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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.

People From My Neighbourhood: Behind the Scenes

When I read Granta’s cover brief for Hiromi Kawakami’s People From My Neighbourhood (translated by Ted Goossen), what really stood out for me in their summary was the term ‘micro fiction’. I was intrigued by the idea of a super short-story format – which offers only glimpses of the characters’ lives, and how they might all intersect. I wanted the cover to reflect a sense of a community, showing people going about their lives in an ordinary moment on an ordinary day. It was also important that the cover responded to scale in an interesting way, to reflect the structure of the writing.

I took inspiration from ‘miniature art’, where tiny figures and found objects are combined to create photographic compositions which play with scale and narrative. It felt like an appropriate direction for the cover – to make a physical neighbourhood at a micro scale. As I considered how I might translate this idea into the production of a cover, a chance conversation with a studio mate led me to model-maker Karen Britcliffe.

Rather fortuitously, I had just returned from a first-time trip to Japan, so when I was putting together the brief and references for Karen, I had all these specific architectural details fresh in my mind, which I think I might have missed if I’d had to rely solely on online research, such as the way greenery is squeezed in to the smallest of urban spaces. But it was Karen’s attentiveness and sensitivity to the text which really brought the narrative and the visual elements together. And it was her training as a theatre designer that led her to suggest the perspective and the way the buildings would reveal themselves:

The storytelling is so descriptive that I could visualise a neighbourhood quite quickly, the style of buildings and where they would sit and the people that would inhabit these homes. I wanted to create a street corner, unexpected and lovely meetings seem to happen on them, and central to this had to be the old man’s house – the community’s longest resident – a man who raised chickens and whose farming land had founded the neighbourhood.

Before Karen could create the final set, she made several ‘white card’ iterations of it, so we could identify the desired scale and perspective, and how the characters might interact with it. There’s an added difficulty of working in three dimensions when the final product will be in two: you have to photograph it so that everything will end up in the correct place on the two-dimensional layout. Karen would email iPhone photos of the white card versions, and then I would place them into the digital layout of the cover, before sending to Granta to approve. Once approved, Karen could then begin making the final models.

 

 

On the day of the shoot, it was really exciting to see the miniature neighbourhood materialise, as pieces of the set were painstakingly assembled on the pale pink backdrop. The smallest of movements in any direction would make a huge difference to the perspective in-camera, so it took a long time to perfect. Working at a scale of 1:87 was particularly challenging when populating the set with the characters (both human and animal), which were only a few millimetres tall – all carefully chosen by Karen to reflect the subjects of the stories. We worked with photographer Martin Slivka, who lit the set beautifully, introducing a sense of early morning sun on the buildings, which really brought it all to life.

It’s rare in book cover design to be given the opportunity to work in three dimensions as the stakes are so high and the ability to edit so limited. Luckily, Granta supported the idea – and thanks to the contributions of two amazingly skilled practitioners – the end result is a cover that I hope will resonate with both new and existing readers of Kawakami’s writing.

 

 

The post People From My Neighbourhood: Behind the Scenes appeared first on Granta.

Featured Client: Frank Jamison | Writer’s Relief

Our Review Board Is Open!

Submit Your Short Story, Poetry, or Book Today!

DEADLINE: Thursday, August 20, 2020

[youtube https://www.youtube.com/watch?v=YFSzlpPXiz4]

Caption: Click on the video above to hear about Frank’s experience with Writer’s Relief!

Say hello to our latest featured client, Frank Jamison! Like many writers, Frank found that life kept getting in the way of his writing time. But a few smart words from a friend convinced him to set aside just fifteen minutes a day to write—and soon Frank was building up to an hour or so a day and writing poems and stories. Frank’s next smart choice was to team up with Writer’s Relief to get his writing published. Now he’s a Pushcart Prize nominee with his work published in numerous literary journals, including Nimrod, Fox Cry, Poem, Red Wheelbarrow, and Sanskrit.

Read on and watch the video to hear how Writer’s Relief helped Frank become an award-winning writer!

In Frank’s Own Words

Every writer has to cope with life and circumstance. I am no exception, sandwiching writing time in between the myriad demands of everyday living. I even dismissed serious writing as an option for a number of years. Then one day while driving home from work, I decided to get serious about my writing again. A good friend, Writer in Residence at Lincoln Memorial University Darnell Arnoult, suggested that I give myself just fifteen minutes every day. That would be easy enough to do. I did and those minutes turned into an hour or two each day and a huge accumulation of “Fast Writes.” Those turned into poems and stories, but I had no idea how to get them published. I heard about Writer’s Relief and made contact. The rest is history. They were kind, helpful experts who knew the publishing landscape in ways I could never have known. We writers are a hard lot, tending to be tenacious, and with a little help we can see our words in print. Writer’s Relief has provided that help to me. I recommend them to you and wish you good writing time every day.

More About Frank

Frank Jamison’s work has appeared in numerous literary journals, including The Tennessee English Journal, South Carolina Review, Atlanta Review, Iodine, Confluence, Big Muddy, Illuminations, and others. His poems have won the Robert Burns/Terry Semple Memorial Poetry Prize and the Libba Moore Gray Poetry Prize. Frank’s most recent short story, an excerpt from his novel The Town Upstairs (unpublished), appeared in Arkana, and you can listen to him read it here. He is a member of the Tennessee Mountain Writers and the Knoxville Writers’ Guild. Frank lives and writes beside the Tennessee River in Roane County, Tennessee. In his spare time, he is chairman of the board of a community bank, though he prefers to spend as much time as possible writing. When not writing, Frank loves to be in the backcountry of the Cumberland Plateau: hiking, backpacking, and writing trail guides to the Cumberland Trail. You can see samples of his trail guides here and here.

 

Can You Send 30 Pitches in 30 Days? This Course Will Teach You How to Perfect the Art of the Pitch

I’ve freelanced on and off for over five years now. Since then, I’ve tackled plenty of the typical freelance obstacles, from managing my time to getting steady gigs, and figured out a system that works for me. 

But even still, I’ll admit: the idea of pitching to a new publication gives me sweaty palms and dry mouth.

It’s not even so much the fear of rejection (although that’s certainly real), but overcoming the resistance I’ve built up inside me when I think about pitching to some of my “dream publications.” I already know what works with my steady gigs. Why not just send a quick pitch there? Why waste my time on something that’s not a guarantee? Time becomes such a valuable commodity as a freelancer that the idea of wasting it on an uncertainty seems impractical — and over time, impossible.

Obviously, all of that is just me rationalizing so I can avoid doing something that scares me. And that’s exactly why I was so curious about a course that promised to help me muster up the courage and wherewithal to pitch to not one, not two, but 30 new publications in just one month.

What is 30 Days, 30 Queries?

30 Days, 30 Queries is a self-paced online course designed for both new and experienced freelancers who are feeling stuck. 

The instructor knows what she’s talking about: Natasha Khullar Relph (who previously wrote under the name Mridu Khullar Relph) is a prolific freelance writer with bylines in TIME, The New York Times, CNN, Cosmopolitan and many more. (Really, you name it, and she’s probably published there.) 

Upon reading the course description, I was comforted to find that Khullar Relph herself has dealt with the very same problem that had plagued me for the last several years. “I was always so busy writing for my existing clients that pitching to new markets, especially hard-to-break-into ones like The New Yorker or National Geographic, just never made it on my list of things to do,” she wrote. “Pitch The New Yorker and wait a year for the rejection, or email my editor at a trade magazine and get a quick assignment and nice paycheck within the month?”

That is, until she challenged herself to send out 30 queries to new publications in 30 days. While she doesn’t claim  the course will help you nab all 30, she did reap pretty impressive rewards: She got four new clients — two of which paid $1 a word! — and developed a running dialogue with six other editors at publications like Wired, Parents and O.

Khullar Relph realized the potential of this challenge for other freelance writers and built out a course of 30 lessons delivered via email daily that “will show you in a step-by-step fashion how to send 30 query letters in a month.”

Nearly 600 students have taken the course since she launched it in 2014. Relph says students have bagged bylines at The New York Times, The Wall Street Journal, LA Times, Marie Claire, National Geographic Traveler, Discover, The Guardian, Afar, GlobalPost, Vice.com, BBC, and CNN Travel.

What features do you get when you sign up for the course? 

To start, you get 30 lessons that help you break through the fear of pitching and create pitching habits. Those lessons also provide tips on how to write pitches that get more assignments and money.

Then you also get a few other goodies:

  • Lifetime access to the 30 Days, 30 Queries Facebook group. The group includes current and former course participants. Here, you can ask questions, collaborate on pitches, and share resources with other editors and writers. There are over 400 people in this group, so it’s a valuable tool to have at your disposal — and it’s always good to have a community in this zany industry.
  • Resources to aid you in your quest. We’re talking samples of query letters, a list of high-paying publications, and links to various resources to help you fine tune your pitches. The query letter samples particularly valuable, as some of them resulted in stories published in major outlets — you can check out dozens of student testimonials to see for yourself.

Other than email coaching with Khullar Relph, which only is available for the 30 days, you get lifetime access to all these elements, so if you don’t think you can do the full course in 30 days, it’s no problem — and if you feel like devouring it in 10, you can do that, too. 

What do I like about 30 Days, 30 Queries?

The hardest part of pitching is actually getting yourself to do it — and the first few days of 30 Days, 30 Queries make pitching feel bite-sized, doable and targeted. 

The concept of sending out all those pitches to new publications may make you sweat initially, but it turns out you don’t even send out a single query during the first three days. 

Instead of having you fire out queries wildly, Khullar Relph encourages you to take time at the beginning to mull over your ultimate goal for the course. It could be anything from writing about a particular topic to making a dollar a word or more, but it has to be specific, actionable and simple so you don’t get snagged in overwhelming details. “Complicated is the enemy of productivity,” Khullar Relph says.

Then, the second lesson encourages you to come up with a list of 30 publications that would meet your goal, and the third helps you develop a “production line approach to querying” to remove as many obstacles from your path as possible right out of the gate. From there, you’re well on your way to getting your pitches out into the world.

What I like so much about this course is that it’s not full of airy, bubbly “You can do it if you set your mind to it!” platitudes — instead, it answers the tough questions. 

For example, on day two, Khullar Relph explains how to find the markets that work for you — and it turns out that concept becomes exponentially simpler when you’ve figured out your specific goal. 

The course breaks down the process of freelancing and pitching so it feels actionable, possible and like just another part of your day instead of a massive hurdle to get over. As virtually any freelancer can tell you, that’s pretty huge.

That’s not to say the course makes freelancing seem easy. Khullar Relph doesn’t pretend she’s some superhero who feels no fear or psychological barriers when it comes to pitching big publications; instead, she addresses each of these emotions head-on and helps you address them so you can stop working against yourself. The course keeps it real in a way your average how-to, “hustle ‘til you die” guide doesn’t.

Through this course, I’ve gained the much-needed confidence to take on freelancing full time and develop my writing portfolio more and more every day. Another huge bonus was the development of a sturdier, more organized process for pitching — a more mundane element of freelancing that may seem like such a simple concept, but is the first to get lost as inboxes flood, bills come in, and deadlines pile up.

How much does 30 Days, 30 Queries cost?

My singular qualm with 30 Days, 30 Queries is the price of entry: $499. That’s no small concern, considering that for many freelancers, every cent counts. 

However, the personalization is unbeatable here. As long as you put the recommended work and energy into this course, your net gain will likely far surpass the cost. And on the plus side, it becomes a lot easier to keep your motivation up when you think about $499 going to waste!

If you want a fire lit under your butt, 30 Days, 30 Queries is worth it to focus your freelancing efforts, send effective pitches, and make every minute count.

This post contains affiliate links. That means if you purchase through our links, you’re supporting The Write Life — and we thank you for that!

Photo via GuadiLab / Shutterstock 

The post Can You Send 30 Pitches in 30 Days? This Course Will Teach You How to Perfect the Art of the Pitch appeared first on The Write Life.

People From My Neighbourhood

The Tenement

 

The tenement was home to an old taxi driver. The building looked ancient – the old man liked to boast it had been built before the Meiji Restoration of 1868. It was a total wreck, and he was the only person living there. The tenement consisted of a terrace of four houses: the taxi driver lived in the one on the far left, while his taxi occupied the one on the far right, which had been stripped of its floor and walls.

The old man didn’t work much. In fact, he took his taxi out just two days a week. He’d leave around noon and be back by evening.

Once a year, the old man would leave his house for three days straight. That was in mid-January, the period that used to be called the second New Year. He would wake up the morning of his departure and prepare a dozen rice balls. Then he would fill a big Thermos with tea, and pack six boiled eggs and six mandarin oranges.

The old man would set off around noon, a satchel full of food on the seat beside him. The first afternoon was spent driving all around the neighbourhood. Our district was so small he could have covered every street in less than half an hour, but the old man stopped to rest at each park or local shrine he passed, and sat in his car for close to an hour near the main shopping area, so that by the time he had completed his route, the day was already over.

Although the old man was presumably alone all that time, strangely the rice balls, boiled eggs and mandarin oranges had somehow disappeared when he’d finished his round. The old man hadn’t eaten them. We knew that because, as was his custom, he went on to the noodle restaurant Ramen Five in the centre of town for their ramen-and-fried-rice special.

When night fell, the old man drove to the Chūō Expressway. Where he went from there was anybody’s guess. We heard that someone had seen him exiting the expressway near Kōfu to head into the mountains, but that was just rumour.

‘Where do you disappear to, anyway?’ the woman who runs the Love, the small local drinking place, finally asked him.

‘I go driving with the girls,’ he replied.

‘The girls’ were the women he claimed inhabited the empty houses in the tenement. There were three, all of whom had died in the years before the Restoration.

‘You mean they’re ghosts?’

‘Ha-ha-ha. Yep, you could say that, but women are women. They’re still fun to have around, even if they look sort of blurry and don’t have legs.’

Having three must be a problem sometimes, the woman from the Love teased. The old man guffawed.

Not long ago I went down to the town hall to check their registry. The tenement had been built just after the Second World War, it turned out, and the records showed no one presently residing there.

Yet the old man is still living in the tenement. ‘Aren’t you a ghost yourself?’ the woman from the Love asked him, but he just laughed. Then he went down to Ramen Five and polished off their ramen-and-fried-rice special, with side orders of Chinese chive dumplings and pickled bamboo shoots, in the twinkling of an eye.

 

 

 

 

The Magic Spell

 

The Kawamata family came back from America.

The father and mother had headed off to America immediately after they were married to spend ten years running a business in California, then they shut up shop and returned to Japan with a hefty chunk of foreign currency.

‘And they got to know some Hollywood stars, too!’ one of the neighbourhood women gushed. As you might expect, their daughters were thoroughly American. Dolly was the elder, and Romi the younger. Dolly was five and Romi two, and they sported matching lace-up shoes.

Kanae was fascinated by the whole Kawamata family.

‘Let’s go and pick on Dolly,’ she said to me. ‘Let’s show her how mean Japanese kids can be.’ So off we went to the park where Dolly was playing.

Dolly had built a mountain in the sandpit and was busy digging a tunnel through the base of it.

‘You’re going to get it now, Dolly!’ Kanae jeered. But Dolly kept working on the tunnel as if she wasn’t there.

When we took a closer look, we saw that the mountain was much more polished than what a child would normally build. The peak was firmly packed, and the sides sloped gently towards the bottom in a leisurely arc. Even the tunnel wasn’t a simple hole but a deftly shaped horseshoe.

Kanae and I stood there lost in admiration, our plan to torment Dolly forgotten.

Dolly was painstaking in her work. She’d dig out a little sand, toss it away, and pat the sides of the mountain to firm it up. Then she’d scrape out more sand and throw it away. Now and then, though, a small part of the tunnel would collapse, and Dolly would cry out, ‘Oops!’

Kanae and I were amazed – we’d never heard the word ‘oops’ before.

‘What did she say?’

‘Maybe it’s a magic spell.’

Dolly patiently completed the repairs, then returned to her digging. But the tunnel suffered another partial collapse.

‘Oops!’ she cried again. We jumped out of our skins. By the end of the day, she had uttered ‘Oops!’ a total of twenty times.

Dolly was still digging when Kanae and I visited the park the next day. This time there were seventeen ‘Oops!’ There were nine the following day, but the day after that was Sunday, so we didn’t go to the park.

From then on, Kanae and I took to chanting ‘Oops!’ when we buried treasure or placed a curse on someone.

The Kawamatas eventually settled into the neighbourhood. Before long Dolly and Romi’s mother was calling them Midori and Hiromi, and no one could tell they’d once lived in America; yet Kanae and I continued to intone ‘Oops!’ whenever the need arose.

The very last time we used it was in third grade. ‘Make our breasts big!’ we implored, then solemnly chanted ‘Oops!’ twenty times each. Kanae and I wanted to grow breasts as quickly as possible so that we could fight aliens, wicked religious sects, and other forces of evil.

 

 

 

 

 

Sports Day

 

‘They’re going to hold Sports Day again,’ Kanae told me, as if sharing a big secret.

Our school’s last Sports Day had taken place three years earlier. The police department had sponsored it, which may help explain why the events had centred around the martial arts and marksmanship. Three students from our school had taken first prize: Kiyoshi Akai in the ‘thirty kilos and under’ class in judo, Dolly Kawamata in the ‘kata’ division in karate, and Kanae’s sister in the grade-school air-rifle competition. Kanae’s sister’s surprising success – she had been shooting for less than a year – inspired the police to send a recruiter to her home, but she turned him down flat, saying her plans for the future involved becoming a medium who communicated with the dead. Her parents displayed the Walther air rifle she had used in the competition on their living-room wall: when their home was broken into the following year, and the criminals took the parents hostage, Kanae grabbed the gun and faced them down, ending the stand-off.

‘You’re not the only one who can handle an air rifle,’ Kanae had boasted triumphantly to her sister. That’s when we realized how envious she had been. Her sister, by the way, had at the time been cloistered in the mountains with a group of budding spirit mediums at a kind of training camp.

The sponsor this time around was the local Marunaka Bank. Their plan was to open their doors and hold the events on their premises. These would include competitions for best loan evaluation, best anti-fraud strategy for direct deposits, best marketing of financial products, best cheque clearance procedure, and best cartoon character for their bank ads.

Most popular by far was the money-counting competition – everyone’s hands shot up for that. Kiyoshi, Michio and the others shouted so loud, in fact, that the classroom window cracked. In the end, the paper-scissors-stone method was used to choose the competitors, but when Kiyoshi and Michio lost, they stamped on the floor with such force in their frustration that they cracked one of the floorboards.

Kanae never raised her hand for any of the events, remaining cool and collected even when the money-counting competitors were being chosen. She kept scribbling furiously in her notebook, only now and then glancing up at the ruckus the boys were making.

‘What’s that you’re writing?’ I asked.

‘My fantasy investment portfolio,’ she answered.

Kanae had been building that portfolio since the third grade. At present, it amounted to a bit over thirty million yen on paper, though she had started it with a mere ten thousand yen in fictitious funds. She was pretty proud of that.

‘So do you actually have thirty million in the bank now?’ I asked in amazement.

She gave a derisive snort. ‘I told you, it’s a fantasy portfolio,’ she said.

‘Something like getting rich in The Game of Life?’

‘A bit different. But not altogether.’

She turned away from me and back to her notebook. I noticed she had inserted earbuds in her ears. She was listening to the radio.

Sports Day was held in the autumn, and this time it was the grown-ups who won. They aced the money-counting, the best marketing of financial products, and almost all the other competitions. The kids were really disappointed. Only Romi Kawamata won anything, the runner-up prize for best cartoon character for her ‘Sea Hare from Hell’. First prize went to the dog school principal, who of course had submitted a cartoon dog.

‘That’s so old,’ the kids complained. ‘Cartoon dogs haven’t been cool for, like, ever.’ But the judges were the bank’s managers, so there was nothing anyone could do. Kanae didn’t participate in the competitions, instead throwing her energies into the day trading of stocks, so that by the end she had raised her net worth past the fifty million yen mark. The cracks in the school window and floor were never repaired, standing as reminders of the local bank-run Sports Day, in which no event involved any form of physical activity.

 

Cover artwork by Clare Skeats, Karen Britcliffe and Martin Slivka

The post People From My Neighbourhood appeared first on Granta.

How to Become a Master Copywriter in Just One Year

Before getting into becoming a master copywriter, let’s be honest: “master” is relative, because even well-known masters of copywriting today still haven’t reached the pinnacle of their craft.

There’s always something new to learn, something more to discover.

But there are indeed ways you can rise up the ranks in your copywriting career so that you can call yourself a master (and feel 150 percent confident in that title) – and you can do so in just one year. Possibly even less.

How to become a copywriter

Here’s exactly how you can become a master copywriter in less than a year, and in just five easy steps:

1. Read a whole lot

Mastering any skill means absorbing all the information and education that possibly exists. Copywriting is no different, and plenty of resources can get that learning going on the path to a solid writing education.

Head over to Amazon and pick up several copywriting books from renowned leaders in the industry, like Bob Bly, Joe Sugarman and David Ogilvy. It’s best to avoid books from relative unknowns or wannabes; to become a top copywriter, you want to learn from the top leaders in the field.

Read each book slowly and with high levels of focus. Don’t just skim the content or skip chapters because you think you know what’s in them — you’ll forget 80 percent of everything you’ve read and miss the crucial details that make a big difference.

Then reread each book as you finish it, taking notes the second time around. Your brain will retain more information and understand it better, thanks to devoted effort. You’ll absorb the education and make it second nature much faster that way.

2. Practice even more

Deliberate, intentional practice of each technique you learn is key to mastering it. Think of Olympic athletes who spend years perfecting one specific movement, over and over — you should do the same with every single copywriting technique you learn.

In fact, lack of practice is one of the most common reasons good copywriters never become great. They don’t put in the extra effort to truly master their craft, and they always stay stuck at status quo because of it.

So as you read through your books and learn new, specific techniques, take time to practice each one thoroughly. Then practice it some more.

Have a sheet of paper or your keyboard handy so as you spot a new technique, you can stop right there and try it out immediately, over and over. When you feel you “get” it well, you can move on to the next new technique.

But that doesn’t mean you should stop practicing. Have individual practice sessions for each technique, then as you become truly confident, integrate two techniques you feel you’ve mastered. Practice them together, as a whole, then add in a third technique you know well.

Schedule regular, daily practice into your calendar, and put in the effort to continually improve your skills. You’ll pat yourself on the back for going the extra mile.

Practice, says James Chartrand

3. Get one-on-one training

Self-education is great, and it can certainly take you a long way, but there’s nothing better than working one-on-one with a copywriting coach to advance even further towards mastery of your skill.

After all, this person has been where you are and can show you how to take your copywriting skills to the next level. He or she can provide direct, immediate feedback on what you think you’re doing well enough or what you feel you need work on.

Feedback from someone better than you is key: You’ll learn which areas need work, exactly what you should do to improve and get confirmation when you’re doing it right – or correction that helps you when you can’t quite get it.

Group course environments are good if you can’t get a leading copywriter to mentor you personally in a one-on-one environment. You’ll receive less attention in a group because the instructor’s focus is diluted over several students, but it’s definitely better than no feedback at all.

4. Get over your issues

The biggest hurdle to becoming a master copywriter isn’t your skill set, your lack of education or your ability to produce good prose – it’s your psyche.

The biggest roadblocks that slam themselves down in front of would-be copywriting masters are always psychological in nature. They’re rarely skill-related obstacles only. Writer’s block, blank-page syndrome, difficulty knowing what to say, endless editing, performance pressure… those are all common issues that could prevent mastery.

The good news is that these issues are all in your mind, and you control your mind. There are all sorts of ways you can overcome your writing psychology roadblocks so you can advance to mastery levels.

It may sound fu-fu, but never underestimate the value of a good therapist or coach. This person can help you overcome writing fears and issues for stress-free copywriting in short order.

Strategies that could be used include exchanging bad habits for better ones, relaxation techniques, and discussion of fears so you can dissolve them into full confidence.

A creative psychology coach is often the best person to have on your side, though they’re fairly rare and difficult to find. You’ll reap the rewards, though, and find yourself mastering copywriting at twice the speed you were before.

5. Expand your knowledge

Okay: You’ve read the books, taken the training, practiced like mad and sorted out your crazy-making. You’re doing well and feeling great about your copywriting skills!

Now’s the time to expand and enrich your education in complementary fields, such as sales and marketing, storytelling, consumer psychology and critical thinking. Add a dab of each of these to your copywriting, and you’ll be able to reach new heights in your copywriting career in no time flat.

In fact, it’s well known that copywriting is simply salesmanship in print. So why not start there?

Before you get discouraged at all this learning, take heart: You don’t have to become a master in each of these related fields. But with a good working knowledge of related skills sets from different fields, you can integrate each into your copywriting.

You’ll be well set to take your copywriting skill set to the final levels… and become a master – in less than a year.

This is an updated version of a story that was previously published. We update our posts as often as possible to ensure they’re useful for our readers.

The post How to Become a Master Copywriter in Just One Year appeared first on The Write Life.

Wednesday Poetry Prompts: 535

Every Wednesday, Robert Lee Brewer shares a prompt and an example poem to get things started on the Poetic Asides blog. This week, write a blanket poem.

For today’s prompt, write a blanket poem. The poem could be about folding a blanket, a blanket of snow, a blanket fort, or a blanket statement. Or you could write about someone’s (maybe your own) security blanket. Maybe you can blanket the walls of your room with poems this week.

Remember: These prompts are springboards to creativity. Use them to expand your possibilities, not limit them.

Note on commenting: If you wish to comment on the site, go to Disqus to create a free new account, verify your account on this site below (one-time thing), and then comment away. It’s free, easy, and the comments (for the most part) don’t require manual approval like on the old site.

*****

Play with poetic forms!

Poetic forms are fun poetic games, and this digital guide collects more than 100 poetic forms, including more established poetic forms (like sestinas and sonnets) and newer invented forms (like golden shovels and fibs).

Click to continue.

*****

Here’s my attempt at a Blanket Poem:

“Pigs in a Blanket”

To tell you the truth,
I never understood
the appeal of eating
little pastry dogs
that look like fingers
or, for that matter,
corndogs on a stick.

I guess it’s just hard
to teach an old dog
new tricks, but I prefer
my dogs in a bun
smothered in mustard
with some pork-n-beans,
potato chips, and baseball.

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