#(I think I usually cry easier at books than I do visual media for some reason?)

[fortes-fortuna-iogurtum]

I finally just sat down and watched the All Creatures Great and Small Christmas Special for this year, and... ouch.... my heart.... 😭😭

[mossy-petrichor]

Mossy Petrichor's healthy coping 101

Do you always dissociate from distressing situations, repress strong emotions or deal with stress by self harming? Do you have 0 idea what it means when people talk about "coping"? This post is for you!

I usually see this happen a lot in people who were emotionally neglected (like yours truly), which is unfortunately really common, but no less traumatizing

Psa: all of this is based off my own experience, as someone who also had no idea how to cope and learned it by themselves. This isn't medical advice!

So, what does coping mean?

When you go through a stressful situation, you can feel your emotions at a 10/10. To cope is to bring this down so you don't lose your mind. This can apply to anger, sadness, hopelessness, fear

I like to separate coping into two ways:

Expressing the emotions in a healthy way

Calming yourself and bringing the emotions down (when you can't express them, or when those emotions do more harm than good)

I usually go by 1, but 2 can be used for when, for example, feeling angry at someone who can't change. So you keep feeling this anger that you can't do anything about, and it'll just make you feel worse to keep feeling it whenever you look at this person

Here's some things to make sure to do if you're feeling shitty:

Drink water

Eat a meal

Shower/bathe

Take a nap

Move your body (go outside if you can)

Socialize, talk to friends

(think of yourself as an animal in the zoo. If you noticed them feeling bad, what would you do to make them feel better?)

Here's some examples of how to express emotions healthily:

Singing loudly, screaming, humming, stimming verbally, talking to yourself out loud about what made you feel bad

Acting, drawing, painting (it doesn't have to be perfect! Just express whatever those emotions feel like, in whichever way feels right)

Writing poetry, visual poetry, making playlists, writing (like projecting into a character, make them do the things you wish you could do to cope)

Writing about how you feel, crying, venting (can be counterproductive, so if you feel like venting is just making things worse, try something else!)

Dancing, jumping, running/walking, exercising, cleaning, stimming physically

Ripping paper, chewing on something

Baking or cooking, going outside, playing with animals, gardening, taking pictures

Here's some examples of how to calm your emotions when you can't express them:

Watch something that makes you laugh

Consume comfort media (make a list! Videos, series, movies, books, songs)

Play a chill game

Make a list of things that make you happy and read it

Listening to music

Taking deep breaths, tensing and relaxing your muscles

Engage with things that make you happy (a hobby, art, an interest)

Meditation, sitting and thinking about your emotions

This isn't an extensive list! Coping is a very personal thing, and all of these are suggestions if you don't know where to start! In the beginning, it can (and will) feel like it doesn't do anything, because you're used to immediate solutions to make you stop feeling unpleasant emotions, and healthy coping mechanisms don't work immediately - it's a long term thing

Some of these can make you feel worse, in which case you should just try something else. As I said, they won't immediately make you feel better until you're more used to coping healthily

Eventually, you'll reach a point where it feels more intuitive and less forceful and uncomfortable, but you have to get past this first phase! It's like building a muscle, and it takes work. With practice, you'll figure out what works best for you and what doesn't

I promise it gets easier :•)

[monysmediareview]

Shadowhunters (Freeform show) Review

Review #2!!

In case you missed it, I wrote a review on the Mortal Instruments book series books 1-3 (they’re the only ones I read because a chapter into book 4 and I was over it). I had mixed feelings on it, as I do with most things - including the Shadowhunters TV show, which is what this review is about!

Casting

Let’s talk about the casting in this show. First of all, I think the cast matched the physical descriptions of each character in the books and I very much enjoyed that. I do like when shows take liberties with casting, especially for the sake of things like diversity but there’s something very satisfying about seeing the characters exactly as they were written. 

I don’t think all of the acting was fantastic, but it’s FreeForm so I really didn’t expect much. It did get a lot better as the series went on and I think the actors really found their footing with these characters. It’s one of the reasons that I love series so much more than movies for things like this because there’s growth and the chance to really explore characters as they exist. These characters really took on a life of their own in a way, but we’ll get into that as I go through the rest of my points here. 

One thing I will say is, while this show did much better than others in terms of diversity it is not lost on me that the BIPOC characters in this show (and in the book series as well) were all “other” characters. As is often the case, people of color in fantasy media are usually portrayed as animals such as werewolves, or other “undesirable” characters. This is an incredibly complex part of casting, creating, and writing, and I will not get into it here, but I didn’t want to not mention it. 

Gay Pride & True Love

If you read my review of the Mortal Instruments series then you already know that I love love love Alec and Magnus, but that love grew exponentially when I watched the show. Magnus was an interesting character in the books but Harry Shum Jr. really brought the character to life and that show especially in the scenes with Alec. The show also gives Alec a ton more depth than in the books and I love that they didn’t keep him hung up on Jace (a straight man) for most of the story. He fell for Magnus and he fell for him hard. Magnus is the one that broke through Alec’s shell and encouraged him to be himself. By cutting away all the petty teenager shit that was in the books we were able to see this real, complex, but honest and deep love story that rivaled the main love interests immensely. I would watch this show over and over just to watch these two again. 

Representation and diversity are two huge factors when I think about whether or not I liked a piece of media. These kinds of things are what makes media so relatable, real, and ultimately enjoyable in a lot of ways. This show didn’t make the characters gay-ness a main factor of their relationship; they just showed a relationship as they would with a straight couple. They didn’t ignore their gay-ness either, though, and acknowledged the difficulties within that. By making this normal, they took huge strides in showing these kinds of relationships on TV and I adore that. And I just cannot get enough of this pairing in general - there are so many contrasts and compliments in their relationship and it’s what I honestly consider to be a perfect OTP relationship in any kind of romantic plot. 

10/10 would watch the show just for Alec and Magnus. 

I like Clary better in the show than in the books

Clary is by far, not one of my favorite characters in the fantasy genre. I find her to be selfish, martyr-like, and just kind of annoying but I really felt like the show was able to redeem the decent characteristics that she has and shed off most of the aggravating ones. 

As a whole, I am not a fan of how stupid the books make Clary out to be. Clary falls into the category of characters I don’t like because there is ultimately nothing very special about them yet they end up with a guy who is completely out of their league in every way who is head over heels in love with them. It infuriates me so much and Clary is not an exception to this rule. Her character is still this way in the show but it is much less evident because she seems to be more of an active participant in her own life and I don’t have to sit through her endless internal monologues about how attractive or strong or whatever Jace is. Thoughts that she still has while she thinks they’re siblings. At least in the show, these characters seem to draw a strong boundary here when they think they’re related rather than making out in a field like they did in the books. 

Clary also has a much stronger sense of self in the show and often reflects on what her life was and what it has become, how she’s grown. And I think that’s a huge part of it - that she has grown when in the books she was just constantly such a dumbstruck teenager who only thought of herself. I absolutely love the difference in her character here so I’ll give the show a star for that. 

Her relationships with other characters is also so much stronger. I believe this is in part because we don’t know her every inner thought about them and we also aren’t distracted by her distraction that is Jace. Her relationship with Izzy is so much better and stronger. I’ll always give good reviews to strong female relationships! Even her friendship and relationship with Simon is more in depth in the show. Their book friendship is very baseline; they constantly say they’re best friends but that’s not really reflected in the way they act around each other. In the show they have anecdotes about the past we never see in the books, they talk in a comfortable way and even show their relationship with each other’s families a lot more. This plays into her being an active participant in her own life as well. 

The Lightwood Family Drama

This might be something that happens later on in the books (however I don’t think so because of some spoilers I’ve received on my main account) but I really liked the Lightwood family subplot. I would imagine they have some marital problems after Max’s death in the books but considering they don’t kill him in the show, divorcing them earlier and giving Maryse a second chance was a fantastic choice. I kind of wish they had kept Max’s death because to me, it was the driving force between Izzy and Simon, but overall I don’t mind the way they did it. It just felt like a missed opportunity for drama and angst.

Back to the point at hand - families are complicated and the only “normal” or rather, nuclear family we see in this series is the Lightwoods. Clary was raised by a single parent, as was Simon, and no one else really has parents that we’re introduced to to be able to judge their family life. By making their family story a complicated one, rather than the “ideal”, it becomes not only more dramatic, which is fun and interesting, but real. And it may seem counterintuitive to make things seem real in a fantasy genre show/book series but that, in my opinion, is what makes it easier to believe the fake stuff. I can focus more on the magic and the demons and the end of the world as we know it if it’s grounded in something that’s familiar to me. The Lightwoods feel like a very real family with complicated relationships between kids and parents, adopted children/siblings, and marital issues that affect everyone differently, which invites us as an audience to relate to them and doesn’t make the Shadow world so different from ours. 

A scene I loved specifically is when Izzy brings the doctor she’s seeing to the Hunter’s Moon and they’re all messing with each other, eating, drinking, laughing, talking. They really felt like a family there, like adult siblings which can be a really difficult feeling to capture but I think it was done very well. I didn’t want to go through this review without mentioning that part since it was something very special for me. 

Design Choices

Changing topic just a little bit, I wanted to talk about the design of the show. First thing I noticed was that the runes were not at all how I pictured them. Now, that may be a fault of the writer because they weren’t very well described so it all landed on imagination which is different for everyone. The show design gave me kind of Henna tattoo vibes, whereas the books gave me full black ink vibes. 

The clothing was also something very strange to me. Izzy was always described as wearing long silvery skirts. I very much imagined her as wearing borderline rave outfits in most of these scenes but she mostly just wore crop tops and low cut shirts. I also noticed that as the series went on she dressed in a bit more of a conservative way compared to the first half of season 1 when I recall her wearing literally just a sports bra as a shirt in a few scenes. It was apparent to me in the books that the way Shadowhunters dressed was something that separated them from humans, made them stand out, and the show lacked that. I think this also took away the idea that Shadowhunters are a whole race of people with a history and culture separate from being human (they are, in essence mixed raced, but this comes with a lot of implications and is not a complete statement or comparison in any way). My point with this is mostly that I wish there had been more of a separation visually between Shadowhunters and humans beyond their runes. 

I also pictured the Institute to have a very non-human, Catholic type of design and instead just got pseudo-futuristic feel. I didn’t hate it, it just feels overdone in these kinds of shows and movies. For example, the Divergent series or Maze Runner or even Tomorrowland all have this type of vibe and I was hoping for more of a DmC: Devil May Cry approach. 

Jace Wayland is a beautiful character

I had mixed feelings about Jace in the books; he felt stale and like every other straight, white, male, romantic lead. In the show, however, I think Dominic Sherwood did him a great deal of justice and gave him the depth that actually made him a desirable person that I could understand someone being in love with. He’s charming, and a little cocky but we also get to see a deeper side of him than we do in the books. We see his emotions, especially his unconditional love for Clary (whether I agree with that or not). 

The Owl plotline was a waste of time in my opinion, but the scene when Izzy and Alec go to save him from inside his mind and we see him break down is absolutely beautiful. Jace is introduced to us from the start as hard, strong, calloused and here we see him vulnerable and scared with two of the people he trusts most in the world. I will accept the Owl plotline if only to keep this scene because I think it is absolutely essential to his character arc. 

I also found that scene to be indicative of his relationship with Izzy. In the books it’s often alluded to that he and Izzy had been together in one way or another but that’s not the case for the show (thank the angel) and here you can really see them as siblings more than in any ther scene, I think. But this takes me to his relationship with Alec as well. 

Parabatai 

I don’t remember Parabatai being mentioned much in the books but it is a huge deal and talked about quite a bit. I this this is super cool, personally and it’s not something I can really think of too much in fantasy outside of sires or singers or the like in many vampire novels but that has a whole “owner” vibe that doesn’t exist with Parabatai. I am super intrigued by this idea and I loved how much they played with it being a strength and an essential part of their existence. 

The relationship between Alec and Jace is obviously stronger than just brothers, but it also isn’t quite love in the romantic sense. It’s something else and it makes them vulnerable to each other. They feel everything the other person feels, sometimes literally, and while that can weaken them they use it as a strength. It’s really beautiful how honest and open these men are with each other. I feel like the Parabatai bond breaks down a lot of the toxic masculinity traits these characters might have otherwise and I will always be in favor of tearing down those walls. A+ characterization if you ask me. 

I thought Izzy deserved better in the books - the show gave it to her

In the show Izzy is way more badass than in the books, which I wasn’t sure was possible. They made her so much smarter, gave her important roles at the institute like head of weapons and she even did autopsies? In the last episodes we even see her as Head of the Institute. Beauty, brains, and brawn simply can’t be beat. 

Her love life was even more interesting! She wasn’t boiled down to just a slut who slept with everyone regardless of species: she was a lover who fell quickly and saw the best in people despite what people might tell her about “their kind”. She’s strong and very sure of herself; she doesn’t need a man in her life but she wants love and I think that’s a really amazing trait they gave her that deepens the character. 

They made her an activist, too in a way. She’s found really standing up for her beliefs in the show and challenging the way things are. In the books Izzy is pretty stuck in the way Shadowhunters do things but in the show she speaks up when something isn’t right. Her connections to downworlders does a lot of really great things for the Shadow world as a whole. They certainly could have beefed this up a little bit, but it wasn’t a huge part of the show in general so I’ll allow the pass on it. 

Her Yin-Fen addiction was so interesting! Again, I don’t know if this is something that happened in later books in the series but this is just another layer to Isabelle that I really loved. No one is perfect, even her, and it built her relationship with Rafael (another plot I was a huge fan of) which was incredibly complex. 

All in all, I would die for Izzy. Please give me shows and books about her and more characters like her. 

This series was steamy as hell

I can’t write a review on this series without mentioning all of the steamy scenes with so many of the characters. I mean, of course, I expected as much with Jace and he got a lot but so did everyone else. We got saucy scenes with Alec, Magnus, Simon, Izzy, Maia, everyone. (Not all at the same time, thankfully). But they were all very well directed and acted and I enjoyed them quite a bit. What can I say? Sex sells. 

In conclusion, I liked this series a lot. I really was not expecting to. I was warned that it was bad, and to start off it was but I found myself unexpectedly enjoying a lot of it. There’s still work to be done and it is by no means perfect but it was entertaining and had some really good moments. I also give so much credit to the actors and creative team for doing so much with material that didn’t give them much depth in the first place. 

Would recommend for something to enjoy but maybe not think too hard about.

xoxo

Mony

[jaehyunspeachparty]

About Doyoung - pt.1 (a)

There has been a lot going on in the past few weeks. Your whole life was only about work. It was good for you that the company you helped build up, was super successful. But lately your boss, who owns all the companies, has been making life difficult for you. You have to invest a lot more work and free time than usual and that didn't make the complicated situation with you and Jaehyun any easier. It has been really hard to see you lately, he has been busy too. You have been a little sick the last few days and you still don't feel fit. But you had to work, you couldn't rest. You quickly run to the pharmacy just before work and get some medication. But when you got to the cash register, your boss called again. You try to order everything while receiving further instructions over the phone. "Excuse me, Miss. We could get everything, we just don't run the company of your contraceptive pill here." The pharmacist looks at you, but you only nod and pay for everything. In reality you didn't notice anything and just take the medication and run quickly to work.

As soon as you were in the company, there were further problems and you had to go to SM Entertainment to clarify some things. To be honest you were happy because you hope to see Jaehyun. You could spend the lunch break together. You write to him immediately, but there is no answer. He probably trained and that's why you didn't think much of it. There was a meeting anyway, and you had to go there immediately. But even when the meeting was over, Jaehyun still hadn't answered you.

You would be celebrating your 2nd anniversary in two weeks, but you felt like he was distancing yourself from you recently. Sometimes you had the feeling that he would end the relationship before that date. For weeks you've been feeling your heart breaking. Is this how relationships live apart? Disappointed, you go down the stairs and try to clear your mind with movement, but the relationship with Jaehyun worried you all the time. "Y/N? I didn't know you were here today." Doyoung suddenly stood in front of you and next to him was a younger man who also looked like an idol. "Yes, I had to go to a meeting spontaneously. Did you hear anything from Jaehyun?" You sigh and find it difficult to hide your grief. "He has just written to me that he is going to the recording studio. We are just showing the building to the new trainees. The managers think that should be fun." Doyoung rolled his eyes and you look briefly at the boy next to him. But at the same time your heart broke a little because you have now been confirmed that Jaehyun ignored your message. Slowly everything became too much for you and it was difficult for you to hold back your tears. "Hey, are you all right?" Doyoung noticed this and could already imagine where or rather who the problem was. He noticed that you have hardly been in the dorm lately. "I'm sorry, I don't want to bother you with my problems. I think I'll go again." You wipe your first tear and try to collect yourself. But Doyoung wasn't comfortable with it. He turned to the trainee and handed him a card. "You know where the cafeteria is. Buy a coffee or cake. It's on me." The boy grinned, took the card, and started running immediately. Then Doyoung turned back to you. "Come on, let's go to a quiet place." He opened the door and you go into a small room where there was a small kitchen. It was a break room, so to speak. Doyoung made you a coffee and then sat down at the table with you. "It's because of Jaehyun isn't it?" He looked at you worriedly and you nod. "Yes. He ignores my messages, is so distant and I hardly see him anymore. I mean, yes, I have to work a lot. But nothing comes from him." The next tears ran down your cheeks. Doyoung looked at you and didn't know how to phrase the next words. "Y/N ... I told you earlier that we have such a mentoring program. I don't know if Jaehyun told you, but he also has a trainee. She is ... how can I say .. .she’s here mainly because of her looks. And they call her prince and princess because everyone thinks they look so good together." He pressed his lips together and waited for your reaction. But you could only look at him stunned. You didn't know what to say anymore. Somehow that didn't surprise you anymore. "I've got to get out of here." You get up and feel slowly how a panic attack started. It felt like an invisible cord was tying around your neck. So you run out of the room, but Doyoung grabbed your wrist and looked at you. "Y/N, if there's anything you need, someone to talk to, I'm there, okay?" He didn't let you go until he got an answer and you were glad that at least one person was worried about you. "Thanks Doyoung, I really appreciate that." You look at him and he smiled softly. He let go of your wrist and you turn to the side when you see them. Prince and princess. She was pretty. Really beautiful. You understand why they called them two like this. Visually, they looked perfect, like the perfect couple. Jaehyun stared at you, you only feel more emptiness. What else should you tell him? He ignored you for this beauty. That day had to come. How could you believe to fit into such a world? How did you think a relationship with Jung Jaehyun would work? Why should you be the person who makes him loyal? He had so much choice. What made you special? Your entire self-confidence was destroyed, much in a thousand small parts. Immediately you turn around, you didn't want to see this picture, and immediately run away. You were glad that you chose flat shoes that day because you could run away faster.

Over the next few days, Jaehyun tried to get in touch with you, but he wasn't very persistent and you still had to work through all of this. When his name lights up on your display, you sigh briefly and your eyes go to your desk, where a gift was. You had made a little book with photos and memories inside. It should be a gift for your anniversary. You invested a lot of time in it and put so much work into it and now you weren't sure whether you still had a future. You would like to cry because jealousy is beginning to eat you up, but then your work phone rang. "Y/N, I know it's Saturday and you're sure to have something better to do." Your boss sounds really stressed and you knew you had to work again on your day off. "I have no plans." What should you be up to? The entire two years you've been in Korea, you've only invested in the relationship with Jaehyun. Maybe you should have taken care of some friendships too. "Perfect. SM are having dinner in a hotel and they really want you with them. They just love you." Your boss laughed and you go to the closet to pick out an outfit. "Okay, is anyone coming with me?" "No, it's very exclusive. They just want to thank a few people and strengthen the connections." You nod and you already know what it is. It wasn't the first time that you were at such a dinner. But you knew that there were often idols and you are prepared that Jaehyun might also come.

You were wearing an elegant beige dress. It had a one shoulder and went together with a belt on your waist. You also wear beige heels and your hair was open over your shoulders. This dress gave you that little bit of confidence that you still dare to go out. In the taxi, you put on your lipstick and try to ignore that your heart almost jumped out of your chest. In addition to your clutch, you also had a bag with Jaehyun's anniversary gift. You didn't know why you took it with you, but it was important to you. When you came into the suit, one of the highest managers came to meet you and greeted you. You have small talk, but in the corner of your eye you could already see Jaehyun, of course with the trainee at his side. And when the two passed by, the manager noticed the two immediately. "Y/N, we have a new mentoring program. The trainees should get to know us faster and that's why idols look after them. We think that strengthens cohesion." She smiled and pulled Jaehyun and the girl toward her. "Jaehyun and Sora look so great together. We are considering whether to create a relationship for the media when Sora makes her debut in the new girl group," she whispered to you as she sent the two away again. You just didn't know what to say, everything inside you felt numb. "But let's have a look. We don't need to stage everything if they fall in love in the next weeks. I mean look at them." Then she started to laugh and when a waiter came with champagne, she ran after him. You could see Jaehyun immediately get up and want to approach you, but you just couldn't talk to him. It hurt all too much. You clasped the bag with his gift and quickly ran through the people until you saw Doyoung. "Hey, you're there too!" He smiled broadly and he should really be happy to see you. "Yes. I was invited spontaneously." You take a deep breath and try to swallow all the pain. You knew that this evening will still be hell. "You look really beautiful." Doyoung indicated your dress and a shy smile escaped your lips. You were glad that at least he was there.

You couldn't avoid Jaehyun while eating because he sat right next to you. Doyoung was opposite of you and you didn't know who to devote yourself to. "Y/N." You hear Jaehyun whisper your name, but how could you look at him? How could you look at the man you love and he just lets you go. "Can we talk?" You don't understand why he came with it now. You didn't want to talk. Either he talked himself out or he ended your relationship. You weren't ready for both options. "This is probably a bad time now," you hiss and keep trying to avoid his eyes. "Y/N I lov..." "May I take your order." The waiter intervened and you immediately ordered a Martini. Alcohol was the only thing that could help you even more now. When the waiter was gone, Jaehyun turned back to you, but there was a speech and he was interrupted again. 2 Martinis later, you were pretty drunk. You see how Sora tried to flirt with Jaehyun and in your opinion he allowed that too much. She sat across from him and looked at him dreamily all the time. Jaehyun smiled in response to her jokes and that made you angry. Really angry. And you don't know why you came up with this idea, but suddenly you grab his hand under the table and put it on your thigh. You see Jaehyun looking down at him with a smile and he firmly gripped your thigh. However, you keep guiding his hand into your inner thigh until his fingertips touched the fine material of your thong. You see him take a deep breath and feel his fingers try to push the fabric aside. But you didn't want to give him too much. You play this game a bit and Jaehyun struggled with himself. He wanted more, he wanted you. But at that moment you realize what you are doing. You disgust yourself, how little respect you have for yourself. When Doyoung got up, you thought to follow him, so you give Jaehyun's hand away and get up. "Doyoung are you going out on the terrace? I need some fresh air." You don't quite know what you're doing. Maybe you wanted Jaehyun to be jealous. Maybe you wanted him to at least have a reaction so you can see that he cares. "Yeah sure." Doyoung looked briefly at Jaehyun, who only looked at him angrily. But he knew that he would not be deterred by him. Now it would be his turn. Jaehyun had already taken you away from him, now he had his chance.

When you stand on the terrace, you take a deep breath and look over the houses of Seoul. Everything was for you a little bit shaky because of the alcohol, but at least your feelings were a little numb. "Do you have that feeling sometimes? You can feel the wind, hear dull music in the distance and look into the night and you think this is my home?" You turn to Doyoung and feel that you have tears in your eyes. "Yes I know that feeling." He was a little apart from you, but was slowly walking towards you. "I don’t know this feeling." You cross your arms and look into the distance. You sob briefly and try to collect yourself again. "All my life I've been looking for a place where I feel at home. But I never found it. With Jaehyun, I was the first time so close to a home, but also as far away as ever. He made me feel to be at home with him, but your world is so strange to me. I feel so strange in it, I don't understand it." You quickly wipe your tears away, but still look over Seoul. The view was breathtaking and the fresh air made your mind clearer. "Yes, our world can seem very strange to others." Doyoung took a step towards you, but was still a little away from you. "I'm just a simple girl. All I want is a family and a home. I just don't think I have a place in your world with that dream." You press your lips together and try to suppress more tears. "But you have! Look at Chen. He got married also to a non idol girl and has now a beautiful daughter." Doyung took another step towards you and put his hands on your upper arm. "The exception only confirms the rule." You put your hand in front of your forehead because you didn't want Doyoung to see you start to cry. But it was no longer possible. The events have been too much lately, you just wanted to numb your feelings. "Hey, everything will be fine." Doyoung hugged you and you sobbed in his chest, it was good to cry out to someone to get a little soft. Doyoung, however, sees exactly in the window that Jaehyun was watching you and he didn't like it at all. But that caused Doyoung to hold you closer and you tow lingered for a while in this close hug. But you knew that you could no longer stay here. "Here. Can you please give that to Jaehyun?" You put the bag in his hand and look at him with your wet eyes. "What is it?" Asked Doyoung, but accepted it. "It is something that I once loved very much." You smiled briefly and thought of the warm feeling that spread when you thought of the good times with Jaehyun.  "Okay, I'll give it to him. I promise." He smiled softly and you nod. Then you turn around, try to collect yourself and disappear.

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daddy jaehyun masterlist

[kuromichad]

tbh nobody is morally obligated to Read Books let alone Good Books (whatever that means) as a baseline i just dont think you should make like constant textpost crying about how theres not enough of such-and-such kind of media when you are very literally not trying. like just generally you shouldnt talk about things you havent got a like base foundation of knowledge in so if you dont want to be told to read books dont talk about how fanfiction is better than books.................. maybe this is a cringe admission but tbh i just dont read books because realbooks never have the convenience of an ao3 level tag system (and ive seen enough of goodreads to know trying to actually use that site to assess a book would just piss me off so bad) and my high standard of ‘dont waste my fucking time’ is even higher when its for a realbook not something im just gonna jack off to. so many realbooks *peter griffin voice* Insist upon themselves with so little to back it up and i rly hate that. i think visual media and fanfiction are easier to come away from with ‘well i liked some parts and disliked others’ because like, a badly written fic can at least still give you new ideas about characters you already like, or a badly written movie can be good visually, but if i dont like a realbook’s writing style its gonna have a way harder time convincing me to care about its characters etc so then theres just higher effort to value. maybe thats a dumbfuck way to approach media like i know we’re all supposed to sternly obligate ourselves to Read Books because it’s the Done Thing (but which books are supposedly worthwhile lmao.. not even getting into the ‘umm all adult books are by old white dudes and about divorce’ argument since i do personally find it easy to love a good white dude midlife crisis drama but like, just as a general question) but. i have adhd and i can hardly even like rewatch things i already know i like. so i just read what i can when i can. which usually includes articles and essays and fanfiction but not Books. therefore i dont bother talking about books bc i know i dont have the range because i havent read one in forever. Its That Simple <3

[faakeid]

About k*i and j*en*ie news

Honestly, I didn’t expect to write something like this today. For real. It’s the first day of the year and I personally have other projects to concentrate. But here I am. And I know some people know this blog to exploring kd dynamics and when that mess happened in 2016, this otp especifically was mentioned a lot. But, at least for now, the impressions related with jgin and jnne won’t involve kd. Actually, it will be more a collection of thoughts about k*i persona and how his “romantic affairs” publicized can fit an agenda. Before starting, I just wanted to say that I’m surprised (positively) by the fact that people aren’t freaking out about it like happened with kxk. Back then it was a huge mess, but now even outsiders see it with some doubt. Somehow, people are opening their eyes and it’s really good, so congratulations!

Okay, so, talking about k*i persona. I think I mentioned this many times before, but k*i is and always was a character. Since the beginning S*M gave him this role of being the “sexy dancer”, seductive and womanizer. It’s obvious when you watch Wolf’s drama, for example and a live performance of them of the same song.

This intro has a huge meaning pointing towards what i’m talking about. The other members are close with the girl, but he’s the only one who can have some sort of approach with the girl.

Never forget Choco Bank, the webdrama that showed the most lover boy side of him

The problem is that the face behind k*i, jgin, never fit this description. In interviews, variety shows and other appearances, he never showed himself as the kind of guy the agency was pushing him to be. He was quiet, even shy, wasn’t comfortable with people he wasn’t close to and he expressed it really well (but he always showed how much he cherish someone he loves), talked about subjects like books, favorite movies, life philosophy, motivation... In other words, he had K*i’s face, but inside he expressed himself as jngin.

Things were normal until kxk news blow up back in April 2016. The chaos was made by then with the pictures, the photoshopped pics of them kissing, the date Dispatch chose to reveal the news (doing it on April’s Fool doesn’t help the news crediblity, I’m sorry), the fake receipt of a bought condom and so on. That and other factors were more than enough to bring him down. It was visible his distraught in many occasions and how it affected him (even in terms of projects). So, it’s obvious to conclude how that year was bad for him.

In 2017, things started to change for him. In june of that year the couple was reported to have broken up. Around the time, his media appearance got bigger and bigger. He had roles in dramas and covering The Big Issue magazine (which sold 80.000 copies, proving his popularity was getting stronger). 

In June 2018 he got strong on Instagram activities and had the opportunity of showing different sides of himself there (and a lot of other projects as being on another magazines, going to “Gucci Cruise 2019 Fashion Show” (and getting huge attention) and the list goes on.

Of course it’s good to see him getting the attention and recognition he deserves as an artist and dancer. But with all this activities, it’s easy to see that k*i’s persona blent better throught time. And with all this focus on his past “public relationship”, roles he gets, it’s easier to visualize him as the person he was projected to be from the start.

And now we go back to where we started: k*i and jnne dating scandal. 

This time, Dispatch didn’t commit the same mistakes she did with kxk. And at least ex0 doesnt have activites like they had right after the news blowed up (Lotte, jgin crying, never forget). SM waited a little longer to confirm (while YG was super wtf with all of it, as usual). Is there chances to see their rs as real? Only time will tell. But the point here is that SM always benefits from k*i “indiscretions” (if it wasn’t the case, they wouldn’t be willing to confirm everything). Dispatch too, considering that their goal is to spread news and make people interested in it. 

While readin The Korea Herald’s article about the subject, they posted a fan comment that was amusing to me. In the comment the fan said:  “If the rumor is true, be happy with each other.”. But why say that if the company confirmed it? And in a comment made in Allkpop website, the person talked about the affair and said at the end “unless SM wants to distract y’all from something happening in EXO again, hence the dating ‘scandal’”. It’s not the first time this tatic was used.

So, like someone asked: why is always jgin the one who’s caught up on rs scandals? Because it fits his image. Every group has someone with a specific role: the funny one, the quiet one, the sexy and so on. K*i’s actions just matches the role that was given to him from the start (if it wasn’t the case it wouldn’t have anything talking kxk dating back in 2012). When someone does an action that goes distant from the image they want to show, it’s where the blacklash happens (Sun*min getting married, Hy*na rs and so on). For k*i, a guy like him, he just need to see him dating. So he appears more easily than other members that can be also dating.

I hope this text could explain my opinion and show my pov well. Like I said, I wouldn’t mention kd here because it’s not necessary, for now. Considering what happened in 2016, things can be a little awkward for jgin, but he will get better stronger than ever in a few months. And, again, if this couple is not a stunt, don’t worry. Time will tell.

[adviceofourown-blog]

Hey, are you a fic writer? Do you want more comments?

Here are some tips that might help you with that.

1. Humanize yourself

As with all creative pursuits, the creator is often secondary to the creation. Death of the author and all that.

Sometimes it feels like readers don’t realize An Actual Person is behind writing all this fic, but there are ways to make your presence more apparent. Author’s notes lets you grab a shovel and dig yourself out of that grave. The author lives once more! Try saying a little about yourself, about your thoughts on the fic, about experiences that influenced your fic; that makes the fic less ‘some mysterious manifestation of autonomous words’, and more ‘something that an actual bona-fide person put effort into making’.

Also, it gives your audience something to respond to. One of my friends mentioned something their cat did, and they got several comments that were ‘I love your cat’.

2. Recognize your audience

The main difference between feedback on visual art and feedback on literary art is that, in most cases, it’s WAY easier to leave something small and low-stress on pictures. You can just write ‘nice’ as a comment or you can whisper it in the tags.

Comments on AO3 or FF.Net or wherever you’re posting, those tend to look More Official. They’re more impersonal than a reblog. There’s a text box for crying out loud! That’s like, official form stuff! Not casual blog stuff! Plus, there’s already tons of words there. Someone who read and liked a 1,000 word story might not feel comfortable just leaving ‘nice’ as a comment, but they don’t have the time/energy to organize their thoughts in a way that they would consider ‘meaningful enough’.

If you, personally, are fine with a ‘nice’, be proactive. Think about reasons people may or may not comment, and address those reasons while being positive and encouraging. You can write ‘hey if you liked the story please leave a comment, even just a ‘nice’ would brighten my day!’ You could ask specific questions like ‘let me know how [scene] made you feel’ or ‘I’m curious what you guys think will happen’ to give your readers something specific to talk about. There’s lots of ways to gently encourage engagement.

Transparency, in particular, is good practice. There was one chapter I posted where I flat-out said ‘please appreciate this I put so much effort into research and formatting’, and that chapter actually got the most comments in the fic.

If you really want comments, be upfront about it. As long as you’re doing it in a way that’s not guilt-tripping anyone, or sanctimoniously appealing to some nonexistent moral obligation, people who are on the fence about leaving a comment will, more often than not, end up leaving a comment.

3. Plug social media

Another thing to keep in mind— there’s a good chance that someone picking up one of your fics doesn’t know you at all. All the context they have for you, as a person, comes from the a/n and the fic.

Being on social media humanizes you even more! You can talk about your process in-depth, and if you’re the type, you can take prompts or reblog writer-related ask stuff. Beyond that, it gives your audience a more casual way to contact you. For some people, leaving a comment feels like A Permanent Commitment. An ask— especially if anonymous asks are enabled— can feel more low-stakes.

Also, there are folks who don’t really feel comfortable talking to someone unless they get a sense of what communication styles are preferred. Personally speaking, there are writers I followed for for a little while before feeling confident enough to shoot them a message about how great their fic was. Anxiety! Lots of people have it, but there are workarounds and ways to offer them.

Final note:

Fic, like all art, needs you to market yourself a little if you want to Get Somewhere. You need to understand your audience. Sometimes you can get a Big Break based on the quality of your writing alone, but for real— the most popular fic in any given fandom, the fic with ten billion comments, it’s usually the most popular/commented on because of luck and marketing.

But that’s more of a business-type perspective, and people usually aren’t married to this mindset unless they’re manipulating a fandom audience for profit (which has happened, see Erika L. James and her ascended not-safe-for-work Twilight fanfic)

Let’s look at this from a ‘just here for a good time’-type perspective.

In general, we have a culture that’s kind of weird about engaging with any type of art, and that absolutely applies to fic. A lot of people don’t talk about fic. A lot of people don’t really know how to talk about fic, because they don’t know what you, the writer, would want. Some people have little comments they hold onto because they feel too it’s short. Some people have book reports they hold onto because they feel it’s too long. Some people just hold onto comments because the idea of contacting the writer intimidates them. The best thing is usually to be transparent as a writer, and also, to model the kind of behavior you want to see. Write comments, rec fic, encourage other people to do the same. Be the change you want to see in the world and all that.

Just talk it out. I mean, we’re writers, that’s what we do anyway.

[wheelcarrot6-blog]

How To Plan A Photo Shoot For eLearning

Organizing and managing a successful photo shoot for eLearning is more complicated than you might think. You have to organize by location, have the right props on hand, keep things moving at a steady pace and be empathetic to the needs of everyone involved.

If you’re planning your first photo shoot or if you want to smooth out the wrinkles in your current approach, here is the method I recommend. But first, are you sure you need custom photos?

When do you need custom photos?

If you’re like me, you may not always have time for a custom photo shoot. You might resort to stock photos with less than ideal results. Some possible uses for custom photos include:

When visualizing a scenario that takes place in a unique environment

When you need an actor or model to wear clothing or a uniform specific to the scenario

When you need shots of equipment or machinery

When you’re featuring an expert or doing a bio piece

When you’re tired of stock photo people smiling directly at the camera (see 21 Reasons Stock Photos Make Me Cry)

(Note: Before you take the time to plan and carry out a photo shoot, you may want to check the wide array of people cut-outs and backgrounds from my friends at eLearning Art and the eLearning Brothers, just in case they have what you need.)

Advantages of Planning a Photo Shoot

Regardless of whether you hire a photographer or shoot the photos yourself, you’ll find that thorough planning of a photo shoot for eLearning will save you time and money. It makes the process efficient, reduces stress, and provides a more professional end product.

For me, the main advantage is that nothing slips through the cracks. With a solid plan I never startle awake in the middle of the night remembering the shot I forgot to take. I startle awake about other things.

The Planning Process

The process of planning a photo shoot for eLearning is very similar to planning a video shoot, but it’s easier. You don’t have to worry about audio, though I do include a script in a second column if there’s acting involved. Here’s the way I do it.

1. Create the Shot List

Go through your eLearning storyboard or script and list the details of every shot you need in a separate document. Here are the types of details that are important:

Location/scene

Subject (person, machine component, etc.)

Action and facial expression

Type of shot, if needed (close-up, establishing shot, medium shot, etc.)

Lighting, if something special is required

Corresponding script to be read by voice over talent (reading it aloud can help the model and photographer understand the goal)

2. Group the shots by location or scene.

If the model will need different clothing, then make those shots a subgroup. Just like shooting a video, photos are typically not taken in the order they will appear in a course.

Then organize the order in which each scene will be shot. Use a logical reason for the order, such as the locations are close together or one location has the most complex shots and you want to get those done early.

3. Create a Prop List

As you’re writing the shot list, tease out the props you’ll need for each scene and track them in a prop list. Props can be things like books on a desk, photos on a dresser or a gym bag in the hand of a person walking. Props make photos more realistic if you’re simulating an event.

4. Create Your Schedule

Create a schedule estimating the time it should take to complete shots at each location. This will help you stay on track. Ask the photographer how much set up time he or she will need and account for that in the schedule. Include time for meals and breaks.

5. Get Permissions

Assuming you have already scouted out the locations, find out who is in charge and get permission to shoot photos there. Have alternatives in mind if it doesn’t work out.

Print copies of model release forms and ask each person who will appear in a photo to sign one. These state that you have the rights to the photos, preventing any potential legal issues. You can find these online or get an approved one from your legal department.

I like to have model release forms on hand for those spontaneous moments when someone else might become part of the shoot. At a recent photo shoot in a hospital waiting room, the receptionist agreed to be in several photos. I simply had her sign the release form prior to taking the shots.

6. Communicate with your Talent and Photographer

Start out by letting the photographer and model or actor the instructional purpose of the shoot and your goals. Giving them context will help them do the best job they can.

Tell the models or actors how they need to dress.

Provide the shot list to the photographer and each participant ahead of time. Take time to review the list with them beforehand or the day of the shoot.

7. Be Creative and Flexible

When things are well-planned, you can focus on the creative aspect of the shoot. Perhaps there’s a subtler way to get at the emotion you’re trying to express. Maybe a tilt of the camera or moody lighting will communicate your message.

It’s nearly impossible to visualize everything ahead of time. So stay flexible and let the photographer and model get into the flow. They usually have good suggestions. For example, the photographer may request going to a nearby location for a scene because it will have better lighting. If you stay open to good yet practical ideas, you’ll get great photos.

Shot List Example

Here’s a short example of a shot list from a recent photo shoot I planned for an eLearning course. Because it involved acting for a scenario, I included the script, even though at times, it was out of order.

Good luck with your next photo shoot!

Get the latest articles, resources and freebies once a month plus a Visual Design Checklist.

Source: http://theelearningcoach.com/media/graphics/how-to-plan-a-photo-shoot-for-elearning/

[unifiedsocialblog]

16 Tools for Creating Quick and Beautiful Social Media Images

Millions of people, post hundreds of millions of social media images. Every. Day.

But only a few (relatively) inspire you enough to stop and notice rather than scroll on or leave entirely.

Why?

Because too many images are low-quality, unappealing, booooring or just not worth sharing.

But hey, good for you. Because there’s no need for any of this.

Not with so many great tools available to you.

Building a library of high-res, eye-catching, notable, shareable and beautiful images is easy. And cheap (or free).

Let’s have a look at 16 great ones.

Bonus: Get the free cheat with all the recommended image sizes for every network.

16 of the best social media image tools

FULL SERVICE IMAGE CREATION TOOLS

1. Canva

What is it

An online web app to design graphics for projects, big and small.

Why use it

No design or editing experience required.

And, it’s the most versatile tool out there (though flexibility comes with a cost—many of the other tools are easier to use).

Create excellent looking graphics for your social media posts. Edit photos, create infographics, build graphs—fairly quickly and easily (sometimes versatility makes things a little harder to do).

Choose from a ton of ready-made layouts.

I created this a while back, summarizing an article on the web (actually, I created a whole blog, visually summarizing books, articles, meetings, and movies).

You can, too.

Get your words right…

Then images

Select a template

Same for fonts, colors and layout

Have fun doing all that

Then, post away

Start for free. Pay for more services, if/as you need them.

Canva has preset image sizes for Twitter, Facebook, and Pinterest. This is important since each platform has settings and limitations for images.

Be the designer you never thought you could be.

2. BeFunky

What is it

BeFunky helps you… be funky. Like Canva, it’s a one-stop-shop for creating graphics, and collages.

Why use it

It’s easy. It does a whole lot. So you don’t have to (or are unable to do).

Need to add effects to your images (like make it cartoon-y)? Or assemble them into a funky, yet professional, collage? Fix images with issues like over-or-under-saturation?

BeFunky will help. Then, pick a layout for your social media needs. Like headers, blog resources, or a small business template.

All done online, without downloading a thing. Except for your finished and polished images.

Get 125 digital effects for free. Or, pay a monthly fee to get high-res and other crazy-cool image effects and templates.

DESIGN TOOLS

3. Creative Market

What is it

A digital warehouse of ready-to-use design assets assembled from tens-of-thousands of independent creators.

Graphics, fonts, website themes, photos, mockups, and more—you can find it all in Creative Market.

Why use it

Because all the hard work is done for you. Everything is assembled to look and work well together.

Browse what they have, enjoy what you see, pick what works best for your social media images and posts.

There’s a lot to choose from. Don’t get overwhelmed. But if you do, start with their free stuff. They offer six free products every week, so you can build up your own collection.

Like this one (of typefaces, graphics, fonts, patterns, mockups and clipart).

Has your creative flow runneth dry? If so, inspire yourself with Made with Creative Market.

STOCK IMAGES

There’s a place for everything, including stock images.

Maybe the big companies can shoot, draw, or create their own, but for the rest of us, flock to stock.

But try to be non-mainstream about the ones you select. Because they’re boring (which you don’t want to be).

This is a crowded field. I’ll share a couple I think make stock rock.

4. Adobe Stock

What is it

A collection of over 90 million high-quality assets to use in your social campaigns. For photos, illustrations, videos and templates.

Why use it

Because you’re a professional digital marketer.

Not a professional illustrator, photographer, or videographer.

Better you license what they’ve done to accomplish what you need for your social campaigns, right?

Browse and find what inspires you and your audience

Select a license

Download the images

Attach them to your posts

Share across your social channels

Even better, use Hootsuite to do all of that in one easy-to-use dashboard.

5. iStock

What is it

A collection of royalty-free photos, illustrations and videos

Why use it

To find plenty of photos and drawings that look great, yet not so mainstream.

It’s my go-to site, for my stuff and for my clients.

It’s easy to find images and save to a ‘board.’ I keep a board for each project to verify and create a consistent design language for any new website.

Do the same for your social campaigns.

Here’s a search results for “retro” and “cry” (for a client piece I’m doing).

ANIMATION

6. Giphy

What is it

A giant and growing collection of free animated gifs.

Why use it

To spice up, excite and wake up your social audience.

Consider this a part of building your brand voice.

As with all content, images are meant to enhance the words. A little motion makes it more memorable. Though use sparingly, otherwise it distracts rather than enhances.

Do some Giphy searches. Enjoy the chuckles. Make it so your audience does, too (with a purpose).

DATA VISUALIZATION

7. Infogram

What is it

An online app to create infographics and reports. Including charts, maps, graphics, and dashboards.

Why use it

Using data in your social posts builds credibility with your audience.

You may not need a full infographic. Fine. Create charts and graphs to make your points well-understood, with over 35 chart types to choose.

Chart of the day: Top 10 best regarded companies of 2017, rated on a scale of 0-100. https://t.co/fyg8kqituN #chartoftheday #dataviz pic.twitter.com/FxaGkAsCUT

— Infogram (@infogram) November 29, 2017

Working with data can be tricky. Infogram makes it easy and painless. Fun, too.

Start for free. As you get to be a pro, consider one of their three packages, from $19 to $149 USD a month.

8. Piktochart

What is it

Another way to create infographics, presentations, and printables.

Why use it

It’s easy. And you can…

Start for free

Browse and pick with a template (there’s hundreds)

Plug in your data

Select an awesome image or 10 or 20

Drop some of your own in

Preview it. Refine it. Play with it. Preview it again.

Download it

Post it

Once you get good, create your own template to keep a consistent look for your campaign(s).

With three packages, from $12.50 to $82.50 USD per month.

Bonus: Get the free cheat with all the recommended image sizes for every network.

Get the free template now!

9. Easel.ly

What is it

The same as the previous two apps above.

Why use it

It’s got a cute name.

And…

It has a set of graphics different from Infogram and Piktochart.

Good to have options for your visuals.

PHOTO EDITORS

10. Hootsuite Composer (with in-place image editor)

What is it

A social media image editor and library that you can use when creating and scheduling your posts across networks.

Why use it

To write your words, then enhance them with pictures. All in one place, within Hootsuite Composer.

It’s easy:

Create a new post

Write your text

Add a stunning image (upload your own, or pick one from the media library)

Customize it

Post or schedule it

Voila. Finí. Done.

About those customizations…

All the usual suspects like resize, crop, turn, transform, filter, and more.

Want to post your piece on Facebook or Instagram? Select one of the recommended image sizes.

Add your logo or watermark, too (coming soon).

No need to write here, edit there. Do all this from a single platform.

For free.

It comes with whatever Hootsuite package you’ve signed up for.

11. Stencil

What is it

An online, social media image editor created for marketers, bloggers, and small businesses.

Why use it

It’s easy to get started, easy to use. With a zillion choices for images, backgrounds, icons, quotes, and templates.

Okay, maybe I exaggerated on the zillion part:

2,100,000+ photos

1,000,000+ icons and graphics

100,000+ quotes

2,500+ fonts

730+ templates

Using Stencil is simple. You’re presented with a canvas. Select photos, icons, templates and quotes to place on it. Drag, crop, resize, tilt, filter, set transparency, change colors, change fonts, add a background.

I created this one in 45 seconds.

Select a pre-sized format to look perfect on Facebook, Twitter, Pinterest, or Instagram.

Then, preview it, download it, share it, save it, or schedule it.

Start creating for free. Then pay $9 or $12 USD a month for more visual goodness.

PHOTO OVERLAYS

12. Over

What is it

A mobile app (for iPhone and Android) for adding text, overlays, and blending colors for images.

Why use it

Because all you need is your phone, app, and thumb to wow your audience.

Load the app

Pick a template (or start from scratch)

Add text, pick photos, videos, colors, fonts, and graphics (all royalty-free)

Customize it

Share it (and schedule it, too)

Choose from a ton of assets to support your brand and message. Even more, learn from their tips, trends, and insights for standing out from the crowd.

Feeling inspired? No? You will when you start using Over. Kind of hard not to.

Now… go blend a cloud, make an ice cream cone drip, or put yourself posing on top of the Burj Khalifa.

13. PicMonkey

What is it

An online app to perfect or radically change your social media photos.

Why use it

Because it’s online, nothing to download or install.

And… with a boat load of features to create the effect you were looking for (or just stumbled on to).

Start right away to blend colors, create double-exposures, add filters, and all the other editing features.

Like the other social media image tools in this roundup, use a template or start with a blank slate.

From $7.99 to $12.99 to $39.99 USD per month.

ANNOTATIONS AND MOCKUPS

15. Placeit

What is it

An online web app to create a mockup.

Why use it

Because sometimes, just a screenshot of your website or app won’t give the reader the right information.

PlaceIt helps you quickly generate demos of your website or product being used in real life.

For example, take a website screenshot, then put that screenshot on someone’s Macbook screen with PlaceIt.

Pick a mockup template—there’s tons to choose from. Then customize it. Placeit has some brains, too. It’s easy to adjust the things that make sense for that template.

PlaceIt is free for low-res images, $29 USD a month for hi-res ones.

16. Skitch

What is it

Skitch is an application to add any comments to any visual. It’s an Evernote product, available for Apple products.

Why use it

To easily and visually convey your ideas to others.

Got a webpage, or app window you want to comment on? Or need to show someone what’s not working on your screen?

Either way, take a snapshot of your screen. Use arrows, text, stickers, and a handful of other tools to make your point.

Pictures + words—they go so well together. The more senses you use, the more sense you’ll make.

And it’s free.

The right social media tool for the right social media job, right?

As you can see, there’s many of them. I use a bunch myself. Sometimes it depends on the job, for sure. Other times, it depends on my mood. I like having options.

Got your social images ready? Use Hootsuite to share them with the world. Take or upload a photo, customize it, then post or schedule it to the network (or networks) of your choosing. Try it for free.

Get Started

The post 16 Tools for Creating Quick and Beautiful Social Media Images appeared first on Hootsuite Social Media Management.

16 Tools for Creating Quick and Beautiful Social Media Images published first on https://getfblike.tumblr.com/

[tamibruce121]

How To Get Incredible Service From Your Wedding Vendors

I know what you’re thinking, “We’re paying our vendors, shouldn’t they already be giving us incredible service?” Yes, absolutely! But if you could get crying-happy-tears-behind-the-camera, family member level wedding service, wouldn’t you want that?

As a wedding photographer myself, I can tell you the difference between getting my absolute professional service and holy-cow-I’d-go-to-the-moon-and-back-for-this-couple service – it’s all about hospitality.

Photo by Oak & Blossom via Bridal Musings

In the booking process, and leading up to the big day, there are particular moments and decisions that couples make that can seriously make a difference in how over-the-top I go for my clients, and they are much more simple than you would expect.

Feel free to do any or all of these things that make you feel comfortable, I can guarantee your vendors will be impressed, touched and responsive.

1. Send Them A Proper Invite

Photo by Audrey Rose Photography via Bridal Musings

No easier way exists to make your vendor feel like a welcome guest as sending an official invitation. You probably made a suite that would amp up your friends and family about attending the beautiful event, let your vendors get excited to work the fabulous occasion.

2. Offer Them A Real Seat At A Table

Photo by Haley Richter Photography via Bridal Musings

I have horror stories where I was given a single chair – in the dark – four hours after dinner ended to scarf down my cold meal alone at a wedding. I also have instances where the couple put myself and my partner at the head table, I was absolutely touched. Guess who got quicker turnaround with extra finished photos?

When I find my name on the seating chart at a wedding, I am heart-warmed and quite frankly relieved. As a photographer, it helps to be near the action while I’m eating so I don’t miss a beat. But more importantly, it makes me feel like a friend or family member, encouraging me to give my friend or family-level service.

When I have to ask the planner where I’m eating and I find out it’s in “the back room behind the kitchen” I recognize I’m just a staff member. I’ll give my most professional staff service – which is totally fine – but you came to this guide searching for “above and beyond” service, right?

3. Check That They’ve Eaten, And Offer Them A Drink

Photo by Haley Richter Photography via Bridal Musings

A little “Did you get something to eat?” goes a long way in my book. Even if I have already eaten, it shows that my clients care about my well being, even amongst all the chaos and whirlwind of emotions a wedding day brings.

Sometimes too, when you leave your vendors’ meals in the hands of the caterer, planner or venue, that vendor doesn’t get quite the service you would expect. I’ve been denied plates of food from caterers until well after the dinner ends numerous times (despite my contract stipulating otherwise). Checking that your vendors are not being forgotten can make-or-break their energy and happiness levels while they work through the rest of the night.

If you’re opposed to the idea of your hired hands drinking on the job, we understand, but most professionals can still function after a toast (or more) of champagne. Chances are you’re going to have a lot of booze leftover, so offer your vendors a drink! Honestly, I am well known for photographing longer than booked when I’m well fed and having a good time on the job.

4. Invite Your Vendors (& Their Partners) To Enjoy Other Wedding Events

Photo by Molly Lichten Photography via Bridal Musings

Are you having an open-to-all welcome party? Or any other fabulous weekend wedding event? Hopefully one of the reasons you hired your planner, photographer, DJ or whoever is that you enjoy spending time together (they will be at your wedding after-all).

Extend a work-free invite to your other wedding events, not only will they be flattered to be included but the occasion will help them get to know you and your guests before the big day. Don’t be offended if they turn down the offer either, sometimes even non-work evenings feel like “work”. The offer alone will charm them to boot.

5. Send A Thank You Card

Photo by Audrey Rose Photography via Bridal Musings

When you work on those after-wedding thank you’s, be sure to send a few out to those wonderful people who made your day happen.

How does this help your service if the day is already over? You never know when they may mail back some extra love.

6. Consider Tipping

Photo by via Bridal Musings

Our rule of thumb (in the States) is to tip any vendors who work for a company – servers, technicians, bartenders, planner’s assistants, second photographers, etc.

Beyond that, it doesn’t hurt to tip more people if you have the budget to do so. As a solo photographer, I don’t really expect to be tipped. When a client does tip me I am absolutely floored and more inclined to deliver photos quicker than the usual timeline (if I can) as a thank you.

7. Pay Them Before The Deadline

Photo by Jeff Brummett Visuals via Bridal Musings

Asking for money at the end of the night, when the couple is dancing jubilantly with friends and family, is not a fun task. Save your vendor’s the awkward ask and yourself the party interruption and pay your vendors before the deadline. They’ll work more comfortably knowing for sure they’re getting paid.

8. Brag About Their Talents & Service

Emily Blumberg via Bridal Musings

After all, you trust your vendors enough to hire them for your wedding, your friends should too!

Brag about the vendors you’ve just booked to your engaged friends (and soon to be engaged friends). If your friends book your vendors before you get married, you can bet they’ll be giving you some extra love on your wedding day.

After the wedding, send your fabulous vendors reviews they can use for their website, and tag them in your photos on social media.

Photo by Amber Vickery Photography via Bridal Musings

You should always expect exceptional, professional service from the people you hire, even without these tips, but if you practice any of these hospitable behaviors you may find yourselves getting beyond luxury level service on your special day.

Need more vendor help and advice? Visit our planning section.

Feature Image: Oak & Blossom

Feature Image: Oak & Blossom

[richardrobertsimsuccessblog]

How to Write a Paragraph in 2017 (Yes, the Rules Have Changed)

You want people to read your content, right?

That’s why you wrote it in the first place.

But getting people to read your content in today’s world of speedy news, food, and pleasure is a challenge. You’re not just competing with other writers, but with everything online — cat videos, Kardashian gossip, Game of Thrones, etc.

With all the available alternatives, your readers are easily distracted.

Most people who land on your page will scan it and decide, within seconds, to either leave or stay.

And one of the biggest turn-offs for online readers is poor paragraph structure.

That’s why you must master the art of writing paragraphs for today’s audience, and the first step to do so is to forget everything you learned about it in grade school.

Let me explain …

Why You Must Forget Everything School Taught You About Writing Paragraphs

The paragraph was born from a desire to topically organize long blocks of text. And for a long time, that worked.

“When the topic changes,” your grade school teacher said, “so does the paragraph.”

While that practice still mostly applies to print media — books, magazines, and sometimes newspapers — it’s an outdated rule of thumb for the larger rally of writers who spend the bulk of their time publishing online content.

Consider the drastic difference in paragraph length between this teacher-pleasing page from Habits of a Happy Brain and this online article by Tomas Laurinaricius that reviews the same book.

The difference in paragraph structure is obvious.

But why has the paragraph changed?

The main reason for the paragraph’s evolution is the way we consume media. Print publication is no longer top dog; online publication has become the primary media for consuming written content.

We read more from our screens than from the page, which completely changes how we approach the act of reading.

When we open a book or magazine, we’re usually at home or somewhere quiet and giving it our full attention. We usually set aside some time to dive into a book or magazine.

Online, a multitude of ads and pop-up notifications threaten that undying attention, especially when we’re reading on our mobiles.

The reading habits of our audience have changed, and we must change with them or risk being ignored.

So here are the rules for writing paragraphs that will be published online. Use them to your advantage the next time you sit down to create.

The Rules of the 2017 Paragraph

Rule #1. Short Paragraphs Are Mandatory

One of the best ways to instantly turn off your audience is to present them with a big wall of text that has few breaks and little white space. A visitor who looks at such a page will click the back button faster than you can cry, “Please give it a chance!”

We have adapted to expect and prefer paragraphs that are short because they look and feel easier to read. Short paragraphs are easier to scan, and they allow readers to consume the article in bite-sized chunks, which helps maintain their focus — and this is critical in this age of distraction.

Consider, for example, the ease with which you can read the introduction to this article by Mel Wicks.

Yes, Mel Wicks uses empathetic language and easy-to-read prose, which no doubt enhances her clarity. But you can’t ignore the sense you get just by glancing at her article that it will be an easy read.

This is the effect that short paragraphs have on readers.

In her above article, there are ten paragraphs. The longest paragraph is 42 words, and seven of them have only 12 words or less.

The 100- to 200-word paragraph standard is crippling before our eyes.

So what’s the new standard? How short do you have to be?

Well, your average paragraph should be between two and four lines. You can go over and under — some paragraphs are just one word long — but stay close to that average and you should be fine.

Rule #2. Rhythm Dictates the Next Paragraph

Rhythm is the new arbiter of words. It determines where paragraphs end and where new ones begin.

Rhythm in writing is something that’s hard to teach. It’s not an exact science and doesn’t follow hard rules. It’s something that you mostly have to feel out.

The more experienced you become as a writer, the more you’ll develop your rhythm. But in the meantime, you can follow these basic guidelines:

1. Variation

As mentioned earlier, you want to keep your paragraphs short, but that doesn’t mean every paragraph has to be under 50 words.  In fact, switching between short and long paragraphs will make your writing sing.

Here are a few noteworthy rules of thumb. You don’t have to follow these perfectly, but they’re worth remembering.

If you just wrote one or two paragraphs that are four lines or more, shorten the next few paragraphs.

If you just wrote one or two paragraphs that are only one line, lengthen your next few paragraphs.

If you just wrote three to four paragraphs of similar length, shorten or lengthen your next paragraph.

Too many same-sized paragraphs in a row will bore your reader. It doesn’t matter if it’s too many small paragraphs or too many long paragraphs, the effect is similar.

Consider this excerpt from Jon Morrow’s post on earning passive income online:

See how he perfectly balances between short and long paragraphs?

Now imagine if the same excerpt were structured this way:

The reason I put “passive income” in quotes is I think the term is a little misleading.

Almost nothing is totally passive.

While you may not personally be doing any work to receive the money, someone is.

And there’s usually at least a little bit of management overhead.

For instance, I’ve gone on record saying this blog averages over $100,000 per month.

From that total, about $60,000 of it is technically “passive income.”

Because I don’t have to do anything to generate it.

I could die, and the money would keep coming in month after month for years into the future.

But that doesn’t mean no one is working.

It also doesn’t mean I’m personally receiving the entire $60,000.

The truth is, most of that money goes to paying my team.

Even though all of these paragraphs are short, this text feels monotonous. Too many short paragraphs make a reader feel like they’re on a rollercoaster ride with no destination — they’re moving fast but they quickly get confused about where they’re going.

Similarly bothersome is if the excerpt were structured this way:

The reason I put “passive income” in quotes is I think the term is a little misleading. Almost nothing is totally passive. While you may not personally be doing any work to receive the money, someone is, and there’s usually at least a little bit of management overhead. For instance, I’ve gone on record saying this blog averages over $100,000 per month from selling online courses.

From that total, about $60,000 of it is technically “passive income” because I don’t have to do anything to generate it. I could die, and the money would keep coming in month after month for years into the future. But that doesn’t mean no one is working. It also doesn’t mean I’m personally receiving the entire $60,000.

The truth is, most of that money goes to paying my team. We have course instructors, customer support representatives, marketing specialists, and so on. All of them are working full-time to keep the “passive income” machine running, and they do it quite well. But somebody still has to be the boss.

While I don’t technically do any of the work necessary to generate that income, I do spend about 10 hours every week on phone calls and meetings. I also spend at least another 10-20 hours a week thinking about how to improve the business and make things run more efficiently. So, in reality, I’m working 20-30 hours per week for the “passive income.” In exchange, I receive a nice salary, plus the majority of the profits the business generates.

Visually, this looks dull (and somewhat daunting) to read, and a casual reader is likely to be turned off by it.

In the original, however, each paragraph is appropriately varied, which doesn’t just look but also feels pleasant to read.

Ultimately, you want to guide your reader. And the only way to do that effectively is to recognize when your reader needs a few short paragraphs, a long one, or a bit of both.

2. Topic

While topic was once the ultimate indicator of paragraph change, it is now one of many. Topic is still critical for clarity. If you change paragraphs at a topically awkward time, the split disturbs the reader.

Take, for example, this excerpt from Liz Longacre’s article:

Blogging is a battle.

A war to get your ideas the attention they deserve.

Your enemy? The dizzying array of online distractions that devour your readers.

This battle is not for the faint of heart.

There are so many learning curves. Plugins you’ll need to install. Social networks you’ll need to employ. Marketing techniques you’ll need to try.

Imagine these paragraphs were structured like this instead …

Blogging is a battle.

A war to get your ideas the attention they deserve.

Your enemy? The dizzying array of online distractions that devour your readers.

This battle is not for the faint of heart. There are so many learning curves.

Plugins you’ll need to install. Social networks you’ll need to employ. Marketing techniques you’ll need to try.

Notice the difference in how you read the original paragraph versus the variation.

In the original, the last paragraph tactfully emphasizes the difficulty of learning how to blog. But in the variation, you take a mental pause between “There are so many learning curves” and “Plugins you’ll need to install.”

And it feels off, doesn’t it?

The last three sentences are examples of learning curves, which means they are topically linked to the phrase introducing them.

It reads even worse as follows:

This battle is not for the faint of heart.

There are so many learning curves. Plugins you’ll need to install.

Social networks you’ll need to employ. Marketing techniques you’ll need to try.

See what I mean?

Due to our topically-paragraphed past, readers still expect that topics will — for the most part — stick with each other. It still reads better that way.

Just avoid beating topics to death. Allow topics to change as they need to — which should be every few sentences.

3. Emphasis

Paragraphs of one short sentence naturally add emphasis.

This can be used to highlight ideas you want the reader to take note of, but it can also be used for dramatic effect.

For example, check my introduction to an article for Carrot — a SaaS company that caters to real estate investors.

See how the introduction guides the reader through the feelings they experience regarding content marketing with a long paragraph, and then emphasizes, “So you quit producing”?

This phase conveys a dramatic turn of events. The shortness of the paragraph emphasizes this.

The longer paragraph that precedes this phrase preps the reader for the punch. The effect wouldn’t be quite the same if it was preceded by a paragraph that was similarly short.

But you don’t always have to go from a long paragraph straight to a short paragraph to create emphasis. You can also use a gradual decline in word count and finish with your main point. This builds the reader up to the punchline.

Here’s another example, taken from The Brutally Honest Guide To Being Brutally Honest. The author, Josh Tucker, decreases wordcount over three relatively short paragraphs to bring attention to his final sentence: “How you end the discussion can make all the difference.”

Think of paragraph length in the same way you think about the rest of your writing. Your word choice, sentence length and paragraph structure all have a massive impact on what your article communicates.

Ultimately, paragraph emphasis is up to the creativity of the writer. Paragraph length is simply another tool at your disposal.

Write Paragraphs for Today’s World and Readers Will Thank You

Yes, you want people to read your content.

And despite the difficulty in grabbing the attention of today’s readers, you can still turn visitors into content absorbers by crafting easy-to-read paragraphs — paragraphs that are short, rhythmic and varied.

Doing so is simply a matter of being aware of the way your paragraphs are structured. Once you’ve mastered the art of the paragraph, you’ll do much better at keeping your readers’ attention. People will crave your content and they’ll look forward to the next time you publish.

They’ll appreciate your courteous writing and — dare I say? — they’ll keep coming back for more.

About the Author: “Lover of all things communication — speaking, writing, and listening — Mike is currently the founder of MB Content where he helps businesses create significant, consistent and valuable pieces of content. You can see more of his work at Carrot, follow him on Twitter, or join his email list for entrepreneurs at Booktrep.”

How to Write a Paragraph in 2017 (Yes, the Rules Have Changed)

[alanajacksontx]

How to Write a Paragraph in 2017 (Yes, the Rules Have Changed)

You want people to read your content, right?

That’s why you wrote it in the first place.

But getting people to read your content in today’s world of speedy news, food, and pleasure is a challenge. You’re not just competing with other writers, but with everything online — cat videos, Kardashian gossip, Game of Thrones, etc.

With all the available alternatives, your readers are easily distracted.

Most people who land on your page will scan it and decide, within seconds, to either leave or stay.

And one of the biggest turn-offs for online readers is poor paragraph structure.

That’s why you must master the art of writing paragraphs for today’s audience, and the first step to do so is to forget everything you learned about it in grade school.

Let me explain …

Why You Must Forget Everything School Taught You About Writing Paragraphs

The paragraph was born from a desire to topically organize long blocks of text. And for a long time, that worked.

“When the topic changes,” your grade school teacher said, “so does the paragraph.”

While that practice still mostly applies to print media — books, magazines, and sometimes newspapers — it’s an outdated rule of thumb for the larger rally of writers who spend the bulk of their time publishing online content.

Consider the drastic difference in paragraph length between this teacher-pleasing page from Habits of a Happy Brain and this online article by Tomas Laurinaricius that reviews the same book.

The difference in paragraph structure is obvious.

But why has the paragraph changed?

The main reason for the paragraph’s evolution is the way we consume media. Print publication is no longer top dog; online publication has become the primary media for consuming written content.

We read more from our screens than from the page, which completely changes how we approach the act of reading.

When we open a book or magazine, we’re usually at home or somewhere quiet and giving it our full attention. We usually set aside some time to dive into a book or magazine.

Online, a multitude of ads and pop-up notifications threaten that undying attention, especially when we’re reading on our mobiles.

The reading habits of our audience have changed, and we must change with them or risk being ignored.

So here are the rules for writing paragraphs that will be published online. Use them to your advantage the next time you sit down to create.

The Rules of the 2017 Paragraph

Rule #1. Short Paragraphs Are Mandatory

One of the best ways to instantly turn off your audience is to present them with a big wall of text that has few breaks and little white space. A visitor who looks at such a page will click the back button faster than you can cry, “Please give it a chance!”

We have adapted to expect and prefer paragraphs that are short because they look and feel easier to read. Short paragraphs are easier to scan, and they allow readers to consume the article in bite-sized chunks, which helps maintain their focus — and this is critical in this age of distraction.

Consider, for example, the ease with which you can read the introduction to this article by Mel Wicks.

Yes, Mel Wicks uses empathetic language and easy-to-read prose, which no doubt enhances her clarity. But you can’t ignore the sense you get just by glancing at her article that it will be an easy read.

This is the effect that short paragraphs have on readers.

In her above article, there are ten paragraphs. The longest paragraph is 42 words, and seven of them have only 12 words or less.

The 100- to 200-word paragraph standard is crippling before our eyes.

So what’s the new standard? How short do you have to be?

Well, your average paragraph should be between two and four lines. You can go over and under — some paragraphs are just one word long — but stay close to that average and you should be fine.

Rule #2. Rhythm Dictates the Next Paragraph

Rhythm is the new arbiter of words. It determines where paragraphs end and where new ones begin.

Rhythm in writing is something that’s hard to teach. It’s not an exact science and doesn’t follow hard rules. It’s something that you mostly have to feel out.

The more experienced you become as a writer, the more you’ll develop your rhythm. But in the meantime, you can follow these basic guidelines:

1. Variation

As mentioned earlier, you want to keep your paragraphs short, but that doesn’t mean every paragraph has to be under 50 words.  In fact, switching between short and long paragraphs will make your writing sing.

Here are a few noteworthy rules of thumb. You don’t have to follow these perfectly, but they’re worth remembering.

If you just wrote one or two paragraphs that are four lines or more, shorten the next few paragraphs.

If you just wrote one or two paragraphs that are only one line, lengthen your next few paragraphs.

If you just wrote three to four paragraphs of similar length, shorten or lengthen your next paragraph.

Too many same-sized paragraphs in a row will bore your reader. It doesn’t matter if it’s too many small paragraphs or too many long paragraphs, the effect is similar.

Consider this excerpt from Jon Morrow’s post on earning passive income online:

See how he perfectly balances between short and long paragraphs?

Now imagine if the same excerpt were structured this way:

The reason I put “passive income” in quotes is I think the term is a little misleading.

Almost nothing is totally passive.

While you may not personally be doing any work to receive the money, someone is.

And there’s usually at least a little bit of management overhead.

For instance, I’ve gone on record saying this blog averages over $100,000 per month.

From that total, about $60,000 of it is technically “passive income.”

Because I don’t have to do anything to generate it.

I could die, and the money would keep coming in month after month for years into the future.

But that doesn’t mean no one is working.

It also doesn’t mean I’m personally receiving the entire $60,000.

The truth is, most of that money goes to paying my team.

Even though all of these paragraphs are short, this text feels monotonous. Too many short paragraphs make a reader feel like they’re on a rollercoaster ride with no destination — they’re moving fast but they quickly get confused about where they’re going.

Similarly bothersome is if the excerpt were structured this way:

The reason I put “passive income” in quotes is I think the term is a little misleading. Almost nothing is totally passive. While you may not personally be doing any work to receive the money, someone is, and there’s usually at least a little bit of management overhead. For instance, I’ve gone on record saying this blog averages over $100,000 per month from selling online courses.

From that total, about $60,000 of it is technically “passive income” because I don’t have to do anything to generate it. I could die, and the money would keep coming in month after month for years into the future. But that doesn’t mean no one is working. It also doesn’t mean I’m personally receiving the entire $60,000.

The truth is, most of that money goes to paying my team. We have course instructors, customer support representatives, marketing specialists, and so on. All of them are working full-time to keep the “passive income” machine running, and they do it quite well. But somebody still has to be the boss.

While I don’t technically do any of the work necessary to generate that income, I do spend about 10 hours every week on phone calls and meetings. I also spend at least another 10-20 hours a week thinking about how to improve the business and make things run more efficiently. So, in reality, I’m working 20-30 hours per week for the “passive income.” In exchange, I receive a nice salary, plus the majority of the profits the business generates.

Visually, this looks dull (and somewhat daunting) to read, and a casual reader is likely to be turned off by it.

In the original, however, each paragraph is appropriately varied, which doesn’t just look but also feels pleasant to read.

Ultimately, you want to guide your reader. And the only way to do that effectively is to recognize when your reader needs a few short paragraphs, a long one, or a bit of both.

2. Topic

While topic was once the ultimate indicator of paragraph change, it is now one of many. Topic is still critical for clarity. If you change paragraphs at a topically awkward time, the split disturbs the reader.

Take, for example, this excerpt from Liz Longacre’s article:

Blogging is a battle.

A war to get your ideas the attention they deserve.

Your enemy? The dizzying array of online distractions that devour your readers.

This battle is not for the faint of heart.

There are so many learning curves. Plugins you’ll need to install. Social networks you’ll need to employ. Marketing techniques you’ll need to try.

Imagine these paragraphs were structured like this instead …

Blogging is a battle.

A war to get your ideas the attention they deserve.

Your enemy? The dizzying array of online distractions that devour your readers.

This battle is not for the faint of heart. There are so many learning curves.

Plugins you’ll need to install. Social networks you’ll need to employ. Marketing techniques you’ll need to try.

Notice the difference in how you read the original paragraph versus the variation.

In the original, the last paragraph tactfully emphasizes the difficulty of learning how to blog. But in the variation, you take a mental pause between “There are so many learning curves” and “Plugins you’ll need to install.”

And it feels off, doesn’t it?

The last three sentences are examples of learning curves, which means they are topically linked to the phrase introducing them.

It reads even worse as follows:

This battle is not for the faint of heart.

There are so many learning curves. Plugins you’ll need to install.

Social networks you’ll need to employ. Marketing techniques you’ll need to try.

See what I mean?

Due to our topically-paragraphed past, readers still expect that topics will — for the most part — stick with each other. It still reads better that way.

Just avoid beating topics to death. Allow topics to change as they need to — which should be every few sentences.

3. Emphasis

Paragraphs of one short sentence naturally add emphasis.

This can be used to highlight ideas you want the reader to take note of, but it can also be used for dramatic effect.

For example, check my introduction to an article for Carrot — a SaaS company that caters to real estate investors.

See how the introduction guides the reader through the feelings they experience regarding content marketing with a long paragraph, and then emphasizes, “So you quit producing”?

This phase conveys a dramatic turn of events. The shortness of the paragraph emphasizes this.

The longer paragraph that precedes this phrase preps the reader for the punch. The effect wouldn’t be quite the same if it was preceded by a paragraph that was similarly short.

But you don’t always have to go from a long paragraph straight to a short paragraph to create emphasis. You can also use a gradual decline in word count and finish with your main point. This builds the reader up to the punchline.

Here’s another example, taken from The Brutally Honest Guide To Being Brutally Honest. The author, Josh Tucker, decreases wordcount over three relatively short paragraphs to bring attention to his final sentence: “How you end the discussion can make all the difference.”

Think of paragraph length in the same way you think about the rest of your writing. Your word choice, sentence length and paragraph structure all have a massive impact on what your article communicates.

Ultimately, paragraph emphasis is up to the creativity of the writer. Paragraph length is simply another tool at your disposal.

Write Paragraphs for Today’s World and Readers Will Thank You

Yes, you want people to read your content.

And despite the difficulty in grabbing the attention of today’s readers, you can still turn visitors into content absorbers by crafting easy-to-read paragraphs — paragraphs that are short, rhythmic and varied.

Doing so is simply a matter of being aware of the way your paragraphs are structured. Once you’ve mastered the art of the paragraph, you’ll do much better at keeping your readers’ attention. People will crave your content and they’ll look forward to the next time you publish.

They’ll appreciate your courteous writing and — dare I say? — they’ll keep coming back for more.

About the Author: “Lover of all things communication — speaking, writing, and listening — Mike is currently the founder of MB Content where he helps businesses create significant, consistent and valuable pieces of content. You can see more of his work at Carrot, follow him on Twitter, or join his email list for entrepreneurs at Booktrep.”

from Internet Marketing Tips https://smartblogger.com/how-to-write-a-paragraph/

[annegalliher]

How to Write a Paragraph in 2017 (Yes, the Rules Have Changed)

You want people to read your content, right?

That’s why you wrote it in the first place.

But getting people to read your content in today’s world of speedy news, food, and pleasure is a challenge. You’re not just competing with other writers, but with everything online — cat videos, Kardashian gossip, Game of Thrones, etc.

With all the available alternatives, your readers are easily distracted.

Most people who land on your page will scan it and decide, within seconds, to either leave or stay.

And one of the biggest turn-offs for online readers is poor paragraph structure.

That’s why you must master the art of writing paragraphs for today’s audience, and the first step to do so is to forget everything you learned about it in grade school.

Let me explain …

Why You Must Forget Everything School Taught You About Writing Paragraphs

The paragraph was born from a desire to topically organize long blocks of text. And for a long time, that worked.

“When the topic changes,” your grade school teacher said, “so does the paragraph.”

While that practice still mostly applies to print media — books, magazines, and sometimes newspapers — it’s an outdated rule of thumb for the larger rally of writers who spend the bulk of their time publishing online content.

Consider the drastic difference in paragraph length between this teacher-pleasing page from Habits of a Happy Brain and this online article by Tomas Laurinaricius that reviews the same book.

The difference in paragraph structure is obvious.

But why has the paragraph changed?

The main reason for the paragraph’s evolution is the way we consume media. Print publication is no longer top dog; online publication has become the primary media for consuming written content.

We read more from our screens than from the page, which completely changes how we approach the act of reading.

When we open a book or magazine, we’re usually at home or somewhere quiet and giving it our full attention. We usually set aside some time to dive into a book or magazine.

Online, a multitude of ads and pop-up notifications threaten that undying attention, especially when we’re reading on our mobiles.

The reading habits of our audience have changed, and we must change with them or risk being ignored.

So here are the rules for writing paragraphs that will be published online. Use them to your advantage the next time you sit down to create.

The Rules of the 2017 Paragraph

Rule #1. Short Paragraphs Are Mandatory

One of the best ways to instantly turn off your audience is to present them with a big wall of text that has few breaks and little white space. A visitor who looks at such a page will click the back button faster than you can cry, “Please give it a chance!”

We have adapted to expect and prefer paragraphs that are short because they look and feel easier to read. Short paragraphs are easier to scan, and they allow readers to consume the article in bite-sized chunks, which helps maintain their focus — and this is critical in this age of distraction.

Consider, for example, the ease with which you can read the introduction to this article by Mel Wicks.

Yes, Mel Wicks uses empathetic language and easy-to-read prose, which no doubt enhances her clarity. But you can’t ignore the sense you get just by glancing at her article that it will be an easy read.

This is the effect that short paragraphs have on readers.

In her above article, there are ten paragraphs. The longest paragraph is 42 words, and seven of them have only 12 words or less.

The 100- to 200-word paragraph standard is crippling before our eyes.

So what’s the new standard? How short do you have to be?

Well, your average paragraph should be between two and four lines. You can go over and under — some paragraphs are just one word long — but stay close to that average and you should be fine.

Rule #2. Rhythm Dictates the Next Paragraph

Rhythm is the new arbiter of words. It determines where paragraphs end and where new ones begin.

Rhythm in writing is something that’s hard to teach. It’s not an exact science and doesn’t follow hard rules. It’s something that you mostly have to feel out.

The more experienced you become as a writer, the more you’ll develop your rhythm. But in the meantime, you can follow these basic guidelines:

1. Variation

As mentioned earlier, you want to keep your paragraphs short, but that doesn’t mean every paragraph has to be under 50 words.  In fact, switching between short and long paragraphs will make your writing sing.

Here are a few noteworthy rules of thumb. You don’t have to follow these perfectly, but they’re worth remembering.

If you just wrote one or two paragraphs that are four lines or more, shorten the next few paragraphs.

If you just wrote one or two paragraphs that are only one line, lengthen your next few paragraphs.

If you just wrote three to four paragraphs of similar length, shorten or lengthen your next paragraph.

Too many same-sized paragraphs in a row will bore your reader. It doesn’t matter if it’s too many small paragraphs or too many long paragraphs, the effect is similar.

Consider this excerpt from Jon Morrow’s post on earning passive income online:

See how he perfectly balances between short and long paragraphs?

Now imagine if the same excerpt were structured this way:

The reason I put “passive income” in quotes is I think the term is a little misleading.

Almost nothing is totally passive.

While you may not personally be doing any work to receive the money, someone is.

And there’s usually at least a little bit of management overhead.

For instance, I’ve gone on record saying this blog averages over $100,000 per month.

From that total, about $60,000 of it is technically “passive income.”

Because I don’t have to do anything to generate it.

I could die, and the money would keep coming in month after month for years into the future.

But that doesn’t mean no one is working.

It also doesn’t mean I’m personally receiving the entire $60,000.

The truth is, most of that money goes to paying my team.

Even though all of these paragraphs are short, this text feels monotonous. Too many short paragraphs make a reader feel like they’re on a rollercoaster ride with no destination — they’re moving fast but they quickly get confused about where they’re going.

Similarly bothersome is if the excerpt were structured this way:

The reason I put “passive income” in quotes is I think the term is a little misleading. Almost nothing is totally passive. While you may not personally be doing any work to receive the money, someone is, and there’s usually at least a little bit of management overhead. For instance, I’ve gone on record saying this blog averages over $100,000 per month from selling online courses.

From that total, about $60,000 of it is technically “passive income” because I don’t have to do anything to generate it. I could die, and the money would keep coming in month after month for years into the future. But that doesn’t mean no one is working. It also doesn’t mean I’m personally receiving the entire $60,000.

The truth is, most of that money goes to paying my team. We have course instructors, customer support representatives, marketing specialists, and so on. All of them are working full-time to keep the “passive income” machine running, and they do it quite well. But somebody still has to be the boss.

While I don’t technically do any of the work necessary to generate that income, I do spend about 10 hours every week on phone calls and meetings. I also spend at least another 10-20 hours a week thinking about how to improve the business and make things run more efficiently. So, in reality, I’m working 20-30 hours per week for the “passive income.” In exchange, I receive a nice salary, plus the majority of the profits the business generates.

Visually, this looks dull (and somewhat daunting) to read, and a casual reader is likely to be turned off by it.

In the original, however, each paragraph is appropriately varied, which doesn’t just look but also feels pleasant to read.

Ultimately, you want to guide your reader. And the only way to do that effectively is to recognize when your reader needs a few short paragraphs, a long one, or a bit of both.

2. Topic

While topic was once the ultimate indicator of paragraph change, it is now one of many. Topic is still critical for clarity. If you change paragraphs at a topically awkward time, the split disturbs the reader.

Take, for example, this excerpt from Liz Longacre’s article:

Blogging is a battle.

A war to get your ideas the attention they deserve.

Your enemy? The dizzying array of online distractions that devour your readers.

This battle is not for the faint of heart.

There are so many learning curves. Plugins you’ll need to install. Social networks you’ll need to employ. Marketing techniques you’ll need to try.

Imagine these paragraphs were structured like this instead …

Blogging is a battle.

A war to get your ideas the attention they deserve.

Your enemy? The dizzying array of online distractions that devour your readers.

This battle is not for the faint of heart. There are so many learning curves.

Plugins you’ll need to install. Social networks you’ll need to employ. Marketing techniques you’ll need to try.

Notice the difference in how you read the original paragraph versus the variation.

In the original, the last paragraph tactfully emphasizes the difficulty of learning how to blog. But in the variation, you take a mental pause between “There are so many learning curves” and “Plugins you’ll need to install.”

And it feels off, doesn’t it?

The last three sentences are examples of learning curves, which means they are topically linked to the phrase introducing them.

It reads even worse as follows:

This battle is not for the faint of heart.

There are so many learning curves. Plugins you’ll need to install.

Social networks you’ll need to employ. Marketing techniques you’ll need to try.

See what I mean?

Due to our topically-paragraphed past, readers still expect that topics will — for the most part — stick with each other. It still reads better that way.

Just avoid beating topics to death. Allow topics to change as they need to — which should be every few sentences.

3. Emphasis

Paragraphs of one short sentence naturally add emphasis.

This can be used to highlight ideas you want the reader to take note of, but it can also be used for dramatic effect.

For example, check my introduction to an article for Carrot — a SaaS company that caters to real estate investors.

See how the introduction guides the reader through the feelings they experience regarding content marketing with a long paragraph, and then emphasizes, “So you quit producing”?

This phase conveys a dramatic turn of events. The shortness of the paragraph emphasizes this.

The longer paragraph that precedes this phrase preps the reader for the punch. The effect wouldn’t be quite the same if it was preceded by a paragraph that was similarly short.

But you don’t always have to go from a long paragraph straight to a short paragraph to create emphasis. You can also use a gradual decline in word count and finish with your main point. This builds the reader up to the punchline.

Here’s another example, taken from The Brutally Honest Guide To Being Brutally Honest. The author, Josh Tucker, decreases wordcount over three relatively short paragraphs to bring attention to his final sentence: “How you end the discussion can make all the difference.”

Think of paragraph length in the same way you think about the rest of your writing. Your word choice, sentence length and paragraph structure all have a massive impact on what your article communicates.

Ultimately, paragraph emphasis is up to the creativity of the writer. Paragraph length is simply another tool at your disposal.

Write Paragraphs for Today’s World and Readers Will Thank You

Yes, you want people to read your content.

And despite the difficulty in grabbing the attention of today’s readers, you can still turn visitors into content absorbers by crafting easy-to-read paragraphs — paragraphs that are short, rhythmic and varied.

Doing so is simply a matter of being aware of the way your paragraphs are structured. Once you’ve mastered the art of the paragraph, you’ll do much better at keeping your readers’ attention. People will crave your content and they’ll look forward to the next time you publish.

They’ll appreciate your courteous writing and — dare I say? — they’ll keep coming back for more.

About the Author: “Lover of all things communication — speaking, writing, and listening — Mike is currently the founder of MB Content where he helps businesses create significant, consistent and valuable pieces of content. You can see more of his work at Carrot, follow him on Twitter, or join his email list for entrepreneurs at Booktrep.”

[laurendcameron]

How to Write a Paragraph in 2017 (Yes, the Rules Have Changed)

You want people to read your content, right?

That’s why you wrote it in the first place.

But getting people to read your content in today’s world of speedy news, food, and pleasure is a challenge. You’re not just competing with other writers, but with everything online — cat videos, Kardashian gossip, Game of Thrones, etc.

With all the available alternatives, your readers are easily distracted.

Most people who land on your page will scan it and decide, within seconds, to either leave or stay.

And one of the biggest turn-offs for online readers is poor paragraph structure.

That’s why you must master the art of writing paragraphs for today’s audience, and the first step to do so is to forget everything you learned about it in grade school.

Let me explain …

Why You Must Forget Everything School Taught You About Writing Paragraphs

The paragraph was born from a desire to topically organize long blocks of text. And for a long time, that worked.

“When the topic changes,” your grade school teacher said, “so does the paragraph.”

While that practice still mostly applies to print media — books, magazines, and sometimes newspapers — it’s an outdated rule of thumb for the larger rally of writers who spend the bulk of their time publishing online content.

Consider the drastic difference in paragraph length between this teacher-pleasing page from Habits of a Happy Brain and this online article by Tomas Laurinaricius that reviews the same book.

The difference in paragraph structure is obvious.

But why has the paragraph changed?

The main reason for the paragraph’s evolution is the way we consume media. Print publication is no longer top dog; online publication has become the primary media for consuming written content.

We read more from our screens than from the page, which completely changes how we approach the act of reading.

When we open a book or magazine, we’re usually at home or somewhere quiet and giving it our full attention. We usually set aside some time to dive into a book or magazine.

Online, a multitude of ads and pop-up notifications threaten that undying attention, especially when we’re reading on our mobiles.

The reading habits of our audience have changed, and we must change with them or risk being ignored.

So here are the rules for writing paragraphs that will be published online. Use them to your advantage the next time you sit down to create.

The Rules of the 2017 Paragraph

Rule #1. Short Paragraphs Are Mandatory

One of the best ways to instantly turn off your audience is to present them with a big wall of text that has few breaks and little white space. A visitor who looks at such a page will click the back button faster than you can cry, “Please give it a chance!”

We have adapted to expect and prefer paragraphs that are short because they look and feel easier to read. Short paragraphs are easier to scan, and they allow readers to consume the article in bite-sized chunks, which helps maintain their focus — and this is critical in this age of distraction.

Consider, for example, the ease with which you can read the introduction to this article by Mel Wicks.

Yes, Mel Wicks uses empathetic language and easy-to-read prose, which no doubt enhances her clarity. But you can’t ignore the sense you get just by glancing at her article that it will be an easy read.

This is the effect that short paragraphs have on readers.

In her above article, there are ten paragraphs. The longest paragraph is 42 words, and seven of them have only 12 words or less.

The 100- to 200-word paragraph standard is crippling before our eyes.

So what’s the new standard? How short do you have to be?

Well, your average paragraph should be between two and four lines. You can go over and under — some paragraphs are just one word long — but stay close to that average and you should be fine.

Rule #2. Rhythm Dictates the Next Paragraph

Rhythm is the new arbiter of words. It determines where paragraphs end and where new ones begin.

Rhythm in writing is something that’s hard to teach. It’s not an exact science and doesn’t follow hard rules. It’s something that you mostly have to feel out.

The more experienced you become as a writer, the more you’ll develop your rhythm. But in the meantime, you can follow these basic guidelines:

1. Variation

As mentioned earlier, you want to keep your paragraphs short, but that doesn’t mean every paragraph has to be under 50 words.  In fact, switching between short and long paragraphs will make your writing sing.

Here are a few noteworthy rules of thumb. You don’t have to follow these perfectly, but they’re worth remembering.

If you just wrote one or two paragraphs that are four lines or more, shorten the next few paragraphs.

If you just wrote one or two paragraphs that are only one line, lengthen your next few paragraphs.

If you just wrote three to four paragraphs of similar length, shorten or lengthen your next paragraph.

Too many same-sized paragraphs in a row will bore your reader. It doesn’t matter if it’s too many small paragraphs or too many long paragraphs, the effect is similar.

Consider this excerpt from Jon Morrow’s post on earning passive income online:

See how he perfectly balances between short and long paragraphs?

Now imagine if the same excerpt were structured this way:

The reason I put “passive income” in quotes is I think the term is a little misleading.

Almost nothing is totally passive.

While you may not personally be doing any work to receive the money, someone is.

And there’s usually at least a little bit of management overhead.

For instance, I’ve gone on record saying this blog averages over $100,000 per month.

From that total, about $60,000 of it is technically “passive income.”

Because I don’t have to do anything to generate it.

I could die, and the money would keep coming in month after month for years into the future.

But that doesn’t mean no one is working.

It also doesn’t mean I’m personally receiving the entire $60,000.

The truth is, most of that money goes to paying my team.

Even though all of these paragraphs are short, this text feels monotonous. Too many short paragraphs make a reader feel like they’re on a rollercoaster ride with no destination — they’re moving fast but they quickly get confused about where they’re going.

Similarly bothersome is if the excerpt were structured this way:

The reason I put “passive income” in quotes is I think the term is a little misleading. Almost nothing is totally passive. While you may not personally be doing any work to receive the money, someone is, and there’s usually at least a little bit of management overhead. For instance, I’ve gone on record saying this blog averages over $100,000 per month from selling online courses.

From that total, about $60,000 of it is technically “passive income” because I don’t have to do anything to generate it. I could die, and the money would keep coming in month after month for years into the future. But that doesn’t mean no one is working. It also doesn’t mean I’m personally receiving the entire $60,000.

The truth is, most of that money goes to paying my team. We have course instructors, customer support representatives, marketing specialists, and so on. All of them are working full-time to keep the “passive income” machine running, and they do it quite well. But somebody still has to be the boss.

While I don’t technically do any of the work necessary to generate that income, I do spend about 10 hours every week on phone calls and meetings. I also spend at least another 10-20 hours a week thinking about how to improve the business and make things run more efficiently. So, in reality, I’m working 20-30 hours per week for the “passive income.” In exchange, I receive a nice salary, plus the majority of the profits the business generates.

Visually, this looks dull (and somewhat daunting) to read, and a casual reader is likely to be turned off by it.

In the original, however, each paragraph is appropriately varied, which doesn’t just look but also feels pleasant to read.

Ultimately, you want to guide your reader. And the only way to do that effectively is to recognize when your reader needs a few short paragraphs, a long one, or a bit of both.

2. Topic

While topic was once the ultimate indicator of paragraph change, it is now one of many. Topic is still critical for clarity. If you change paragraphs at a topically awkward time, the split disturbs the reader.

Take, for example, this excerpt from Liz Longacre’s article:

Blogging is a battle.

A war to get your ideas the attention they deserve.

Your enemy? The dizzying array of online distractions that devour your readers.

This battle is not for the faint of heart.

There are so many learning curves. Plugins you’ll need to install. Social networks you’ll need to employ. Marketing techniques you’ll need to try.

Imagine these paragraphs were structured like this instead …

Blogging is a battle.

A war to get your ideas the attention they deserve.

Your enemy? The dizzying array of online distractions that devour your readers.

This battle is not for the faint of heart. There are so many learning curves.

Plugins you’ll need to install. Social networks you’ll need to employ. Marketing techniques you’ll need to try.

Notice the difference in how you read the original paragraph versus the variation.

In the original, the last paragraph tactfully emphasizes the difficulty of learning how to blog. But in the variation, you take a mental pause between “There are so many learning curves” and “Plugins you’ll need to install.”

And it feels off, doesn’t it?

The last three sentences are examples of learning curves, which means they are topically linked to the phrase introducing them.

It reads even worse as follows:

This battle is not for the faint of heart.

There are so many learning curves. Plugins you’ll need to install.

Social networks you’ll need to employ. Marketing techniques you’ll need to try.

See what I mean?

Due to our topically-paragraphed past, readers still expect that topics will — for the most part — stick with each other. It still reads better that way.

Just avoid beating topics to death. Allow topics to change as they need to — which should be every few sentences.

3. Emphasis

Paragraphs of one short sentence naturally add emphasis.

This can be used to highlight ideas you want the reader to take note of, but it can also be used for dramatic effect.

For example, check my introduction to an article for Carrot — a SaaS company that caters to real estate investors.

See how the introduction guides the reader through the feelings they experience regarding content marketing with a long paragraph, and then emphasizes, “So you quit producing”?

This phase conveys a dramatic turn of events. The shortness of the paragraph emphasizes this.

The longer paragraph that precedes this phrase preps the reader for the punch. The effect wouldn’t be quite the same if it was preceded by a paragraph that was similarly short.

But you don’t always have to go from a long paragraph straight to a short paragraph to create emphasis. You can also use a gradual decline in word count and finish with your main point. This builds the reader up to the punchline.

Here’s another example, taken from The Brutally Honest Guide To Being Brutally Honest. The author, Josh Tucker, decreases wordcount over three relatively short paragraphs to bring attention to his final sentence: “How you end the discussion can make all the difference.”

Think of paragraph length in the same way you think about the rest of your writing. Your word choice, sentence length and paragraph structure all have a massive impact on what your article communicates.

Ultimately, paragraph emphasis is up to the creativity of the writer. Paragraph length is simply another tool at your disposal.

Write Paragraphs for Today’s World and Readers Will Thank You

Yes, you want people to read your content.

And despite the difficulty in grabbing the attention of today’s readers, you can still turn visitors into content absorbers by crafting easy-to-read paragraphs — paragraphs that are short, rhythmic and varied.

Doing so is simply a matter of being aware of the way your paragraphs are structured. Once you’ve mastered the art of the paragraph, you’ll do much better at keeping your readers’ attention. People will crave your content and they’ll look forward to the next time you publish.

They’ll appreciate your courteous writing and — dare I say? — they’ll keep coming back for more.

About the Author: “Lover of all things communication — speaking, writing, and listening — Mike is currently the founder of MB Content where he helps businesses create significant, consistent and valuable pieces of content. You can see more of his work at Carrot, follow him on Twitter, or join his email list for entrepreneurs at Booktrep.”

from Lauren Cameron Updates https://smartblogger.com/how-to-write-a-paragraph/

[felixdgreen]

How to Write a Paragraph in 2017 (Yes, the Rules Have Changed)

You want people to read your content, right?

That’s why you wrote it in the first place.

But getting people to read your content in today’s world of speedy news, food, and pleasure is a challenge. You’re not just competing with other writers, but with everything online — cat videos, Kardashian gossip, Game of Thrones, etc.

With all the available alternatives, your readers are easily distracted.

Most people who land on your page will scan it and decide, within seconds, to either leave or stay.

And one of the biggest turn-offs for online readers is poor paragraph structure.

That’s why you must master the art of writing paragraphs for today’s audience, and the first step to do so is to forget everything you learned about it in grade school.

Let me explain …

Why You Must Forget Everything School Taught You About Writing Paragraphs

The paragraph was born from a desire to topically organize long blocks of text. And for a long time, that worked.

“When the topic changes,” your grade school teacher said, “so does the paragraph.”

While that practice still mostly applies to print media — books, magazines, and sometimes newspapers — it’s an outdated rule of thumb for the larger rally of writers who spend the bulk of their time publishing online content.

Consider the drastic difference in paragraph length between this teacher-pleasing page from Habits of a Happy Brain and this online article by Tomas Laurinaricius that reviews the same book.

The difference in paragraph structure is obvious.

But why has the paragraph changed?

The main reason for the paragraph’s evolution is the way we consume media. Print publication is no longer top dog; online publication has become the primary media for consuming written content.

We read more from our screens than from the page, which completely changes how we approach the act of reading.

When we open a book or magazine, we’re usually at home or somewhere quiet and giving it our full attention. We usually set aside some time to dive into a book or magazine.

Online, a multitude of ads and pop-up notifications threaten that undying attention, especially when we’re reading on our mobiles.

The reading habits of our audience have changed, and we must change with them or risk being ignored.

So here are the rules for writing paragraphs that will be published online. Use them to your advantage the next time you sit down to create.

The Rules of the 2017 Paragraph

Rule #1. Short Paragraphs Are Mandatory

One of the best ways to instantly turn off your audience is to present them with a big wall of text that has few breaks and little white space. A visitor who looks at such a page will click the back button faster than you can cry, “Please give it a chance!”

We have adapted to expect and prefer paragraphs that are short because they look and feel easier to read. Short paragraphs are easier to scan, and they allow readers to consume the article in bite-sized chunks, which helps maintain their focus — and this is critical in this age of distraction.

Consider, for example, the ease with which you can read the introduction to this article by Mel Wicks.

Yes, Mel Wicks uses empathetic language and easy-to-read prose, which no doubt enhances her clarity. But you can’t ignore the sense you get just by glancing at her article that it will be an easy read.

This is the effect that short paragraphs have on readers.

In her above article, there are ten paragraphs. The longest paragraph is 42 words, and seven of them have only 12 words or less.

The 100- to 200-word paragraph standard is crippling before our eyes.

So what’s the new standard? How short do you have to be?

Well, your average paragraph should be between two and four lines. You can go over and under — some paragraphs are just one word long — but stay close to that average and you should be fine.

Rule #2. Rhythm Dictates the Next Paragraph

Rhythm is the new arbiter of words. It determines where paragraphs end and where new ones begin.

Rhythm in writing is something that’s hard to teach. It’s not an exact science and doesn’t follow hard rules. It’s something that you mostly have to feel out.

The more experienced you become as a writer, the more you’ll develop your rhythm. But in the meantime, you can follow these basic guidelines:

1. Variation

As mentioned earlier, you want to keep your paragraphs short, but that doesn’t mean every paragraph has to be under 50 words.  In fact, switching between short and long paragraphs will make your writing sing.

Here are a few noteworthy rules of thumb. You don’t have to follow these perfectly, but they’re worth remembering.

If you just wrote one or two paragraphs that are four lines or more, shorten the next few paragraphs.

If you just wrote one or two paragraphs that are only one line, lengthen your next few paragraphs.

If you just wrote three to four paragraphs of similar length, shorten or lengthen your next paragraph.

Too many same-sized paragraphs in a row will bore your reader. It doesn’t matter if it’s too many small paragraphs or too many long paragraphs, the effect is similar.

Consider this excerpt from Jon Morrow’s post on earning passive income online:

See how he perfectly balances between short and long paragraphs?

Now imagine if the same excerpt were structured this way:

The reason I put “passive income” in quotes is I think the term is a little misleading.

Almost nothing is totally passive.

While you may not personally be doing any work to receive the money, someone is.

And there’s usually at least a little bit of management overhead.

For instance, I’ve gone on record saying this blog averages over $100,000 per month.

From that total, about $60,000 of it is technically “passive income.”

Because I don’t have to do anything to generate it.

I could die, and the money would keep coming in month after month for years into the future.

But that doesn’t mean no one is working.

It also doesn’t mean I’m personally receiving the entire $60,000.

The truth is, most of that money goes to paying my team.

Even though all of these paragraphs are short, this text feels monotonous. Too many short paragraphs make a reader feel like they’re on a rollercoaster ride with no destination — they’re moving fast but they quickly get confused about where they’re going.

Similarly bothersome is if the excerpt were structured this way:

The reason I put “passive income” in quotes is I think the term is a little misleading. Almost nothing is totally passive. While you may not personally be doing any work to receive the money, someone is, and there’s usually at least a little bit of management overhead. For instance, I’ve gone on record saying this blog averages over $100,000 per month from selling online courses.

From that total, about $60,000 of it is technically “passive income” because I don’t have to do anything to generate it. I could die, and the money would keep coming in month after month for years into the future. But that doesn’t mean no one is working. It also doesn’t mean I’m personally receiving the entire $60,000.

The truth is, most of that money goes to paying my team. We have course instructors, customer support representatives, marketing specialists, and so on. All of them are working full-time to keep the “passive income” machine running, and they do it quite well. But somebody still has to be the boss.

While I don’t technically do any of the work necessary to generate that income, I do spend about 10 hours every week on phone calls and meetings. I also spend at least another 10-20 hours a week thinking about how to improve the business and make things run more efficiently. So, in reality, I’m working 20-30 hours per week for the “passive income.” In exchange, I receive a nice salary, plus the majority of the profits the business generates.

Visually, this looks dull (and somewhat daunting) to read, and a casual reader is likely to be turned off by it.

In the original, however, each paragraph is appropriately varied, which doesn’t just look but also feels pleasant to read.

Ultimately, you want to guide your reader. And the only way to do that effectively is to recognize when your reader needs a few short paragraphs, a long one, or a bit of both.

2. Topic

While topic was once the ultimate indicator of paragraph change, it is now one of many. Topic is still critical for clarity. If you change paragraphs at a topically awkward time, the split disturbs the reader.

Take, for example, this excerpt from Liz Longacre’s article:

Blogging is a battle.

A war to get your ideas the attention they deserve.

Your enemy? The dizzying array of online distractions that devour your readers.

This battle is not for the faint of heart.

There are so many learning curves. Plugins you’ll need to install. Social networks you’ll need to employ. Marketing techniques you’ll need to try.

Imagine these paragraphs were structured like this instead …

Blogging is a battle.

A war to get your ideas the attention they deserve.

Your enemy? The dizzying array of online distractions that devour your readers.

This battle is not for the faint of heart. There are so many learning curves.

Plugins you’ll need to install. Social networks you’ll need to employ. Marketing techniques you’ll need to try.

Notice the difference in how you read the original paragraph versus the variation.

In the original, the last paragraph tactfully emphasizes the difficulty of learning how to blog. But in the variation, you take a mental pause between “There are so many learning curves” and “Plugins you’ll need to install.”

And it feels off, doesn’t it?

The last three sentences are examples of learning curves, which means they are topically linked to the phrase introducing them.

It reads even worse as follows:

This battle is not for the faint of heart.

There are so many learning curves. Plugins you’ll need to install.

Social networks you’ll need to employ. Marketing techniques you’ll need to try.

See what I mean?

Due to our topically-paragraphed past, readers still expect that topics will — for the most part — stick with each other. It still reads better that way.

Just avoid beating topics to death. Allow topics to change as they need to — which should be every few sentences.

3. Emphasis

Paragraphs of one short sentence naturally add emphasis.

This can be used to highlight ideas you want the reader to take note of, but it can also be used for dramatic effect.

For example, check my introduction to an article for Carrot — a SaaS company that caters to real estate investors.

See how the introduction guides the reader through the feelings they experience regarding content marketing with a long paragraph, and then emphasizes, “So you quit producing”?

This phase conveys a dramatic turn of events. The shortness of the paragraph emphasizes this.

The longer paragraph that precedes this phrase preps the reader for the punch. The effect wouldn’t be quite the same if it was preceded by a paragraph that was similarly short.

But you don’t always have to go from a long paragraph straight to a short paragraph to create emphasis. You can also use a gradual decline in word count and finish with your main point. This builds the reader up to the punchline.

Here’s another example, taken from The Brutally Honest Guide To Being Brutally Honest. The author, Josh Tucker, decreases wordcount over three relatively short paragraphs to bring attention to his final sentence: “How you end the discussion can make all the difference.”

Think of paragraph length in the same way you think about the rest of your writing. Your word choice, sentence length and paragraph structure all have a massive impact on what your article communicates.

Ultimately, paragraph emphasis is up to the creativity of the writer. Paragraph length is simply another tool at your disposal.

Write Paragraphs for Today’s World and Readers Will Thank You

Yes, you want people to read your content.

And despite the difficulty in grabbing the attention of today’s readers, you can still turn visitors into content absorbers by crafting easy-to-read paragraphs — paragraphs that are short, rhythmic and varied.

Doing so is simply a matter of being aware of the way your paragraphs are structured. Once you’ve mastered the art of the paragraph, you’ll do much better at keeping your readers’ attention. People will crave your content and they’ll look forward to the next time you publish.

They’ll appreciate your courteous writing and — dare I say? — they’ll keep coming back for more.

About the Author: “Lover of all things communication — speaking, writing, and listening — Mike is currently the founder of MB Content where he helps businesses create significant, consistent and valuable pieces of content. You can see more of his work at Carrot, follow him on Twitter, or join his email list for entrepreneurs at Booktrep.”

from IM News And Tips https://smartblogger.com/how-to-write-a-paragraph/

[sandranelsonuk]

How to Write a Paragraph in 2017 (Yes, the Rules Have Changed)

You want people to read your content, right?

That’s why you wrote it in the first place.

But getting people to read your content in today’s world of speedy news, food, and pleasure is a challenge. You’re not just competing with other writers, but with everything online — cat videos, Kardashian gossip, Game of Thrones, etc.

With all the available alternatives, your readers are easily distracted.

Most people who land on your page will scan it and decide, within seconds, to either leave or stay.

And one of the biggest turn-offs for online readers is poor paragraph structure.

That’s why you must master the art of writing paragraphs for today’s audience, and the first step to do so is to forget everything you learned about it in grade school.

Let me explain …

Why You Must Forget Everything School Taught You About Writing Paragraphs

The paragraph was born from a desire to topically organize long blocks of text. And for a long time, that worked.

“When the topic changes,” your grade school teacher said, “so does the paragraph.”

While that practice still mostly applies to print media — books, magazines, and sometimes newspapers — it’s an outdated rule of thumb for the larger rally of writers who spend the bulk of their time publishing online content.

Consider the drastic difference in paragraph length between this teacher-pleasing page from Habits of a Happy Brain and this online article by Tomas Laurinaricius that reviews the same book.

The difference in paragraph structure is obvious.

But why has the paragraph changed?

The main reason for the paragraph’s evolution is the way we consume media. Print publication is no longer top dog; online publication has become the primary media for consuming written content.

We read more from our screens than from the page, which completely changes how we approach the act of reading.

When we open a book or magazine, we’re usually at home or somewhere quiet and giving it our full attention. We usually set aside some time to dive into a book or magazine.

Online, a multitude of ads and pop-up notifications threaten that undying attention, especially when we’re reading on our mobiles.

The reading habits of our audience have changed, and we must change with them or risk being ignored.

So here are the rules for writing paragraphs that will be published online. Use them to your advantage the next time you sit down to create.

The Rules of the 2017 Paragraph

Rule #1. Short Paragraphs Are Mandatory

One of the best ways to instantly turn off your audience is to present them with a big wall of text that has few breaks and little white space. A visitor who looks at such a page will click the back button faster than you can cry, “Please give it a chance!”

We have adapted to expect and prefer paragraphs that are short because they look and feel easier to read. Short paragraphs are easier to scan, and they allow readers to consume the article in bite-sized chunks, which helps maintain their focus — and this is critical in this age of distraction.

Consider, for example, the ease with which you can read the introduction to this article by Mel Wicks.

Yes, Mel Wicks uses empathetic language and easy-to-read prose, which no doubt enhances her clarity. But you can’t ignore the sense you get just by glancing at her article that it will be an easy read.

This is the effect that short paragraphs have on readers.

In her above article, there are ten paragraphs. The longest paragraph is 42 words, and seven of them have only 12 words or less.

The 100- to 200-word paragraph standard is crippling before our eyes.

So what’s the new standard? How short do you have to be?

Well, your average paragraph should be between two and four lines. You can go over and under — some paragraphs are just one word long — but stay close to that average and you should be fine.

Rule #2. Rhythm Dictates the Next Paragraph

Rhythm is the new arbiter of words. It determines where paragraphs end and where new ones begin.

Rhythm in writing is something that’s hard to teach. It’s not an exact science and doesn’t follow hard rules. It’s something that you mostly have to feel out.

The more experienced you become as a writer, the more you’ll develop your rhythm. But in the meantime, you can follow these basic guidelines:

1. Variation

As mentioned earlier, you want to keep your paragraphs short, but that doesn’t mean every paragraph has to be under 50 words.  In fact, switching between short and long paragraphs will make your writing sing.

Here are a few noteworthy rules of thumb. You don’t have to follow these perfectly, but they’re worth remembering.

If you just wrote one or two paragraphs that are four lines or more, shorten the next few paragraphs.

If you just wrote one or two paragraphs that are only one line, lengthen your next few paragraphs.

If you just wrote three to four paragraphs of similar length, shorten or lengthen your next paragraph.

Too many same-sized paragraphs in a row will bore your reader. It doesn’t matter if it’s too many small paragraphs or too many long paragraphs, the effect is similar.

Consider this excerpt from Jon Morrow’s post on earning passive income online:

See how he perfectly balances between short and long paragraphs?

Now imagine if the same excerpt were structured this way:

The reason I put “passive income” in quotes is I think the term is a little misleading.

Almost nothing is totally passive.

While you may not personally be doing any work to receive the money, someone is.

And there’s usually at least a little bit of management overhead.

For instance, I’ve gone on record saying this blog averages over $100,000 per month.

From that total, about $60,000 of it is technically “passive income.”

Because I don’t have to do anything to generate it.

I could die, and the money would keep coming in month after month for years into the future.

But that doesn’t mean no one is working.

It also doesn’t mean I’m personally receiving the entire $60,000.

The truth is, most of that money goes to paying my team.

Even though all of these paragraphs are short, this text feels monotonous. Too many short paragraphs make a reader feel like they’re on a rollercoaster ride with no destination — they’re moving fast but they quickly get confused about where they’re going.

Similarly bothersome is if the excerpt were structured this way:

The reason I put “passive income” in quotes is I think the term is a little misleading. Almost nothing is totally passive. While you may not personally be doing any work to receive the money, someone is, and there’s usually at least a little bit of management overhead. For instance, I’ve gone on record saying this blog averages over $100,000 per month from selling online courses.

From that total, about $60,000 of it is technically “passive income” because I don’t have to do anything to generate it. I could die, and the money would keep coming in month after month for years into the future. But that doesn’t mean no one is working. It also doesn’t mean I’m personally receiving the entire $60,000.

The truth is, most of that money goes to paying my team. We have course instructors, customer support representatives, marketing specialists, and so on. All of them are working full-time to keep the “passive income” machine running, and they do it quite well. But somebody still has to be the boss.

While I don’t technically do any of the work necessary to generate that income, I do spend about 10 hours every week on phone calls and meetings. I also spend at least another 10-20 hours a week thinking about how to improve the business and make things run more efficiently. So, in reality, I’m working 20-30 hours per week for the “passive income.” In exchange, I receive a nice salary, plus the majority of the profits the business generates.

Visually, this looks dull (and somewhat daunting) to read, and a casual reader is likely to be turned off by it.

In the original, however, each paragraph is appropriately varied, which doesn’t just look but also feels pleasant to read.

Ultimately, you want to guide your reader. And the only way to do that effectively is to recognize when your reader needs a few short paragraphs, a long one, or a bit of both.

2. Topic

While topic was once the ultimate indicator of paragraph change, it is now one of many. Topic is still critical for clarity. If you change paragraphs at a topically awkward time, the split disturbs the reader.

Take, for example, this excerpt from Liz Longacre’s article:

Blogging is a battle.

A war to get your ideas the attention they deserve.

Your enemy? The dizzying array of online distractions that devour your readers.

This battle is not for the faint of heart.

There are so many learning curves. Plugins you’ll need to install. Social networks you’ll need to employ. Marketing techniques you’ll need to try.

Imagine these paragraphs were structured like this instead …

Blogging is a battle.

A war to get your ideas the attention they deserve.

Your enemy? The dizzying array of online distractions that devour your readers.

This battle is not for the faint of heart. There are so many learning curves.

Plugins you’ll need to install. Social networks you’ll need to employ. Marketing techniques you’ll need to try.

Notice the difference in how you read the original paragraph versus the variation.

In the original, the last paragraph tactfully emphasizes the difficulty of learning how to blog. But in the variation, you take a mental pause between “There are so many learning curves” and “Plugins you’ll need to install.”

And it feels off, doesn’t it?

The last three sentences are examples of learning curves, which means they are topically linked to the phrase introducing them.

It reads even worse as follows:

This battle is not for the faint of heart.

There are so many learning curves. Plugins you’ll need to install.

Social networks you’ll need to employ. Marketing techniques you’ll need to try.

See what I mean?

Due to our topically-paragraphed past, readers still expect that topics will — for the most part — stick with each other. It still reads better that way.

Just avoid beating topics to death. Allow topics to change as they need to — which should be every few sentences.

3. Emphasis

Paragraphs of one short sentence naturally add emphasis.

This can be used to highlight ideas you want the reader to take note of, but it can also be used for dramatic effect.

For example, check my introduction to an article for Carrot — a SaaS company that caters to real estate investors.

See how the introduction guides the reader through the feelings they experience regarding content marketing with a long paragraph, and then emphasizes, “So you quit producing”?

This phase conveys a dramatic turn of events. The shortness of the paragraph emphasizes this.

The longer paragraph that precedes this phrase preps the reader for the punch. The effect wouldn’t be quite the same if it was preceded by a paragraph that was similarly short.

But you don’t always have to go from a long paragraph straight to a short paragraph to create emphasis. You can also use a gradual decline in word count and finish with your main point. This builds the reader up to the punchline.

Here’s another example, taken from The Brutally Honest Guide To Being Brutally Honest. The author, Josh Tucker, decreases wordcount over three relatively short paragraphs to bring attention to his final sentence: “How you end the discussion can make all the difference.”

Think of paragraph length in the same way you think about the rest of your writing. Your word choice, sentence length and paragraph structure all have a massive impact on what your article communicates.

Ultimately, paragraph emphasis is up to the creativity of the writer. Paragraph length is simply another tool at your disposal.

Write Paragraphs for Today’s World and Readers Will Thank You

Yes, you want people to read your content.

And despite the difficulty in grabbing the attention of today’s readers, you can still turn visitors into content absorbers by crafting easy-to-read paragraphs — paragraphs that are short, rhythmic and varied.

Doing so is simply a matter of being aware of the way your paragraphs are structured. Once you’ve mastered the art of the paragraph, you’ll do much better at keeping your readers’ attention. People will crave your content and they’ll look forward to the next time you publish.

They’ll appreciate your courteous writing and — dare I say? — they’ll keep coming back for more.

About the Author: “Lover of all things communication — speaking, writing, and listening — Mike is currently the founder of MB Content where he helps businesses create significant, consistent and valuable pieces of content. You can see more of his work at Carrot, follow him on Twitter, or join his email list for entrepreneurs at Booktrep.”

from Julia Garza Social Media Tips https://smartblogger.com/how-to-write-a-paragraph/