Skip to content 
[youtube https://www.youtube.com/watch?v=fy28vfE2V0c&w=640&h=360]
Become A Full-Time Writer
Author: Brad Johnson
Brad Johnson is an author and blogger who helps writers discover their niche, build successful habits, and quit their 9-5. His books include Ignite Your Beacon, Writing Clout and Tomes Of A Healing Heart. For strategic content and practical tips on how to become a full-time writer, visit: BradleyJohnsonProductions.com.
[youtube https://www.youtube.com/watch?v=9LznT2phLpI&w=640&h=360]
http://feedproxy.google.com/~r/TheWritePractice/~3/lc-DVI5M0-U/
Handwritten notes are like sending a hug through the mail. They have personality and character, attributes a computer screen will never have. Let me show you why, when, and how to write a thank-you note.
Need some quick advice? Here are the nine steps to write a thank-you note. Read on for a thorough guide!
How to Write a Thank You Note
- Use nice paper or a card.
- Find a pen with ink that doesn’t bleed or smear.
- Begin, “Dear __________,” (insert person’s name).
- In the first sentence say, “Thank you,” and what you are thankful for.
- Write at least one sentence of appreciation for the act of kindness or gift.
- Say something nice about the giver.
- Write your closer, such as Regards, Sincerely, All my best.
- Sign your name.
- You don’t have to put your address on the inside of the card.
Those are the quick steps. Now read on for a longer guide.
Why You Should Write a Thank You Note
It is easier and quicker to send a text message, an email, or a voice message to say “thank you.” However, if the purpose of the thank-you message is to convey your deepest, most sincere gratitude, taking the time to carefully write a message by your own hand, and not your secretary’s hand, will mean more to the recipient than an instant media message.
When was the last time you wrote a thank-you note? A real thank-you note on a piece of paper that goes into an envelope with an address written on it and a stamp stuck in the upper right-hand corner?
Too long, right?! Let’s write one together today.
What Is a Thank You Note?
A thank you note is a short informal written message of thanks to another person for a specific action. Thank you notes are brief, often no more than five sentences.
The key word is brief. We are not talking about the changes in currency prices or the bird call of a painted bunting here. If you want to write about your summer activities or about how many litter boxes you have, write a letter instead.
Joe Bunting wrote an article about writing letters, which you can read here: What Letter Writing Can Teach Us. But a thank-you note is not a full letter.
Why You Should Send a Thank You Note:
- You should send a thank-you note because my mother said it is a good idea.
- To connect with another person.
- Send a thank-you note because you want to say thank you.
- The biggest reason to send a thank-you note is because you are a kind, considerate person. And you always want your friends and acquaintances to know how much you appreciate them.
- Because you are thoughtful.
There is simply nothing as personal as a handwritten note. In a stack of bills and flyers, it’s a treasure in a sealed packet, full of promise and potential. —Dan Post Senning
Supply List for Thank You Notes
Before you begin, make sure you have all of the following on hand:
- Notecards or stationery.
- Stamps
- An address.
- Pens.
- A few minutes of your time.
9 Steps to Write a Thank You Note
Writing a thank-you note might sound intimidating, but it is actually quite simple when you follow these nine steps.
1. Use nice paper or a card.
What is nice? Hmmm . . . a standard piece of printer paper, eight and a half by eleven, and an envelope are nice and acceptable. Personal stationery or a plain set of notecards is also nice.
What is not nice paper? A piece of paper ripped out of a notebook with a coffee stain on it, the back of your grocery list, or the back of a power bill would not be considered nice stationery.
2. Use a pen.
Your best choice is one with ink that doesn’t bleed or smear.
3. Begin “Dear __________,” (insert person’s name).
Check the spelling of the person’s name. If Margaret wants to be called Margaret, don’t call her Maggie. At least Maggie is not named after a non-stick spray like my name.
If you are on a first-name basis, call the person by their first name. If you don’t know the person very well, or they are “The Big Cheese” in a company, use Mr., Ms., or use the full name.
Keep the salutation polite and friendly. “Yoh” or “Hey” or “What’s up?” might work with your college roommate, but it is a bit casual for a business or professional thank you note. And don’t “Hey” your great aunt. Address the card “Dear Aunt Margaret,” not “What’s up, Maggie?”
Sigh, I am being a bit bossy. Who am I to tell you what to call your Aunt Margaret?
Only you know your relationship with your dear aunt. Please address the card in the same manner you talk to her. Which I hope is always polite and respectable.
4. The first sentence should have the words “thank you” in it.
And say what you are thankful for. Be specific.
Thank you for the beautiful sweater. Thank you for introducing me to your editor. Thank you for being the best friend I had in grade school. Thank you for being the best mommy in the world. Thank you for cleaning my seven litter boxes. (I can dream. Right?)
5. Write at least one sentence about how much you appreciate the gift.
Thank them for their gift of ten kittens, or tell them how much their act of kindness meant to you. This sentence makes the note more personal.
6. Say something nice about the giver.
For example, tell them you are looking forward to seeing them the next time you are in New Orleans. Or tell them how you wished you lived closer so you could help them shovel their driveway.
7. Write your closer, such as Regards, Sincerely, All my best.
These are all polite and not too informal. “Chow baby” is too informal, and “chow” is actually spelled “ciao.” Don’t use the word “love” unless you actually love the person. Signing an email “xo” might give the recipient the wrong idea.
8. Sign your name.
Use legible handwriting. This is not a prescription; it is a thank you card.
9. You don’t have to put your address on the inside of the card.
Remember, this is not a letter, it is a note. Please put your return address on the envelope. Write clearly.
//platform.twitter.com/widgets.js
When to Send a Thank You Note
Not sure when a thank-you note is appropriate? Here are six times to send a thank-you note:
1. When you receive a present.
Whether the present comes in the mail or in person, remember to send a thank you note in response.
2. When someone introduces you to someone else.
If someone helps you connect with someone new, send them a thank you note to show your appreciation for their kindness.
3. After you interview for a job.
Yes, send a handwritten thank-you note after a job interview. The handwritten note will help you stand out in a mass of interviewees.
However, according to an article by Molly Triffin on Interview Etiquette in Forbes, you should send a thank-you email to everyone you met in the interview process within twenty-four hours. Managers make quick decisions, and your written note might arrive after they have already made a hiring decision.
So, I suggest do both. Send a handwritten note and an email.
4. For an act of kindness.
When your mother comes and helps you pack up your house when you move from Minnesota to California. And then again five years later when you move from California to Pennsylvania.
Yes, even thank your mother. May no kindness go unthanked.
5. For a huge act of kindness.
When someone comes and cleans all your seven litter boxes without being asked. That hasn’t happened yet. But if it does, I will mail a handwritten note.
6. For friendship.
Send a thank-you note to a dear friend because you want them to know how much their friendship means to you. You realize life is precious, and you don’t want to get hit by a bus and not have them know you valued the friendship.
The Six Biggest Thank You Note Rules You Should Never Break
There are six unbreakable rules when writing thank-you notes:
1. Don’t ask for anything.
Never, never, never in ten million years ask for something at the end of a thank-you note.
Thank you, and, oh by the way, can you do this for me _______________. This is a big NO will a capital N and a capital O. Here is an example of what not to do.
Dear Mr. Faraday,
Thank you for introducing me to the President of your company. I appreciate your kindness in helping me meet Mr. Wise Sage.
I have enclosed a copy of my manuscript. Will you please read it for me and give it to the editor in charge of acquisitions?
Sincerely,
Pat Asksfortoomuch
2. Don’t tell the person you hated the gift and want to return it.
3. Don’t send a printed form letter with your signature printed at the bottom.
4. Don’t have your secretary write your thank-you cards for you and then you sign the note. I don’t care if you are the President of the Company. Write your own notes. The only way you can get out of this is if you don’t have hands.
5. If you spell a word wrong, don’t cross it out and keep writing. Get a new card and start again.
6. My husband said, “Don’t use profanity.”
Do you write thank-you notes? How do you feel when you receive one? Please tell me in the comments. I always love to hear from you.
PRACTICE
For today’s practice, take fifteen minutes to write a thank-you note. Get a notecard, or a piece of paper and write a thank-you note. Then put it in an envelope and mail it.
You don’t have to share the contents of your thank-you note here, as it might be personal, but please share that you wrote the note.
If no one has given you a gift in a box with paper and a bow, think of someone who has given you their time, has offered advice, or has supported you with encouragement, then write them a thank-you note.
xo
Pamela
The post How to Write a Thank You Note (a Real One) appeared first on The Write Practice.
http://feedproxy.google.com/~r/markgrow/~3/7LSkrq0qdqg/
By Mars Dorian, {grow} Contributing Columnist
Last week I attended a secret Christmas artist party on the distant outskirts of Berlin. The invite-only event was located in a garden colony, inside a former workshop for heavy machinery. The event was a Who’s Who of Berlin’s fine artists.
I went to the event for three reasons:
- The organizer was a sculptor with whom I had co-exhibited two months earlier
- I was hungry like hell and knew the event would feature a giant buffet
- I wanted to meet previous customers of my art and hook potential buyers
This was a great opportunity to do some networking at a social event — but how to remain cool and appropriate while doing it? I’ll let you know how it went for me and share my lessons.
By the way, this post features a dynamite-equipped Santa Claus so do read on…
A sample is worth a hundred sentences
Guests at social events, even art parties, are not interested in hour-long conversations. They want to talk to many other people so you want to hook them ASAP. And samples are the grappling hook snapping instant attention.
In my case, being a cartoonist, I always flip open my Instagram feed which acts as my art portfolio.
So in the main hall of the art party, I showed a real estate guy all my artworks tagged with Berlin keywords while explaining the thoughts behind each creation.
I’ve also seen a sculptor carrying an art catalog with his recent work. Every time he showed his cartoonish horse and people figures, he pulled a small crowd. He would have never enticed folks by just talking about his creations.
But you don’t have to be a visual creator to hook folks at a social networking event.
Two years ago, I attended a freelance networking event in Berlin.
There, a translator carried a small flipbook which featured bite-sized English and German samples of his work. And since he specialized in translating works dealing with sustainability and social enterprise, his flipbook and logo were dark green, printed on recycled paper.
What a great idea to hook folks at an event while staying true to your brand!
Bypass their auto-pilot mode
You probably have witnessed it countless times:
Two strangers at a social networking event try to small talk. To break the awkward silence, they unleash the dreaded “so what do you do” question.
Ugh.
It’s the quintessential generic question and thus triggers generic responses. They are often low-energy, and try building engagement with low-energy exchanges.
You want to engage the other person by triggering their expertise and passion.
When I learned about the real estate guy constructing private flats in Berlin, I didn’t ask him any generic follow-up questions.
Instead, I wanted to know what he thought of the government’s new rent regulation laws which dramatically impacts how real estate works in the capital.
Within seconds, the guy ranted with passion, calling out specific politicians, explaining how this or that regulation was blowing up prices per square meter and complicated his business.
After his rant was over and rapport was established, he focused 98% on me.
Listen, it’s not the BEST idea to make your conversation partner rant. But a specific question aimed at their passion and expertise is so much better than lame questions they probably answer a dozen times at the same event.
You want to elevate them from a low-energy to a high-energy state so engagement can happen.
Bridging gaps when interests are opposite
During the initial phase of the conversation with the real estate guy, I realized he carried no interest in a cartoon or comic art, which was my flaming passion.
Bummer? Nah.
After having learned about his passion for urban planning, Berlin and its history, I knew I could reframe my art, making it more tasty to him.
I told him about my style which I dubbed Urban Cartoon Art, and how my characters were manifestations of the city:
- Hipster Unicorns, partying in the infamous Berghain club
- start-up yuppies wearing smart clothes spammed with social media ads
- pensive street artists with elven ears, ruminating about life
All these creations were inspired by Berlin’s city vibes, which piqued the real estate guy’s interest. I also told him about my last exhibition inside a hall that used to be a military horse ban during the German Empire era.
Soon, the real estate guy started asking me specific questions about style and ideas. After fifteen or twenty minutes of passionate talking, he even ended up buying a limited art print he saw on my Instagram feed.
Double-win.
Conclusion
Small-talk at social and networking events can be a treasure hunt. By showing samples of your work, asking specific, expertise-related questions and linking them to your offer, you can make great connections and deals happen.
Mars Dorian is an illustrating designer and storyteller. He crafts words and pictures that help clients stand out online and reach their customers. You can find his homebase at www.marsdorian.com and connect with him on Twitter @marsdorian.
The post How to be business cool while networking at a social event appeared first on Schaefer Marketing Solutions: We Help Businesses {grow}.
As we enter the final days of 2019, here are our ten most popular non-fiction posts from the year:
Her Left Hand, The Darkness | Alison Smith
Alison Smith shares what she learned from Ursula K. Le Guin:
1. Not everyone who thinks they’re better than you actually is.
2. Speaking your mind is better than hiding your mind.
3. Trying to be an author is a very bad idea.
On High Heels and Lotus Feet | Summer Brennan
‘Natural feet were considered manly, and so the natural state of the body became masculine; one had to sculpt, suffer, and reinvent to be read as female.’
Summer Brennan on high heels, foot-binding, and our ongoing performances of gender. An excerpt from her book High Heel, part of Bloomsbury’s Object Lessons series.
‘Which deaths are tragic and which are not? Who decides what is big and what is little?’
This memoir by Mary Gaitskill was included in our bumper spring issue, Granta 147: 40th-Birthday Special, which collected some of our favourite pieces from the past forty years. ‘Lost Cat’ was first published in 2009.
The Resurgence of the Monstrous Feminine | Hannah Williams
‘Despite the sheer and uncommunicable amount of violence enacted upon the female body throughout history, it’s woman as terroriser, as beast, that we keep coming back to.’
Hannah Williams on horror, hexes and harpies.
Confessions of a White Vampire | Jeremy Narby
‘Many of the people I was living with considered me a white vampire, who killed to extract human fat.’
Jeremy Narby, who spent close to two years in Peru living with Ashaninca people, writes about a particular kind of resource extraction in the Amazon.
Touch | Poppy Sebag-Montefiore
‘Touch had its own language, and the rules were the opposite of the ones I knew at home.’
From Granta 146: The Politics of Feeling, Poppy Sebag-Montefiore, former BBC correspondant in Beijing, writes on public touch in China.
How to Take a Literary Selfie | Sylvie Weil
‘I found myself immediately identifying with certain self-portraits, as if they were snapshots that mirrored (imaginary) self-portraits of my own.’
Sylvie Weil explains how she began writing literary selfies. Translated from the French by Ros Schwartz.
The Power of a Name | Rebecca Tamás
‘When English is the dominant everything, you can’t help wanting to fight for the little speck of the rest of your self.’
Rebecca Tamás on why the accent in her last name matters.
Politics in the Consulting Room | Adam Phillips & Devorah Baum
‘In politics people think they know what they want, and in psychoanalysis the assumption is that they don’t know.’
Psychotherapist and literary critic Adam Phillips in conversation with Devorah Baum, co-guest editor of Granta 146: The Politics of Feeling.
Love After Abuse | Lucia Osborne-Crowley
‘I am bleeding but I don’t know it yet, so the blood is silently leaking onto the white fabric like a poorly-kept secret, like proof that I will never be as clean as I pretend to be.’
Lucia Osborne-Crowley on the complexity of navigating sexuality while recovering from sexual abuse.
The post Top Reads 2019 | Non-Fiction appeared first on Granta Magazine.
In the wake of the 2011 Egyptian revolution, there was a scramble to commodify in literary form what had happened, with works like Yasmine El Rashidi’s 2011 The Battle for Egypt and Ahdaf Soueif’s 2012 Cairo: My City, Our Revolution being pumped through the publishing industry almost before the blood had dried in Tahrir. For understandable reasons (like the maddening discrepancy between collective experience and the official state-sponsored media coverage of protests), these works are anxious to document; they’re journalistic, chronological, and, in light of how much was lost and how little has changed since 2011, they’re depressingly idealistic. Then there’s Youssef Rakha’s 2013 The Crocodiles, an experimental work which describes itself – aptly – as post-despair.
The Crocodiles is the first book in a trilogy about a group of Egyptian poets who were active from 1997 to 2001, the 90s-generation. There are no chapters or page numbers. It is divided into numbered vignettes, but rather than being linearly ordered, these vignettes are in orbit, spiraling outward in larger, looser concentric circles before tightening in again, dizzying vortically like drain water. The idol at the heart of all this devotional spinning, however, is not revolution. There is almost nothing of the protest-porn one expects from works published at the time, despite the narrator speaking from the vantage point of the revolution’s aftermath, and despite his obvious heartbreak over its failings. Instead, he roams around the grungy intellectual circles in Cairo at the turn of the millennium with his two friends: Paulo, a photographer in love with an older married woman making a fool of him, and Nayf the orphan, so obsessed with translating Allen Ginsberg’s ‘The Lion for Real’ that he begins to hallucinate a lion, for real. Stylistically, the vignettes are conversational, melancholic, taut as prose poems. Here is the first:
1. On the twenty-first birthday of a poet, ostensibly of our group, whom we knew as Nayf (his real name’s not so very important)—on June 20, 1997, to be precise—the activist Radwa Adel went to visit a relative in one of Cairo’s neighborhoods…. Radwa Adel played with her relative’s children for a little while, then took herself off for an afternoon nap in the bedroom with the balcony. There was nobody at home but the young children, and no sooner had the bedroom door swung back behind her than she went out onto the balcony and jumped over the wall.
Radwa Adel’s character is based on the 70s-generation poet and activist, Arwa Saleh, who did actually commit suicide by balcony in 1997, just a year after her only collection The Premature was published. Her suicide hangs over the rest of the novel like an invitation or a dare. It was the fashion then to appear unhinged and volatile, but ultimately there were those who came to the edge and jumped, those who came to the edge and didn’t jump. This novel is about how to manage despair. Prematurity and coincidences of synchronicity are also themes that vein thickly through The Crocodiles, which is obsessed with – and highly superstitious about – time. Despite the nonlinearity of the narrative, there is a painstaking, almost unhealthy, effort to understand the chronology of minute interpersonal dramas that the characters undergo, as though doing so might explain to all of us, shell-shocked in the aftermath of 2011, just what the hell happened.
We see through the narrator’s increasingly cynical eye the underground world of activists and artists, their petty quibbles and hypocritical ideologies, raving house parties, acid trips, poetry, their violent sex and even more violent heartbreaks, just a few years before these same individuals would take to the streets. It was a dark time to be in Cairo, with so many young people feeling claustrophobic, nihilistic, and in abeyance, turning on themselves and each other. ‘It strikes me now’, says the narrator, ‘that those shrunken spaces where we lived – the places that narrowed about us in the nineties – were the very places where the security forces corralled us when we took to the streets and which one thousand five hundred martyrs or more and one whole year were not sufficient to make wider’. Without being defeatist, this is the sobering reality that The Crocodiles brings to Cairo in the new millennium: that there was a revolution and nothing changed because we as a people have not changed.
399. Ten years on—while from afar I follow the progress of a revolution we were waiting for not knowing that we waited and which, when it came, thundering through like the last train, left us shell-shocked on the platform—I think how all of us became a case or tragedy: if any memory should remain to us, its gist shall always be the ignominies of love and death and birth. Did all this happen so that we might be a fitting subject for the gossip of a slightly greater number of people? I feel my body sinking in the soup as I wonder: All this?
It has to be said that The Crocodiles is philosophical before it’s political, more concerned with the poetics of language than its archival abilities. And yet it is the novel I return to again and again because it holds literature accountable for social change in a real way by demanding: What are the ethical responsibilities of narrative? Nine years later and counting, did all this happen, just so we might write about it? All this?
Or is there something more being asked of us?
Photograph © wikiphotographer
The post Best Book of 2013: <br>The Crocodiles appeared first on Granta Magazine.
