Reasoning Theorems of Success

A recent debate started me thinking about how some marketing strategies can be right for one Web site, but wrong for another — depending on the site’s purpose and the underlying reasoning behind the action.

If an action doesn’t directly and logically plug into site goals, then there are likely more profitable ways to spend that time and effort.

Publishing third-party articles on a Web site is one of those marketing strategies that can be right for one site, yet wrong for another.

Publishing Guest Articles as a Strategy

Publishing guest articles as one of your Web site marketing strategies can help broaden the amount and quality of content on a site, which in turn can lead to a more solid, stronger reputation. James Edwards of Umbrella-Consultancy explains:

IMO having quality articles on your site will show that you are…someone who embraces the industry and respects the work of others. Most research scientists post links to other respected scientists’ work… I think it can only be good to have quality material by other people in your field posted on your site.

Helping Web Site Visitors

Another situation where adding others’ articles to your site can make strategic sense is when a lot of visitors arrive looking for a solution other than the one you provide on your site. Rather than have them wander off, no closer to an answer to their problem, you can build goodwill and credibility by having articles on the Web site that give them more information.

For example, several types of people arrive at my site through the search engines:

* Some are people researching marketing consulting services.

* Some are students looking to write a paper or finish an assigned project for school.

* Some are looking for marketing software.

* Others are looking to buy printed material (e-books, templates, workbooks, etc.) in order to proceed, step-by-step, on their own.

The only ones that are going to be interested in what I have to sell are those in the last group. Instead of letting the majority of visitors go without a fight, I have articles on the site from handpicked individuals or companies.

Those articles are chosen according to how good the quality is, how well the subject matter fits, and whether I think the information will help site visitors.

Information Sites

If a site (or section of a site) is informational in nature, guest articles can be a viable Web site marketing strategy, for several reasons:

* Repeat, purchase-related visits. A good information library can help potential customers through the decision-making process. If they find the information on your site especially helpful, they will be predisposed to coming back later, when they are ready to purchase.

* Increased Web site revenue. Publishing others’ work can generate more revenue for your own site. For example, when I publish a third-party article, elsewhere on the page I include one or more of the following: AdSense; an advertisement for my own products; a newsletter sign-up box; or a relevant affiliate link. That way, every path off the page satisfies one of my own goals (direct ad revenue, new newsletter subscriber, or product sales lead).

* Increased targeted traffic. Each new page of quality content has the potential to bring in a happy chunk of incremental traffic from the search engines.

* Future collaborations or other projects. An indirect benefit from publishing others’ articles is contact and future collaboration with authors. For example, after one author received several new sign-ups to her newsletter through an article published on my site, she contacted me about collaborating on an audio product.

Poor Fit With Marketing Strategies

For some business models, including guest articles in a list of Web site marketing strategies does not make sense. For example, it can be counterproductive to include guest articles on Web sites where the primary goal is to sell.

Service Web Sites

If the goal is to generate direct sales and leads for your own services, it doesn’t make sense to dilute the message and call to action with diversions. Karon Thackston explains:

The purpose of my site is to get those in need of copywriting services and SEO copywriting services to contact me in order to do business. People who come to my Marketing Words site are looking for information about copywriting. They are also looking to hire a copywriter.

Therefore, you will find only material written by Karon on her site.

Product Sales Sites

Some sites have a single goal: to sell product. Every page on the site is devoted to product descriptions or copy designed to move a visitor toward a purchase. In these cases, where the predominant call to action is “buy the product,” articles could hurt sales by diverting visitor attention away from the products.

Visit your favorite online retail sites, and you are likely to find product descriptions, reviews, photos and other product-driven content — but little or no guest articles. Their absence on many e-commerce sites is an illustration of the poor fit of such articles as a marketing strategy for those sites.

Understanding how different techniques support, or sabotage, Web site marketing strategies can be critical to a site’s success. Align your strategies with overall goals, and your business is more likely to flourish.

About the Author

Bobette Kyle draws upon 12+ years of Marketing/Executive experience, Marketing MBA, and online marketing research in her writing. Bobette is proprietor of the Web Site Marketing Plan Network, http://www.WebSiteMarketingPlan.com, and author of the marketing plan and Web promotion book “How Much For Just the Spider? Strategic Website Marketing For Small Budget Business.” ( HowMuchForSpider.com/TOC.htm )

Copyright 2004 Bobette Kyle. All rights reserved.

You need a way to construct your writing. With a writing process, you don’t get stuck. You build your writing brick by brick, tile by tile. Here’s a process which works for almost any piece of writing:

=> 1. What’s the task?

Ask yourself what you want your writing to do.

Then create a working title which defines the job: “A Summary Of Three Popular Diets”; “A Sales Flyer For Smother’s Garden Center For A One-Day Sale”; “A Whodunit Featuring An Aboriginal Detective”.

=> 2. Create the framework

All writing needs structure, and you must put the structure in place before you begin your first draft. This doesn’t mean that you can’t free-write, and pre-write. But once you start the major work, you work to a structure.

The easiest way to do this is to look at your working title, and make a list of points and ideas. For example, for “A Summary Of Three Popular Diets”, you could list three major headings: (1) high protein (2) low-fat (3) calorie-counting. Then list sub-headings under these initial headings.

If you’re creating the framework for a novel: “A Whodunit Featuring An Aboriginal Detective”, you could list headings too. They might include: (1) the crime (2) the detective/ main character (3) conflict (4) red herrings (5) suspects.

Your framework gives you a map for the writing.

Each piece of writing must be logical. Your reader will be asking: Who, What, When, Where, and Why. Answer the questions.

=> 3. Write right now, research later

Write first, as soon as you’ve completed a framework. You can research later. It’s vital that you get your basic draft on paper first, otherwise you’ll get lost in the byways of research. Once you have a basic draft, you’ll know what information you’re looking for when you research.

=> 4. Write (an) introduction

Write your intro when you’ve completed the first draft. Your intro is your hook, and you may change it half a dozen times before you complete your article/ book.

Many embryo novelists struggle with the first chapter. They rewrite Chapter One until all the juice is wrung out of the story idea, and never get beyond chapter three.

Don’t worry about the introduction, whether it’s a couple of paragraphs or an entire chapter. You’ll rarely use it, it’s simply a way for you to get comfortable with the voice and the tone of the piece of writing. Think of it as clearing your throat before you speak.

=> 5. What’s the takeaway for the reader?

What will your reader get out of what you’re writing? Information? Entertainment?

Once you’ve worked out what the takeaway is, highlight it. Add more conflict and excitement (or romance or humor) to your novel. Make a list of “how to” items for your article.

Editors buy because of the takeaway.

=> 6. Cut

Cut your work by 50 per cent.

Yes, you heard right. Cut by HALF. This is because your work contains fluff and filler, like adverbs and adjectives.

You won’t see where you can cut until you’ve removed yourself from the writing. So leave it for at least a day, preferably a week, or in the case of a novel, at least a month.

After you’ve slashed and burned, you can revise and rewrite.

=> 7. Have you covered everything?

This is where you ask yourself questions about the writing, trying to approach it the way a reader would.

Fill in any missing bits. You will want to fact-check here. Check names and dates.

=> 8. The final polish

This is where you can pretty it up. Focus on style. Use a dictionary. Work on the title.

There you have it, a writing process that works. To get the process to work for YOU, tinker with it. You’ll develop your own process over time. Have fun with it.

Stuck in your writing career? Get a coach! Angela Booth coaches writers in copywriting (writing for business), nonfiction, and fiction. A veteran writer, published by major publishers worldwide, Angela is also an experienced writing teacher, who knows how to inspire and motivate. You CAN make a success of your writing career. Free daily info for writers at her blog: http://copywriter.typepad.com/ Start your writing coaching today by contacting Angela at her site http://angelabooth.com/ Angela offers personal one-on-one e-courses and mentoring for all forms of writing. Ask for a low-cost initial phone or email consultation.

“The Magic of Layout…”???

Okay… “magic” might seem a bit over the top when you first read this article title. But believe me, although it doesn’t involve incantations or bubbling cauldrons, careful selection of layout does work magic on the reader.

Picture book authors understand this (as do parents and others who read a lot of picture books aloud). By moving a sentence - or even a word - to the next line, the author can add a lot of impact to the text.

When a word or sentence is moved to a new paragraph, the reader automatically pauses before reading it. This might be a physical pause, if the story is being read aloud, or it might be a mental pause. This can create tension, or set the reader up for a humorous twist, or add emphasis to one word alone.

Let me demonstrate.

TAKE ONE

Ben hauled himself over the sill and dropped silently into the room. He moved to one side, away from the window, and waited several minutes while his eyes adjusted to the dark. Objects in the room gradually began to take shape, defined by the bright moonlight. Ben mentally traced the path he would tread to get to the door; he didn’t want to bump into anything, or send something crashing to the floor. Just as he was about to move, he heard a sound. A quiet sound… a sort of whispery scrape. No, not a scrape exactly. He listened harder; all senses on alert. Then there was a creak… and another. He realised it was coming from the hall outside. Someone was making an effort to move quietly. Ben took a few quick steps to one side, and crouched in a corner, half behind a chair. Then the door swung open and a figure was outlined in the dim light cast by the low-watt bulb in the hallway. His heart thumping, Ben exhaled slowly. It was McInerny in his dressing gown and slippers.

The above is written in one ’solid’ paragraph. It tells the story, but it fails to take advantage of the opportunities offered to build suspense. The pacing seems rushed; the tension doesn’t really build.

We can change this simply by changing the layout. Sometimes, you will have to change the sentence itself to achieve the effect you want. You might have to shorten it, or use a sentence fragment (these often do a better job of reflecting someone’s thoughts than complete sentences). You might find that you get the effect you want by putting a word or phrase in a paragraph on its own.

Let’s experiment:

TAKE TWO

Ben hauled himself over the sill and dropped silently into the room. He moved to one side, away from the window, and waited several minutes while his eyes adjusted to the dark.

Objects in the room gradually began to take shape, defined by the bright moonlight. Ben scanned the room, mentally tracing the path he would follow to get to the door. He didn’t want to bump into anything, or send something crashing to the floor.

Just as he was about to move, he heard something.

A quiet sound… a sort of whispery scrape.

No, not a scrape exactly. He listened harder; all senses on alert.

A creak. Then another.

Shuffle…creak.

It was coming from the hall outside, and getting closer. Someone was making an effort to move quietly.

Ben slid a few steps sideways into the corner, and crouched, half behind a chair. He shouldn’t be immediately visible if anyone came in.

The door swung open. A figure was outlined in the dim light cast by the low-watt bulb out in the hallway. Ben exhaled slowly, his heart beating fast.

McInerny. In his dressing gown and slippers.

ANALYSIS

What we’ve done in the scene above is take one long paragraph and break it into ten paragraphs. This is quite a dramatic change… but it has been done with an eye to building in a lot more tension.

Imagine what it’s like for Ben, dropping in through the window in this dark house. We don’t know why he’s there (since I just made it up) and we don’t know how much of a threat McInerny is. But the point is, we have created suspense by showing the reader that Ben doesn’t want to be seen or heard. By creating many more pauses - by making the reader wait until the next paragraph to find out what happens - we mimic the breathlessness and anticipation felt by Ben. (Remember, suspense is created not so much what happens as the anticipation of what will happen.)

Ben has come in through the window, so we can assume he’s not supposed to be there. He doesn’t want to make a noise or reveal his presence… so he’s either afraid of being discovered, or he wants to keep his visit a secret.

Either way, we need to keep the reader on the edge of his or her seat. We can do this much more effectively by manipulating the layout, as you have seen.

PLACEMENT OF SPEECH TAGS

Changing the layout or structure of a sentence can work wonders in dialogue, too. Most writers tend to put a speech tag on the end of a sentence:

“I thought I left it at home,” he said.

That works just fine with short snippets of dialogue. But when you’ve got a character relaying a lot of information, you can give the reader a mental breather by moving the speech tag to the middle.

NOT THIS:

“I had no idea that he was involved in anything like this. As far as we knew, he just went to work every day. He always came home looking as though he’d done a day’s work - dirty clothes and a black face. But come to think of it, he started working different hours about a month ago. If the boss wanted to keep going on a job they’d do a few hours overtime… or that’s what he told us. Now it sounds like he wasn’t even at work half the time,” said Jenny.

BUT THIS:

“I had no idea that he was involved in anything like this. As far as we knew, he just went to work every day,” said Jenny. “He always came home looking as though he’d done a day’s work - dirty clothes and a black face.” She glanced across at Monroe. “But come to think of it, he started working different hours about a month ago. If the boss wanted to keep going on a job they’d do a few hours overtime… or that’s what he told us. Now it sounds like he wasn’t even at work half the time.”

In the first example, there’s a fairly big chunk of dialogue followed by ’said Jenny’. This lessens the impact of what has been said, and the whole paragraph has been written so the reader isn’t offered any ‘mental pauses’. By inserting ’said Jenny’ after the first two sentences, we’re giving the reader time to absorb some information before going on to the next bit.

The sentence “She glanced across at Monroe” helps us to picture Jenny’s actions as well as giving another ‘pause’ during which she seems to be processing the information she’s just found out - and follows it up with more information: that he had been keeping different hours. This has added impact because it’s offset from the rest of what Jenny has to say.

Next time you’re editing your manuscript, play around with the words and paragraphs. See what happens if you create these mental pauses. Look at the page and judge the effect of building in a lot more white space, instead of one big, dense paragraph. You’re sure to find that a simple thing like changing the layout can add a lot of zing to your style!

(c) Copyright Marg McAlister

Marg McAlister has published magazine articles, short stories, books for children, ezines, promotional material, sales letters and web content. She has written 5 distance education courses on writing, and her online help for writers is popular all over the world. Sign up for her regular writers’ tipsheet at http://www.writing4success.com/

The journey to having my first novel for children published has been riddled with road blocks and shonky bridges. The good news? At every rickety stage I’ve picked up tips (and anti-tips) which I’m happy to share with everyone…

Read

For me, this was the easy stage! Aspiring writers need to read like maniacs to be aware of other writers’ work, both locally and internationally. There is no point writing a killer story if it resembles something already published. Sadly, that means no scar-faced teen wizards named Barry.

Write

Here’s a simple equation: the more you write, the better you become at writing. By the time I was ready to be born I’d already completed my first three manuscripts (spent most of the time looking around for somewhere to plug in my laptop). When the doctor smacked me on the backside I squinted at him and went, ‘Waaah!’ Which of course meant, ‘Ah, you must be my agent!’ I went on to scrawl home-made comics throughout my childhood before I began writing for surf magazines at age 17. Since then, I’ve had thousands of articles and pieces of fiction published. A lot were ‘hack’ stories; a few won me awards and contests. All helped build my writing skills and voice.

Feedback

A local teacher read my first manuscript to his class (thank you, Bob Swoope). The feedback was terrific. One kid enthused, “It’s just like Harry Potter, only funnier!” I dined off that compliment for a month.

I’m lucky ten year olds believe payment in Paddle Pops is the industry standard for editors, else I’d be broke by now (well, actually I am broke). I read all my stories to my daughter, her friends, and any young relatives I can bail up. Whenever my juvenile focus groups wander off to the nearest TV, I know the chapter I’m reading needs major reconstruction. Whenever the kids sit glued to their chairs and demand more, I know my story is heading in the right direction (and I’ve bought the right glue and Paddle Pops).

It’s useful to let adults rip into your story as well. Adult writers, that is. I’ve learned it’s best to avoid family members and friends, unless you enjoy making these people flee whenever they see you. Join a local or online critique group instead. Growing elephant-thick skin will also help you through this stage.

Rewrite

Finally, you think your book is ready. It isn’t. Time to let the manuscript breathe for a month, before revising it with fresh eyes. Be ruthless. Hack those excess adjectives that editors loathe. Delete every scene that does not sparkle, advance the plot on multiple levels and compel the reader to keep reading.

Rewrite again

As a writer for children, you’re not only competing against the mutant slush pile from Hell and other kid’s books, but against the internet, computer games and 24 hour cartoon networks. Remember: the modern kid is smarter, more savvy and easily bored than any generation before.

Submitting

Crunch time. When you submit your first manuscript, get stuck straight into writing the second. When your manuscript returns unloved, send another submission out on the same day (or even better, send two). For every five rejections, rewrite. Never surrender.

Over the course of several months, I sent my manuscript to every agent in the country. They all rejected until I was dejected. So I directly targeted publishers instead. I almost fell out of my computer chair when the second one immediately replied. The wonderful Ibis Publishing of Melbourne liked my story so much, they asked me to commit to writing two more in the same series. Truth is, to be published, I would have committed to writing a sequel naked in a bubble in the middle of Pitt Street. Luckily, they didn’t. But I still have my bubble.

Pre-publication

Over a year has gone by since my book was accepted. My patient editor Belinda Bolliger has driven me through two more rewrites to add backstory, cull my ellipsis fever and tone down my more extreme jokes. My major character has become less obnoxious and had a sex change from girl to boy. Why? Apparently, girls will read about boys; but boys aren’t happy reading about girls.

I originally named my book after the planet of talking horses and mutant chooks at the centre of my story. However, Uponia (too strange) was changed to Planet Horse Fart (too rude) to ZAPP to Planet Horse (too horsey) to Raz James and The Amazing ZAPP Discovery (too vague) to Erasmus James and the Galactic ZAPP Machine (too… wait, that’s it!).

The cover art has changed almost as many times while the date of publication has been put back from last Christmas to May to June to September. Fingers crossed on that last one!

It is vital to remain flexible and positive through such changes and delays. Yoga helps. Better to get everything right than to rush out an inferior product. The extra time has also given me time to set up a website, work out a battle plan with the Ibis marketing team Anthony and Paola and watch my hair turn even more grey. Meanwhile, my bank account has nose-dived, but who really needs fancy mod-cons like electricity and food?

On the road

Last month I drove to Sydney to psyche up the Pan Macmillan sales team. I delivered a ten minute standup comedy routine and was as surprised as anyone when the friendly team laughed at my feeble jokes and seemed enthused about selling my book. On the long drive home, I realised this would be but the first of many such promotional trips: to schools, book signings, anything and everything that will help me sell a few more copies and keep doing what I love so much. Then the rain began to bucket and my front tyre blew out. As I bounced into the bush, I realised I was about to experience another first on the scenic detour known as Publication Road.

DC GREEN BIO

DC Green is the author of the soon-to-be-published ‘Erasmus James and the Galactic ZAPP Machine’, a funny and action-packed tale of friendship, intergalactic zapping, flatulent horses, environmental havoc and bus-sized chooks. An award-winning fiction and non-fiction writer, DC used to travel the world for surf magazines, mainly because he couldn’t afford his own air tickets. He lives on the NSW South Coast of Australia with one slightly crazy daughter and three very crazy cats.

Check out DC’s stories at: http://dcgreenyarns.blogspot.com/

Buy ‘Erasmus James and the Galactic ZAPP Machine’ at Bookmark Australia: http://www.bookmarkaustralia.com.au/