Technical writing is a specialised form of writing.
Its goal is to help readers use a technology or to understand a process, product or concept. Often these processes, products or concepts are complex, but need to be expressed in a much simpler, reader-friendly form.
So within the technical writing genre, you will find: technical reports, installation and maintenance manuals, proposals, white papers, on-line help, process standards, work instructions and procedures.
While each discipline has its specific requirements, some basic elements are common. But before looking at those, the most important thing a technical writer must consider is the audience.
How familiar are readers with the subject and with the specialised terms and abbreviations you need to use?
What is the best way to explain those terms or shortened forms – footnotes, endnotes, glossary, table of abbreviations, appendix, links?
Do you need to accommodate secondary readers (e.g. the manager or financier who will make the decision about the proposal), and how will you do that?
Now for those all-important elements:
Clarity – The logical flow of the document will help readers understand the content. It can be useful to ask someone who is not familiar with the topic to review your writing before you finalise it. Using headings, illustrations, graphs or tables can be useful – your aim is to make it as easy as possible for your readers to understand what you’ve written. Consider how the way the text sits on the page or screen – another clue to maximising clarity for your readers.
Accuracy – The information and the interpretation of data that you present must be accurate. If it’s not, your readers will question the credibility of the content. Be careful to clearly differentiate between fact and opinion, and to accurately cite references to other works.
Brevity – Strive to find the balance between the amount of information presented and the time needed to read the document. Remember that you can use an appendix or link to provide supplementary or background information. Consider using an illustration, table or graph rather than words to explain a concept – but remember, if you use a ‘visual’, don’t give a long written explanation.
Sentence length – Generally, complex or unfamiliar concepts are best presented in shorter sentences. This will give readers time to digest small pieces of information before moving on to the next. While this can be difficult to achieve, try to aim for approximately 25 words per sentence. If you find you’ve written a series of long sentences, look for ‘and’, ‘but’, ‘however’ and similar words where you can break the sentence.
Paragraphs – The age-old rule about one topic per paragraph is a useful guide. That doesn’t mean that you can have only one paragraph for each topic, but it does mean that having only one topic in each paragraph makes for clear, logical writing.
Reader-centricity – You are writing for your readers. Make it as easy as possible for them to understand your work.
Keep these basic elements and other principles in mind as you undertake your technical writing tasks.
British architect Tara Bernard is one of the famous award winning interior designers. She specializes in creating excellent interior decors individually to varying requirements of clients. Tara Bernard was the daughter of a British real estate magnate and was married to James Archer, the son of writer and politician Jeffrey Archer. Tara Bernard's design concepts involve a mix of the new and age-old traditions in interior decoration and design.
Bernard strictly adopts a professional approach in all her interior décor appointments. This involves her deep understanding of the expectations of various clients. Once Bernard gets a clear view of her customer's needs, she can provide them with various décor options, some of them being quite unimaginable to her clients. She specializes in providing interior designs suited to the different situations and varying budgets of the customer.
Tara Bernard's style also incorporates effective space management in homes, combined with better designs, and this successful combination ensures that every project undertaken by Bernard helps in enabling homes to sport a refreshingly good look. She often tallies the cost of various materials used in interiors to ensure that the project always stays within the proposed budgets.
In order to give clients an idea of various design methodologies, Tara Bernard often appears in various television shows and gives her viewers a thorough explanation of the steps involved in her design processes. She made her debut in television with the design show named Wow Factor (UKTV Style). In her shows, Bernard gives her users simple steps and hints that they can work out for decorating their own interiors. She is known for giving her clients the chance to openly express their ideas and tastes.
In interior design projects, the initial routine adopted by her is on reaching a consensus on the model of design to be implemented. For this, Tara Bernard gives the opportunity for her clients to have a healthy involvement during the planning process itself so that on seeing the final design, her clients are often satisfied and always give positive reviews. Once Bernard and her design team got stuck on implementing a specific design, the work begins with the construction team laying floors and painting walls. Then the second stage involves finding the fitted furniture, fixtures and finishing pieces for the interior to transform it to a vivid atmosphere. Her unique style also allows homeowners to accompany her on shopping sprees in order to find the matching interior product for the design of their interiors. The excitation her clients receive from her contemporary style of design is often very high.
We looked at the early digital computer memory, see History of the computer – Core Memory, and mentioned that the present standard RAM (Random Access Memory) is chip memory. This conforms with the commonly quoted application of Moore’s Law (Gordon Moore was one of the founders of Intel). It states that component density on integrated circuits, which can be paraphrased as performance per unit cost, doubles every 18 months. Early core memory had cycle times in microseconds, today we are talking in nanoseconds.
You may be familiar with the term cache, as applied to PCs. It is one of the performance features mentioned when talking about the latest CPU, or Hard Disk. You can have L1 or L2 cache on the processor, and disk cache of various sizes. Some programs have cache too, also known as buffer, for example, when writing data to a CD burner. Early CD burner programs had ‘overruns’. The end result of these was a good supply of coasters!
Mainframe systems have used cache for many years. The concept became popular in the 1970s as a way of speeding up memory access time. This was the time when core memory was being phased out and being replaced with integrated circuits, or chips. Although the chips were much more efficient in terms of physical space, they had other problems of reliability and heat generation. Chips of a certain design were faster, hotter and more expensive than chips of another design, which were cheaper, but slower. Speed has always been one of the most important factors in computer sales, and design engineers have always been on the lookout for ways to improve performance.
The concept of cache memory is based on the fact that a computer is inherently a sequential processing machine. Of course one of the big advantages of the computer program is that it can ‘branch’ or ‘jump’ out of sequence – subject of another article in this series. However, there are still enough times when one instruction follows another to make a buffer or cache a useful addition to the computer.
The basic idea of cache is to predict what data is required from memory to be processed in the CPU. Consider a program, which is made up of a series instructions, each one being stored in a location in memory, say from address 100 upwards. The instruction at location 100 is read out of memory and executed by the CPU, then the next instruction is read from location 101 and executed, then 102, 103 etc.
If the memory in question is core memory, it will take maybe 1 microsecond to read an instruction. If the processor takes, say 100 nanoseconds to execute the instruction, it then has to wait 900 nanoseconds for the next instruction (1 microsecond = 1000 nanoseconds). The effective repeat speed of the CPU is 1 microsecond.. (Times and speeds quoted are typical, but do not refer to any specific hardware, merely give an illustration of the principles involved).
In the world of male sex toys, the penis ring may well be the most popular and widely used. Even though dozens of manufactured rings are available, some men prefer to go with a homemade version. As long as attention is paid to ensure proper use and continued good penis health, homemade penis rings can be a fun DIY experience.
There are a number of reasons why a man might prefer a DIY penis ring to one that can be purchased at a sex toy shop or online. Some of these reasons include:
1. Cost. There can be a wide variation in the cost for these special rings; a basic rubber model may be only a few dollars, but a more deluxe version with vibrating capacity can easily go $ 20 or higher. Frugal shoppers may prefer a DIY method to save a few bucks to spend on a special date (or to stock up on condoms).
2. Embarrassment. Some men just do not feel comfortable going into a store, standing in the sex toy aisles and then paying for a choice at the cashier. Even ordering online may be embarrassing for some men – or they may just not want to have it show up on their shared credit card statement.
3. Creativity. We are living in an increasingly DIY world; more and more, people like to individualize everything from their cell phone covers to their wardrobe choices, so why not their sex toys? A homemade ring gives a man the opportunity to let the toy say something special about him.
4. Trial run. It's not a bad idea for a man to try out a ring with an inexpensive home version to see what he thinks before taking the plunge with the "pro" models.
What can one use?
A penis ring is a circular device typically worn over the penis or (more usually) the penis and testicles. It restricts the flow of blood into and out of the penal; this can often increase both the firmness and the duration of a man's appreciation.
Any object that can fit around the genitals and provides some tightness can be used. Some popular DIY options include:
Shoelaces or other strings. This is one of the easiest options. Simply tie up the genitals in the appropriate manner. Because it is tied, this option is easy to loosen or tighten as desired and usually easy to remove.
Rubber bands. These are also popular, although it's typically a good idea to use a good lubricant when applying; otherwise, the rubber bands can be a bit painful when removing. There is also the risk that the rubber band may snap or become too tight.
Rubber bracelets. Many of the popular rubber bracelets found on the street are a perfect size for use as a penis ring. Again, proper lubrication is required.
Plumber's rings. Many plumbing supply stores sell rubber or metal rings for various plumbing uses that are an appropriate size for genital rings. (Lubrication, of course, is a must.)
Use with care
As with any sex toy, appropriate care must be taken when using a penis ring. Sufficient lubrication is always a good idea. Other things to remember are:
Use only for a limited amount of time. Some men want to walk around with an appreciation for hours at a time, but this can cause damage to the penal. It's best to use a ring when embarking on a sexual experience (solo or with a partner) and then to remove it as soon as the experience is over.
If there is any pain, discomfort or numbness that occurs with the ring, loosen or remove it altogether.
Consult a doctor before using with medications intended to treat erectile dysfunction.
A homemade penis ring can be an excellent introduction to this form of sex play; for some men, the ensuing sexual activity may result in a sore (if very happy) penis, so always use a high quality penis health cream(health professionals recommend Man 1 Man Oil) for after-care. The soreness of an overworked penis will respond to the benefits of a high end emollient such as shea butter and a natural hydrator like vitamin E. But make sure the cream also includes L-arginine, an important ingredient in helping to maintain proper penis blood flow.
Writing a rap song, can be achieved by following some basic writing steps of structure and pattern. Rap as a genre may seem limited by a predefined set of beats and versa, but there's a lot more that goes into a rap song than these few elements. Each rap song has parts that are common to all songs, regardless of the genre or artist. For instance, each rap has a beat, hook, chorus, and versa; it is the arrangement of these components that differs from song to song and artist to artist.
Usually, when writing a rap song, the artist will start by working on the beat before writing the lyrics and vocal tracks. This is because once the instrumental beat is finished, it is usually easier to write lyrics to the beat than than writing the lyrics first and then trying to develop a beat that would go with the lyrics. Most raps consist of a drum track and bass line that plays along with the beat. Not many instrumental parts are required because the main part of a rap is the vocal track, specifically the hook or chorus that plays on repeat between the different versions.
These days, however, rap songs are becoming more experimental and collaborative, and many artists collaborate with other rappers during the process of writing a rap song. This leads to a final product that is a combination of two different rap styles that should complement one another. In addition, it forms a new style and makes the song writing process more manageable and interesting as each artist has a unique musical perspective.
Sometimes along with the drum tracks and bass lines, a rap tune samples loops of tracks by other artists, not necessarily related to the rap genre. Such samples layer over the original instrumental tracks to add another dimension to the song. This brings about a combination of two different genres that collaborate for writing a rap song that has all the elements of a classic rap, with the beat, hook, and versa as well as a loop sample track that adds a new layer to the rap tune .
Writing a rap song requires practice and editing. In all likelihood, your first draft will be mediocre at best. That is fine and is to be expected. Just rewrite, reorganiz, and rework it until you achieve the desired affect. You can also hire a rap writer and editor to help turn your rough draft into a completed song.
I've been fascinated with science fiction stories for as long as I can remember, though, I must confess, I never thought of science fiction as being mainstream literature. I, like many readers, pursed science fiction as a form of escapism, a way to keep up with speculation on recent scientific discoveries, or just a way to pass the time.
It was not until I met with my thesis adviser to celebrate the approval of my paper that I had to think about science fiction in a new light. My adviser works for a large, well-known literary foundation that is considered to be very "canonical" in its tastes. When he asked me if I liked science fiction, and if I would be willing to select about one hundred stories for possible inclusion in an anthology that they were thinking about producing, I was somewhat surprised. When he told me it might lead to a paying gig, I became even more astounded. I went home that afternoon feeling very content: my paper had been approved, and I might get a paying job to select science fiction, of all things.
Then it hit me: I'd actually have to seriously think about some sort of a method to select from the thousands of science fiction short stories that had been written in the past century. When I considered that the ideals of the foundation would have to be reflected in the stories which I selected, something near panic set in: science fiction was not part of the "cannon."
"While I pondered weak and weary, over many a quaint and curious volume of forgotten lore," I reached a decision: I'd first try to figure out what science fiction "was," and then I'd develop a set of themes that related to the essence of science fiction. So, armed with this battle plan, I proceeded to read what several famous authors had to say about science fiction. This seemed simple enough, until I discovered that no two authors thought science fiction meant quite the same thing. Oh, great, thought I: "nevermore." (Sorry, Edgar, I could not resist).
Having failed to discover the essence of science fiction, I selected four authors which work I liked to try to determine what they contributed to the art of science fiction. The authors were: Isaac Asimov, Robert Silverberg, Orson Scott Card, and Arthur C Clarke. At the time, I did not realize that two of the authors, Asimov and Clarke were considered "hard" science fiction writers, and the other two, Silverberg and Card, were considered "soft" science fiction writers.
So, you might ask: what is the difference between "hard" and "soft" science fiction. I'm glad you asked, else I would have to stop writing right about now. "Hard" science fiction is concerned with an understanding of quantum sciences, such as astronomy, physics, chemistry, etc. "Soft" science fiction is often associated with the humanities or social sciences, such as sociology, psychology or economics. Of course, some writers blend "hard" and "soft" science fiction into their work, as Asimov did in the Foundation trilogy.
So, having selected the authors, I was ready to proceed to my next challenge, which you can read about in the next installation of the series. "All these worlds are yours:" the Appeal of Science Fiction, Part II
In the first part of the series, I mentioned that I was given an assignment to select approximately one hundred science fiction short stories for inclusion in an anthology that was being considered by a literary foundation. Originally, I'd intended to find the "essence" of science fiction, and then select stories that reflected this essence. Unfortunately, this turned out to be nearly impossible, since different authors had different ideas about what constituted science fiction.
So, I took the easy way out, I selected four authors which works appealed to me, and hoped that I could make selection based on my familiarity with their works. My selection process rejected in four authors who have been writing science fiction for thirty years or more: Isaac Asimov, Robert Silverberg, Orson Scott Card, and Arthur C Clarke. As it turned out, two authors were considered "hard" science fiction writers, and two were considered "soft" science fiction writers.
Well, I finally had a plan. And then the wheels fell off. I still needed some sort of selection criteria, or I had to develop one as I read. So, I did what anyone in my place would have done. I started reading. I read, and read some more, and then … I read some more. Over three thousand pages and three hundred short stories, in fact. I was almost ready to make a stab at a selection process; almost, but not quite.
What, three thousand pages, and still can not figure out how to start? How could this be? Okay, so I'm exaggerating a little bit. I started to break the stories up into groupings around general themes-it helps when I organize things into groups, so I can apply some sort of selection criteria for seemingly unreferenced data points (who says that thirty years in business does not have its rewards )? Gradually, I began grouping the stories into several broad headings: scientific discoveries; life-forms (which included aliens, man-made life and artificial life); the search for meaning (which includes the search for God or the gods); the death of a group of men, a nation, race, or system; the meaning of morality.
Now I admit, these groupings may be arbitrary, and may in fact reflect my perspective on things, but I had to start somewhere. The strange thing was that these grouping tended to repeat, no matter who the author was. When I think about it, these same types of concerns are mirrored in the more "canonical" texts that are taught in school. So, what makes science fiction different from the mainstream texts in colleges and universities across the country?
Once again, I'm glad you asked that, because it is a perfect lead-in to the next part of the series. "All these worlds are yours:" the Appeal of Science Fiction, Part III
I guess that the main difference between science fiction and the more acceptable or "canonical" type of fiction must arise either from the themes employed, or the subject matter. In part two of this series, I mentioned that the themes employed by science fiction, namely: the search for life, identity, the gods, and morality are similar to those themes employed in "canonical" literature. By the process of subtraction, that leaves subject matter as the primary difference between the two genres.
So, by subject matter, we must mean science, since we've already covered fiction ("when you has eliminated the impossible, whatever is left, no matter how improbable, must be the truth," as Sherlock Holmes would say). So, we must infer that science is the factor which differentiates science fiction from traditional fiction. By this definition, several traditional pieces of fiction must be considered science fiction. As an example, The Tempest, by William Shakespeare has often been cited as a type of science fiction if we expand the category to include those works that incorporated current science into their works. But wait, you say, The Tempest does not incorporate science into its construction. Oh really, I reply, the English were just beginning to settle the New World in earnest when the play was written ("Oh, brave new world that has such people in't.") more fantasy than science fiction. Splitting hairs, I reply.
What then of John Milton, I ask? John Milton … why, he's so boring and well, unread these days, you reply. Of course he is, but that's beside the point. What about Paradise Lost, I rejoin? What about it, you reply (and then in a very low voice … I've never read it). The scene where Satan leaves hell and takes a cosmic tour before alighting on Earth and Paradise has been described by many critics as being the first instance of an author providing a cosmological view of the heavens. In fact, Milton schools point to the fact that Milton, in the Aereopagitica claims to have visited Galileo Galilei at his home in Italy. These same critics also refer to the fact that Milton taught his nephews astronomy, using several texts that were considered progressive in their day. Still, most critics would fall on their pens (swords being so messy and difficult to come by these days), rather than admit to Paradise Lost being … gasp, science fiction.
Still not convinced; what do you say about Frankenstein? You say it made for several interesting movies, but really, the creature was overdone; bad make-up and all that. I reply: the make-up is irrelevant; for that matter, so are many of the films, which do not do justice to Mary Shelley's novel. She did not even write the novel, you reply. Oh no, not another apologist for Percy Bysshe Shelley writing the novel. Let me state uniquivocally that I do not care whether Mary or Percy wrote the novel: it is often cited as the first instance of science fiction. But where is the science, you ask: it is only alluded-to. That's' why it's also fiction, I retort.
So, where are we? I think we've managed to muddle the waters somewhere. It appears that the element of science is needed for science fiction, but the precedents for science being contained in a fictional work, are somewhat troubling. Perhaps in the next section, we should examine "modern" science fiction and try to determine how science plays a part in works of the twenty and twenty-first centuries.
"All these worlds are yours:" the Appeal of Science Fiction, Part IV
Up till now, we've defined science fiction as part science, and part fiction. No real revolutionary concept there. I've tried to show how earlier works could have considered science fiction, with mixed results. I've also said that works of the twenty century would be easier to classify as science fiction, because they incorporated more elements of leading-edge science into their writing.
To use two brief examples, the Foundation trilogy by Isaac Asimov is often considered a "soft" science fiction work, relying more on the social sciences than the physical sciences in the plot line. In the story, Asimov posits the creation of a foundation that relationships on psychohistory, a kind of melding of group psychology and economics that is useful in predicting and extremely molding, human behavior. Anyone who has been following the stock and financial markets over the past year can attest to the element of herd mentality which permeates any large scale human interaction. The theme of shaping human dynamics through psychohistory, while somewhat far-fetched is not beyond the realm of possibility (and would, no doubt, be welcomed by market bulls right about now).
A second example from Asimov, that of the three laws of robotics, has taken on a life of its own. Asimov began developing the laws of robotics to explain how a robot might work. The three laws were postulated as a mechanism to protect humans and robots. He did not expect the laws to become so ingrained into the literature on robots; in fact, the laws have become something of a de facto standard in any story or novel written about artificial life, as Asimov has noted in several essays.
The case of Asimov's three laws of robotics influencing other writers is not unusual. In the case of Arthur C. Clarke, his influence is felt beyond writing and extends to science as well. Clarke is the person responsible for postulating the use of geo-synchronous orbit for satellites, and the makers of weather, communications, entertainment and spy satellites owe him a debt of gratitude for developing this theory. He anticipated the manned landing on the moon, and many discoveries made on Mars, Jupiter, Saturn and their many moons.
Consider also, Orson Scott Card, which novel speaker for the Dead, postulates a world-wide communication network that is uncannily similar to the world-wide-web and predated the commercial internet by some fifteen to twenty years.
It appears then, that science fiction writers popularize science, provide their readers with a glimpse of the possibilities of newventions and theories, and sometimes, anticipate or even discover new uses for technology. But there's still an element missing in our definition of science fiction, that of the fiction side of the equation. We'll explore the fiction side of science fiction in the next installation. "All these worlds are yours:" the Appeal of Science Fiction, Part V
Good literature requires a successful plot, character development, and an emotional appeal in order to be successful. Science fiction is no different than traditional forms of fiction in this regard. We've talked about plot and content (science) in early installations. In this installation, I'd like to talk about the emotional reactions generated by science fiction.
Broadly speaking, I think science fiction appeals to the following emotional responses: terrorism, the joy of discovery, awe and wonder, a lassitude born of too many space flights or too many worlds, and a sense of accomplishment. The instances of terror in science fiction are well documented: for anyone who has seen Alien for the first time, terrorism is a very real emotion. Many science fiction and horror writers as well, make good use of the emotion of terror. An effective use of terror is important, however. Slasher movies use terror, but they sometimes degenerate into an almost parodic exercise of who can generate the most gore per minute. True terror is a case of timing and the unexpected. That's why Arthur C Clarke's story entitled "A Walk in the Dark" is so effective. The author sets-up the BEM (bug-eyed monster, from Orson Scott Card) as a pursuing agent; the protagonist has no idea that the monster will actually wind-up in front of him.
As to the joy of discovery, this emotion can work in reverse. In Orson Scott Card's brilliant short story and novel, Ender's Game, the child protagonist learns that the war games he was practicing for were actually the real thing. His surprise, remorse and confusion have sustained effects on his psyche, and set the stage for his attempts later in life to attain some sort of recompense for the race which he and his cohorts destroyed.
Robert Silverberg's works evoke a feeling of dj-vu, a sense of being on too many worlds or too many travels; a moral ennui not found in many writers. Yet somehow, he transcends this eternal boredom to reveal with startingling clarity that something lies beyond; if only aought after end.
Perhaps no other science fiction author offers a sense of wonder and discovery, a sense of joy de vivre, as does Arthur C Clarke. In story after story, Clarke expounds on new worlds, new discoveries, new possibilities ("all these worlds are yours …"). His love of the cosmos is rooted in his love of astronomy and physics, and is bundled together with a love of mannish that makes his work so inspiring and evergreen.
But what of our final category, that of a sense of accomplishment? Each of these writers talks in some way to the human experience. In bridging the worlds of science and fiction, in writing to our fears, hopes, joys and sorrows, each of these authors stakes a claim to be included among the list of canonical authors. In "Nightfall," Arthur C Clarke writes the effects of an atomic war, and thinks back to an earlier time. He is staking his claim to posterity when he writes:
Good freed for Iesvs sake forbeare,
To dig the dvst enclosed heare
Blest be ye man yt spares thes stones,
And cvrst be he yt moves my bones.
Undisturbed through all eternity the poet could sleep in safety now: in the silence and darkness above his head, the Avon was seeking its new outlet to the sea.
For Sir Arthur was paying his respects to the Bard, and claiming his place in the pantheon of the great English writers.
The term "ghostwriting" refers to writing for someone that you do not receive credit for. Famous people, for example, seldom write their own autobiographies. Instead, they hire a ghostwriter to tell their story for them.
Why would a freelance ghostwriter agree to forfeit credit for his or her work? Simple: money. Clients usually pay ghostwriters far more than a "normal" writer's fee of $ 20- $ 50 an hour. Small books (150 pages or less) usually cost a client at least $ 25,000. Fees go up from there depending on the length and type of book, as well as the amount of research required by the ghostwriter.
The fees are high because you can not slap your byline on the work and you forfeit all rights to royalties that your book generates. The exceptions are if the client agreements to put your name in print on the cover, name you as a co-author, or offer you part of the royalties. In those cases, you would often give a hefty discount depending on the return you expected.
What types of books can I ghostwrite?
Many industries seek the skills of freelance ghostwriters. Fiction and children's writing are common – people often have (or think they have) an amazing storyline, but lack the writing ability to sell it.
Freelance ghostwriters often pen non-fiction books, such as autobiographies and instructional, business, and self-help books. Sometimes these ghostwriters are experts in the subject matter, sometimes they are not. You may have to do a lot of research, or none at all.
You can also ghostwrite for smaller projects, like articles and web content. These do not usually pay more than normal writing but they're good resume builders.
Where can I find freelance ghostwriting gigs?
Set up a website to promote your freelance ghostwriting services. Because ghostwriting is expensive, it's important to buyers that you are really a ghostwriting professional. Presenting yourself with a polished website is a great way to emphasize your credibility.
It is more than possible to find ghostwriting jobs on freelancing websites, but buyers there are usually less knowledgeable and therefore less willing to pay good money. It is common to see ads for a 250-page book that needs writing with a budget of $ 500 or less. It does not hurt to keep your eye out for a gem though – it does happen occasionally.
What skills do I need to be a freelance ghostwriter?
If you have experience, you're off to a great start. If you lack experience, thumb through your files to see if you can use some of that as writing examples, or write some from scratch. You do not have to ghostwrite it to prove your writing skills. If you have a particular client in mind, do your best to match your writing style and samples to the type of writing you think your client is looking for.
Remember that any samples you send can not be ghostwritten work. Without otherwise specified in the agreement, you can not ever dislose that you're the author behind ghostwritten work. In these cases, feel free to describe the book you ghostwrote and how well it's doing.
How should I respond to a ghostwriting ad?
If you find a promising ad (or if someone contacts you), respond professionally using perfect grammar and polite language. For practice, try responding to this sample ad:
I'm looking for someone to write a book about choosing the right family pet. I have an outline and some research but a little more will be required. The book should only be about 100 pages. I will own all rights afterwards. Serious writers only.
What should you say to this person? Well, it's good to start off expressing an interest in their subject matter. Ghostwriting projects are usually dear to buyers' hearts, so if you start by saying you're passionate about pets, you'll catch his eye right away.
Next, you'll want to insure him that you can handle the task. If you do not have enough experience to convince him, suggest having him send one chapter outline and writing a sample for him for free. Yes, it's a bit of unpaid work for you, but it will mean thousands of dollars if you get the job.
Finally, quote a fee. The book is short and research appears to be minimal. If you're experienced, quote $ 25,000. If you're not, quote around $ 15,000. It's far less than an experienced ghostwriter would make, but you have to start somewhere. Good luck!
Online business has emerged as a powerful business tool. This has increased the demand of content writers. The skill and expertise of Indian content writer should be harnessed by the business professionals around the world. There is great demand in outsourcing the work to Indian content writers. The articles written by Indian writers are giving good result with the targeted audience.
The content writing requires a lot more than just writing articles. Indian writers are dedicated in their work on the given field. They undergo a basic research in the respective business before committing the articles. The articles they write contain compassion and allegiance to the business commitment. They are updated in the latest trends in the industry and work par excellence. The vocabulary and the style of trained writers in India are to be worth mentioning.
According to the nature of business the writers can be chosen. The expert writers in the field of interest can be assigned for your work. There will be a consistency in their work and they can surely compete with the quality content writers all around the globe. Geographically specific search engine knowledge will be their additional quality. There was a widespread belief about the grammar mistakes in Indian content writers. This is a false belief as generally even the student community in India is giving more preference to English rather than their regional languages. The expert writers in India have an impeccable hold in the English language. The Indian writers have amazing skill in article editing and they can provide you superior quality work within the stipulated time. The general awareness about the topic of interest and a good command over English language are the main requisite of a writer. The analyzing aptitude of writers in India and the time shift between countries are appealing the people to choose Indian content writers.
Where fantasy goes into uncharted territory, the kind of story that could not exist, science fiction, a term made famous by the likes of Philip K. Dick, Isaac Asimov, and Robert Heinlein, goes into charted territory. Let's make sense of that last statement: Science fiction is based on truths, questions of reality, and questions of survival. Its purpose is to go where other fiction can not. Unlike horror, it tells something far more dangerous because it could happen. Unlike mystery, there is not always someone at the other end of the gun, maybe "something" instead. Like mainstream work, it proposes fascinating philosophies on mankind in the past, present, and future.
When reporters talked of space stations maybe they were onto something. When Star Trek characters could talk to each other on small, hand-held phones, most thought it was too good to be true. Now we have cell phones, computers that can talk, computers that can think in some ways, and a variety of other ideas that were often suggested in science fiction.
But the science fiction novel has its own place outside of the realm of Star Trek and Star Wars. For one, the legend must be created in words, not film or TV images. Second, the writers behind it are often as much philosophers as authors. Lastly, science fiction is its own frontier, a place for free thinking.
The thesis for all this would be that the science fiction novel engages a reader in a "This is how it could happen." The purpose is, as in all writing, to say something different. Long before "War of the Worlds" and even longer before Star Trek and Star Wars, people looked to the skies with hope, emboldening their legends with all kinds of flying creatures-angels, demons, sometimes aliens-who could do things they could not . That is exactly the purpose of the modern science fiction novel-it says we, the human race, can do something that right now we can not.
The final purpose of the science fiction novel is always to make a mark on society. Star Trek could only go so far. When one looks at a science fiction novel, however, sometimes it seemsingly is a race to the finish instead of a treat on life in the future. Something is always happening; it happens fast. Take Philip K. Dick, for example, who once wrote 11 novels in 2 years (he used various drugs, much like Hunter Thompson, to improve writing speed). However, there is nothing superficial about the science fiction novel. This is because even films have a hard time capturing the legion of ideas presented in the classics, like "The Man In the High Castle," Philip K. Dick's best novel. If any film does capture the purpose of science fiction, it's "Blade Runner," considered to be one of the best films of all time, based on the Philip K. Dick story "Do Andods Dream of Electric Sheep?"
Where it can be hard to pin down the modern science fiction novel, it can easily be seen that writing one can be a lucid ride into the unexplored. One of the best in recent memory is "Hyperion," a science fiction novel that won the famous Hugo award. Here, Simmons explored what is real, much like Philip K. Dick, and did it as though he was poet, forming a tale of seven pilgrims to a far away world, much like "The Canterbury Tales."
Some of the finest novels of the 20th century were labeled "junk" because they explored taboo subjects or had sexually revealing covers. Without the likes of Philip K. Dick, Isaac Asimov, Robert Heinlein, and the hundreds of other talents, maybe there would have been no Star Trek, Star Wars, or Battlestar Galactica. Without the junk science fiction novel bought for a nickel in the 1940s and 50s maybe mankind would never have dreamed of stepping on the moon in the 1960s.