017?

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As I have been learning how to blog, I never miss publications on the newest tendencies in the world of blogging. It goes without saying that every beginner must find a niche and identify a group of ideal readers for their blog, but then… what else? According to my research of publications authored by well-recognized bloggers, the following features will become a must for every successful blogger in 2017:

  • compelling content that adds value to readers;
  • preferably short articles and posts;
  • attractive illustrations, at least one for each post (I have no doubt that in 2017, visualization will become No1 factor of success for bloggers);
  • simplicity and preciseness of all information;
  • an easily identified, unique feel (or a unique author’s voice) of the blog to attract repeated visitors;
  • clearly displayed personality of the blogger;
  • positive general mood of the posts;
  • rational use of social media, (the bloggers should not focus too much on them, they should rather focus on writing);
  • ongoing research related to the main blog topics;
  • regularly appearing video and audio content.

Please, add your ideas in the comments below if you can think of more items. Thank you! Wishing you all the best with your blog!

A.M.Bradley

One Writer's Journey

Writings from the Couch

Processes of Discovery in the Mind