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edenfenixblogs · 1 year ago

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hey, gentile here. just came across this post of yours and, first of all- it's SUPERB. it showed me a perspective on being a jewish ally that i really wouldn't ever have considered by myself, made me more confident in my choice to put combating jew-hatred above the friendships I've recently lost, and gave me a really useful direction on where to go as an ally to jewish people onwards. that being said, there's a few details about it I'd like to press you about, if it's not too much trouble.

this point is probably worthy of an eyeroll as i'm a culturally christian atheist (making a concious effort to not be *that* kind of atheist), but: when you refer to G-d as the creator of all things, you stress that that includes evil- but that, in so doing, G-d is not evil themself. now, I'm asking this with the express purpose of you correcting me, so: why does this G-d- as a G-d fundamentally distinct from the Christian conception of God as a Super-Mega-Ultra-Perfect God Who Can Do No Wrong Ever- create evil? i, personally, have been led to believe by @/spacelazarwolf that it is simply because G-d, too, makes mistakes just like any human being, but the way you worded it in this paragraph (which I've included as a screenshot below) had me interpret G-d creating evil as a concious, intentional action. did i just not read it correctly? and, if i didn't, then is the reason G-d creates evil part of this central struggle you went in detail into in the same paragraph, and as such, a very individual part of Jewish belief that no two jews agree on? and if that is so, would you be comfortable with sharing your version of it?

a few paragraphs after that one, you dedicated many words to make it absolutely crystal clear that, in the process of unlearning and combating jew-hatred in the society around me, i should, in spite of the vitriol that they propagate, love the former friends i lost to antisemitism. how- and *why* should i love the people who, on an early october 8th morning, actively celebrated the news of a massacre of Israeli civilians? who mocked- and still mock- the survivors and the families of hostages? who wield the memory of the holocaust as a baton against Jewish people's right to self defense? who deify terror groups who are up to their necks in atrocities? who make an active effort to spit on the face of *reality?* How could i possibly look at the face of a friend who chose allegiance to a terrorist group she did not even know existed four months ago over me- who she had actively interacted with for much longer?

would you rather we called ourselves "gentiles" or "goyim?" I've been calling myself a gentile for the longest time because i see jamming a word from a language i don't speak at all in an otherwise english sentence to be disrespectful and constitute appropriation, but you and other jumblr blogs have given me the impression that that is not the case. furthermore- i believe it was @/bambahalva who pointed out the usage of the word "gentile" in antisemitic segregation policies.

that is all- i hope this message finds you well. oh, yeah one more thing- what do you think of The Forward news network? i came across them by chance and next thing i knew I'd gotten into their newsletter.

WARNING: I HAVE FINISHED WRITING THIS AND IT'S LONGER THAN I EXPECTED AND ALSO MORE JEWISH THAN I EXPECTED LOL! I have done the most Jewish possible thing I could do and answered all of your questions with questions. I'm sorrryyyyyy! This is what happens when you grow up surrounded by rabbis and future rabbis! LMAOO

Oooh! What a good ask! I love this ask. OK, so! Let's go in order.

First of all, thank you so much for your kind words. And thanking you for backing your words with the action of prioritizing kindness over hatred. It matters. More than I can ever explain. Thank you.

You know, it's funny. People ask me a lot of questions about i/p that they think will have simple and straightforward answers that just don't. And I end up writing a lot of essays because of this. The questions you wrote me seem like they should be complex, but feel relatively straightforward to me.

Now, to your first bullet point: I don't know. I truly do not know. I think that G-d is fundamentally just...G-d, and in so being, G-d is truly unknowable to me. I think many Jews have many different interpretations on why G-d creates evil. I'm no rabbi, but one of my BFFs is and so is her mother and great grandfather. That doesn't give me any kind of authority. It just means I've spent a lot of time thinking about theological questions like this. As for my perspective, I'm a progressive/reform Jew, not a humanistic Jew. I do actually believe in G-d, but I vibe with the community philosophies of Humanistic Judaism a lot. So that's the perspective I'm coming from here:

I'm not a particular fan of the Book of Job, because I think it gets twisted and interpreted in Christian ways more than most Hebrew books and it can too easily be twisted into a "Don't question G-d, because G-d is perfect" narrative that I find to be fundamentally at odds with how I practice Judaism. Also, it's just a very sad story about how a good and kind man lost everything, and it makes me sad to think about. HOWEVER, that traditional "Don't question G-d" narrative is not how I learned to think about that book. The way I learned it, I believe the Book of Job describes this issue most explicitly. After Job loses everything he holds dear and talks to all his friends and begs again and again "Why? Why did G-d do this to me? Why would G-d do this to me when I'm a good person?" And basically G-d hears everyone answering for G-d with various reasons, "Maybe you were bad." "Maybe you should make an offering" Maybe this. Maybe that. And eventually G-d responds from within a storm (paraphrased of course) 'Why the fuck do you think it's your business to know? I made the whole universe! I made everything you see. I made the world that gave you your family in your first place. Why do you think you get to question my motives?'

The way I always interpreted that is: I don't fricking know! It's not really my business. What am I gonna do? Stop G-d? How does my knowing why G-d creates evil help anything? It doesn't mean we don't question G-d. It means we should instead focus on what we CAN control. I can't make 10/7/2023 not happen any more than I could stop The Holocaust or form an ocean. That's divine business, not human business. What I CAN do is make the world better now. What use is it challenging things that we cannot change? Things that are in the past? What's the point of asking why bad things happen when we can instead focus on stopping more bad things from happening. G-d named us his people when Abraham fought with G-d to stop the destruction of Sodom and Gomorrah. Abraham repeatedly asked, "But are you sure? But what if there are 100 good people? 50 good people? 10 good people?" And G-d kept responding, basically, 'I mean, there aren't. I know this cuz of how I'm G-d and know all the things. But knock yourself out looking.' My interpretation of this was that G-d doesn't get mad when we do our utmost to help our fellow human beings. G-d gets mad when we waste our energy that we could be using to help our fellow man to instead be angry and rage futilely against the past. I say this as someone with PTSD as someone who attempted to stop a tragedy from occuring and failed and can never understand why. What informs my trauma and what makes it so hard to get past isn't that G-d allowed it to happen. It's that people did. It's that I begged for help before it happened--over and over and over to dozens of adults in various positions of authority in order to prevent this terrible thing from happening (no, I will not now or ever disclose what that thing is). And all the people who could have helped failed me, and now two people are dead. Because someone did an evil, evil thing. And a bunch of other people let it happen. I'm not mad at G-d. I'm mad at people. And yet, I also know that hating people and finding reasons to dismiss them and despise them is what leads to more tragedies like that happening. So, despite my rage, truly the only thing to do is to love people. It's the only that helps. It's the only thing that repairs the world. It's the only thing that we can control. So, in short, my answer to "Why does G-d create evil?" is "Why should I spend my valuable time on earth trying to answer that question when, instead, I can spend that same exact amount of time asking millions of people, 'How can I help? What's wrong, and how can I help make any part of it better?'?" We don't need to understand G-d to make the world a better place. I'm fine leaving G-d stuff to G-d and spending my time on the human stuff.

Now, your second bullet point. Love their souls. You don't have to love what they've done. But they are human beings, as are we all. I think this can also easily be twisted into the Christian framework of "Hate the sin, love the sinner," but that's not what I mean at all. People's evil deeds are a part of them. They need to take responsibility. There is no divine absolution for crimes that people do unto each other in Judaism. If you harm a person, G-d cannot forgive you for that. Only the person or people you harmed can forgive you. And to a certain degree, we are all defined by our actions toward others. And so, no. I do not forgive the terrorists who woke up and decided to kill a bunch of Israelis and Israeli-adjacent humans. I do not forgive those who celebrate the deaths of Israelis because of some misguided sense of justice. I do not forgive the people who continue to send me hatred and death threats day after day after day after day. And I do not love the parts of them that did and do those horrible, unforgivable things. But my goodness. They were babies once. They either had parents who love(d) them, which is so sad, because they have this life of love and they chose instead to fill it with so much hate. Or they didn't have any parents or loved ones or anyone to guide them and, my goodness. That is so sad. How terrifying and alone that must feel. Maybe they have friends and family who love them and are instead wasting their precious time on this planet directing their energy at raging against me and 15 million other Jews they've never met. Or maybe they don't have anyone who loves them and they think that hating me and harming me will bring them some sense of purpose and joy. What a horrid way to live.

My Grandpa died last year. I have a wonderful family for whom I'm very grateful, and I even have good memories with my Grandpa. But he was not a good person. He came from an abusive home, and weaponized that abuse on his loved ones until he drove them all away. He was a narcissist. Not in the pop psychology sense. But in the actual clinical sense. He ruined every relationship that ever mattered to him--personal and professional. And in the end, because of his own actions, he died alone. He had pushed everyone so far (often with legal threats and action) that when he died, he laid on a slab for weeks because nobody could figure out who to call, because he had no one left. (For reference, Jewish burials are supposed to happen rather quickly and two weeks is...not good.) He was the only person in his generation who was not born in Israel--my family on his side has lived in Israel since looooong before even the British Mandate and he was the only person in his family born and raised in the US. As far as we can tell, the family on that side has been in Israel for as long as Jews have existed. He was religious. And while I've never been to Israel or met any of my family there, he did go. And he kept in touch with his relatives there before driving them away too. He was a wealthy man, but convinced himself that everyone only wanted him for his money and then decided to horde it instead. He left nothing to his children or to me. He left all his money in an endowment to his university--a place that uses that money to fund anti-Israel organizations now. He died alone, without his family that lived nearby, and with a legacy that will now cause active harm to the family that lived far away. He could have died surrounded by the loved ones from around the world who wanted nothing more than to be near him and loved by him. His story is a tragedy. The story of every person who chooses hatred over love is a tragedy. The story of someone who woke up and chose to murder others or to delight in the death of others is a tragedy. I love the soul in the center of these people. I loved my grandfather. I could not be around him. I cannot forgive some of the things he said and did. But I love the person he could have been. I love the part of him that gave me some good memories. I love the family he gave to me.

No, we do not all need to love or forgive those who have wronged us or terrorized us or murdered our loved ones. But that is different from mourning a human soul. From loving the potential of a human soul to do good in the world, and mourning the loss of that soul and its potential. Every human being--every single one no matter what they have done in their lives--has the potential to create goodness and make the world a better place. Every moment of every single day is a new chance to meet that challenge and do our best. Sure, not all of us have it in us to try our best every single moment. Sometimes life is hard and we're sad and tired and hungry and angry. And that's ok, because we have tomorrow, and an hour from now, and a minute from now. But the moment someone chooses to take action and decides that action should be to cause another harm or celebrate the harm that was caused? That's a tragedy. And when a life is extinguished, that is a life that loses its potential to try again and do better. We shouldn't love people because we deem them worthy of love. We should love people because they are people. And so are we. And how wonderful is that? I could choose to hate them. It would be so easy! But why should I do that? What do I gain? What do they gain? And isn't it so wonderful that I chose to love instead? And isn't it so wonderful that you can, too?

As for your final bullet point: I have no preference. I say goyim cuz it's easier for me. Goy/gentile/non-Jew are all fine to me. I have some icky feelings about the word gentile for a variety of linguistic reasons I won't bore you with. But some other people don't like when non-Jews appropriate Yiddish words. Others (including me) find it wonderful when non-Jews call themselves goyim. All my closest non-Jewish people call themselves goyim, including my sister! Non-jew is the most neutral in English and least likely to offend anyone. But it still separates Jews as an other whereas "goy" is a way to distinguishing yourself from Jews while also being an acknowledgment of our culture. As far as I'm concerned as long as a goy is being a goy (ally, positive) rather than a goy (derogatory) I don't mind that they call themselves goyim. LOL! Idk, friend. Do what makes you happy! What do you prefer?!

Regarding The Forward news network: They are a reliable Left-Center source with a high credibility and reporting rating and only one failed fact check in the past five years for which they issued a correction. I would consider them a reliable source. They cover legitimate issues of people who support Palestinan self-determination ostensibly being punished for their stances. They publish Op-eds critical of Netanyahu, who is terrible. And they address how antisemitism is harming diaspora Jews. They seem to consistently emphasize the humanity of everyone, which you can tell based on the rest of my post is very important to me, but they also avoid over-editorializing on news that is not in the Op-Ed section. I'll never endorse any source as perfect or guaranteed to be free of problems or harm or bad takes, but they do seem to make a genuine effort to be factual, clear, and wholly truthful. Note: I highly recommend that everyone installs the Media Bias/Fact Check extension on their web browsers. Get in the habit of checking and evaluating sources critically. It's a skill that will serve you your whole life.

@clawdia-houyhnhnm I hope this helps. And thank you for your thoughtful ask and commitment to intercultural understanding. <3

#ask me stuff #clawdia-houyhnhnm #leftist antisemitism #antisemitism #jewish muslim solidarity #jewish goyim solidarity #Judaism #jewish culture #jumblr #how to help #allyship #media literacy

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duckprintspress · 5 months ago

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How We Plan, Implement, and Publish Anthologies: Max Jason Peterson’s Planning Approach

Last week, I posted my personal notes from the Press’s Patreon Panel about lead-editing multi-contributor projects such as journals, anthologies, and fanzines. This week, I’ve got the notes from a second participant in that panel, Max Jason Peterson. He generously provided this write up so I could post it as a guest post on our blogs!

Most of my editing experience has been on behalf of nonprofits, who had their own budget, marketing, graphic design, printing, and distribution in place. I did spread the news and actively call for submissions. I also handled mailing (or arranging for mailing of) contributors’ copies.

This is not all my editing experience, but it’s what I’ll be discussing. It occurred under various bylines such as C. A. Gardner, Lyn C. A. Gardner, and Adele Gardner.

I’ve organized it along the timeline of when it occurred.

(read more)

Virginia Library Association (Virginia Libraries)

9 years; coeditor (with Cy Dillon) of VLA’s quarterly print journal, 2003-2012

The journal is archived online by Virginia Tech. Some issues are now only visible in HTML (transcription imperfect); others can also (or only) be downloaded as PDFs (for accuracy and original formatting).

Sample issues:

52.2, Welcoming Everyone

54.3, For the Love of Reading

56.4, The Particular Delight of Special Libraries

Sample interviews:

“History and the Work of Memory: An Interview with Luisa A. Igloria”

“Painting out of the Past: An Interview with Jay S. Paul”

Cy and I rapidly hit upon the idea of having themed issues. We actively promoted and solicited for submissions to these. For each issue, themed or not, we took turns or collaborated to provide an opening statement bringing the issue together.

This job often required a great deal of developmental editing. Since it was a professional journal rather than a newsletter, we sought a somewhat more formal style of writing. While many articles arrived in near-perfect condition, others held a more colloquial style and underwent rewrites. Cy and I also conducted interviews, wrote additional articles and book reviews, and covered sessions at VLA conferences (as well organizing coverage of other sessions from volunteers).

We worked to a deadline, as the journal was mailed to the entire membership on a quarterly schedule. From the beginning, often by email, sometimes by phone, Cy and I discussed each issue and the articles we had in mind (ones we’d solicit, or write, or had received over the transom), including our progress, division of labor, issues that arose, etc. We each solicited and/or developed articles by others, as well as conducting interviews and writing articles and book reviews. We each did the copyediting for the articles we’d brought in, and divided the editing for those that came in on their own. For each issue, one or both of us would create an introduction, which often became an article in itself.

While Cy and I did contribute book reviews from time to time, for many years the journal was fortunate to have a book review column organized by Sara B. Bearss and written by staff at the Library of Virginia. When Sara retired, Cy and I took on the task of organizing this column as well.

Throughout, Cy and I were always brainstorming future articles and special issues, which we would discuss and plan along with our ongoing work. Once we decided upon a theme and timeframe for a special issue, we would announce it in our introduction and put out several calls for submissions to the membership via the newsletter (while that was still in operation) and the general VLA listserv.

As coeditors of the journal, we were also part of the VLA Council and would attend their quarterly meetings and provide them with reports. We also found it helpful to announce upcoming themed issues and general calls for submissions, asking the council members to spread word among their contacts.

Cy and I set a timeline for each issue, though we did have a certain amount of flexibility. We needed a schedule so we could follow up with people who planned to provide articles (who might have queried us, or whom we might have asked to write about a topic they’d engaged with recently). We also needed to schedule times for interviews and make sure we received books we’d be reviewing (and, later, coordinate this with the other reviewers as well).

For the articles written by others, I would send changes back to the authors for approval wherever and whenever needed. Some articles only needed light copyediting; others might go through a few rounds of revision with the authors. Sometimes I requested additional content, including images or more exploration of an interesting point. I had a lot of background in this sort of work from my time as editor for The Mariners’ Museum.

Once Cy and I had everything ready, I assembled all the content into a big file and did a final copyediting sweep. For issues that included conference coverage, both of us selected images from those provided by VLA’s official conference photographer, Pierre Courtois. Many articles had visual elements as well. I sent all of these things to our graphic designer. The graphic designer sent us galley proofs. Both Cy and I reviewed the galleys, and I did the final proofreading. Once all changes had been made, the graphic designer sent the issue to the printer, along with the VLA mailing list, so the issue got mailed directly to the members.

The mailing list included extra copies sent to both Cy and myself (we specified the number we needed per issue). When the issues came back from the printer, I mailed copies to contributors I’d worked with, including those who were not members of VLA, such as the interviewees and subjects of book reviews. Cy did the same.

Science Fiction and Fantasy Poetry Association

SFPA provides detailed guidelines to all editors, covering the expectations of work to be performed and deadlines for all aspects, such as when/how submitters will be notified of acceptance/rejection, delivery of the content to the graphic designer, publication dates etc. The selected editor agrees to these terms.

Eye to the Telescope, Arthuriana

Issue 27, Jan. 2018

Eye to the Telescope is the online journal of the Science Fiction & Fantasy Poetry Association.

Each issue focuses on a theme proposed by that particular guest editor. To become a guest editor, you submit a proposal to SFPA with information about your suggested theme as well as your credentials. Once you’re accepted, SFPA gives you a slot and a timeline. Selected poems are purchased at the SFPA rate; there’s a budget cap for the issue, of which the editor must be mindful.

SFPA continually refines its guidelines. Here are the current guidelines for guest editors of Eye to the Telescope (including how to apply for the job).

The editor is generally expected to help publicize the issue, including spreading the news through all professional and personal channels available to them, both to call for submissions and share news of the publication. The editor also has a chance to participate in nominating published works for awards, such as Best of the Net and the Pushcart Prize. Because Eye to the Telescope has a different guest editor per issue, each editor will submit suggestions from their issue, and the SFPA Executive Committee then decides what to nominate.

As submissions arrived, I evaluated them and decided whether to pass immediately or hold some for further consideration. Some editors send a blanket rejection at the end to all poets at once; this is probably a better workload than what I did. I sent individual responses as the poems arrived, for two reasons: in a few cases, I wanted to run a possible change past the poet with no pressure on either side; and by sending rejections as the works came in, I invited the poets to try again if they wished during the open submission period.

I did end up with a large core group of strong poems that I wanted to include. The existence of a budget cap meant I had to make quite a number of hard choices. However, all the poems in the issue are ones I absolutely loved.

As I accepted works, I got in touch with the poets immediately to make sure the work was still available and the terms acceptable. I had a shortlist longer than my ability to publish, just in case any declined (I notified these poets that their work was held on the shortlist). As soon as I had the contents firmed up, I sent regrets to the remaining poets whose works I’d held but couldn’t use.

Then I assembled all the poems and wrote an introduction for the issue. I proofread, getting in touch with the poets as needed, and sent the material to the webmaster to create the mockup. I shared this proof with the poets for their review. One of the poets raised a few concerns, which we addressed. And then the issue went live and I helped spread word about that (and got a chance to help nominate some of the poems).

Dwarf Stars 2022 (coedited with Greer Woodward)

As with ETTT, SFPA has guidelines for editors which are regularly updated. A link to the most current “Dwarf Stars editor guidelines” may be found here.

The editor of the annual Dwarf Stars anthology is also the chair for that year’s Dwarf Stars Award. The anthology itself is the voting tool for the award. So achieving the deadline is imperative.

SFPA has set a specific nomination period when submissions may be sent (open from April 1-May 1). (This has since been revised so that people can send nominations any time using a form, as well as submit directly to the editor during the open submissions period). Anyone may nominate as many works as they like by anyone (including themselves), provided the work was first published in the previous year as a poem of 10 lines or less (100 words or less for a prose poem) containing speculative content (with the broadest definition of speculative).

Although many nominations did come in via email, the editors are expected to be familiar with a broad range of work published, to scour both literary and speculative journals for eligible works, and to be sure to consider the global field of speculative poetry. We did our best to peruse all the journals we could from around the world. From the very beginning, I reached out to both literary and speculative contacts and venues to spread word of the submissions period and request journals from editors.

Excerpts from the introduction [with additional comments in square brackets & italics]:

We sought far and wide to find qualifying poems, reaching out to organizations, editors, individual poets, and lovers of speculative verse. From 88 individuals who sent their own work and that of others, we received nominations that resulted in 1,371 qualifying poems covering the work of 408 separate poets and multiple issues of 171 journals and anthologies. As part of this mix, we ourselves carefully reviewed and collected work from multiple issues of 78 different magazines, and consulted all the SFPA members’ Rhysling-eligible files.

[These are files prepared for the Rhysling Award; some members had Dwarf Stars eligible poems but did not submit these works directly to us.]

Every single poem, as well as the cover art, was carefully rated by both of us and rose to the high spot through multiple rounds and styles of voting and discussion. Since we had such a large pool of poems we both loved, we found ways to showcase not only our convergence, but also where we shine as individual editors […]. We also decided to include one work per poet, so we might include as many poets as possible. Ultimately, we selected 120 small-but-mighty poems […] from multiple issues of 55 different publications, journals, anthologies, and collections. Our poets bring the world to us, currently hailing from Australia, Canada, England, Germany, Greece, India, Ireland, Israel, New Zealand, Pakistan, Scotland, Singapore, United Arab Emirates, United States, Vietnam, and more. We’re so grateful to cover artist Elisabeth Alba, who created Oberon, the Wizard Cat. We did a lot of looking to find him, scrolling through 700 or more images […].

[I leaned heavily on my membership in the Society of Children’s Book Writers and Illustrators, particularly the Illustrators Gallery, in which I also take part. The fact that I was a fellow member helped when I reached out to our shortlisted artists and inquired whether they’d be amenable to their work being used for our cover. Our first choice, Elisabeth Alba, a pro artist frequently published by Llewellyn,agreed in part because SFPA is a nonprofit.]

A number of the poems we wanted to include were ones we found rather than having sent to us. And some of those sent to us were nominated by others, not the poet. So we did have to do some legwork to find some of the poets. In many cases I reached out to the editors who’d published them. A few we were unable to reach by the tight deadlines we needed to meet. But we had such a long list of poems we wanted to include. In order to stay on schedule, I had to give deadlines by which we needed interested poets to respond to verify that the work was eligible, that it could be reprinted, and that they wanted us to do so, as well as be available to review the proofs. When the deadline passed for those we couldn’t reach, we contacted the next ones on the list.

We did have some technical difficulties with the official email address for submissions, which was set up to forward to the editors’ actual email addresses. Fortunately, some people got in touch with us through alternate routes to let us know that submissions were randomly bouncing from the official email address. But this meant that we needed to respond to all nominations immediately (rather than sending a blanket thank you) so that people were aware of whether their messages had reached us.

Considering this number of poems was challenging for a number of reasons—including not only the agreement of two editors, but multiple nominations for the same works. I created spreadsheets galore to tackle everything, including whether we’d responded to people who’d nominated work, titles and publication details for nominated works, who sent it, and the contact details for everyone involved. And then, whether it had been selected, whether we’d let the poet know, and whether they’d agreed, etc.

I created massive files of eligible works for both of us to consider and vote on. We held several rounds of voting as we narrowed down our selections. (We did the same with our potential cover art—which has the earliest deadline.)

With the acceptance letters, we asked the poets to confirm or provide an official copy of their work. I assembled these into one big file and proofread, getting in touch with the poets as needed, and giving them all a chance to review their work at multiple proof stages. Meanwhile, Greer and I created the introduction for the book. Then I sent everything to SFPA’s graphic designer, F. J. Bergmann. In addition to Greer and myself reviewing the proofs, I sent them out for the poets to review and passed on the changes. We were up against the deadline and had a lot of proof reviews at the last minute.

I also wrangled the mailing addresses for all the included poets to receive their contributor copies. When there were issues, there was some back and forth with me acting as go-between.

I obtained and passed on information about contributors’ discounts and postage breaks if ordered before printing. I was told that there were quite a lot of additional orders for this edition of Dwarf Stars.

Dwarf Stars 2022 contains truly exceptional work. Please check out the winners and honorees here.

It’s well worth mentioning that in addition to taking second place in the 2022 Dwarf Stars Award for his poem “Colony,” Jamal Hodge is the first black man to win or place in the competition.

#duck prints press #lead editing #still don't know how to tag this topic

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forthebrokenheartedthings · 20 days ago

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The Ink Between Us - Part 5- The Day You Changed Everything

It starts as a search. Then a project. Then a kind of war.

You’re sitting cross-legged on your floor with your laptop in your lap and your phone buzzing somewhere you can’t be bothered to find. The notebook lies open beside you like a partner in crime, its most recent page filled with Steve’s looping script.

We ship out soon. No one says it, but we all know.

They want me at the front. They want the uniform, the name, the shield.

But you’re the only one, other than Bucky, who calls me Steve.

You read that line again, and your chest tightens.

You pull up a dozen tabs at once: "Captain America final mission." "1945 plane crash North Atlantic." "Steven Rogers death date." "SSR blackout operations."

The records are conflicting.

One article lists March 1, 1945. Another says April 12. Some say he died in the crash. Others list him as “presumed missing.”

You create a folder on your desktop. Title: “FIXED POINTS?”

You start compiling everything:

A blurry photo from a military newsletter with a shield in motion.

A war report mentioning a failed HYDRA base attack.

A funeral clipping with no date—just a line of mourners, faceless.

But every time you check back… things have changed.

The headline rewords itself. The dates rearrange. One document you know said 1945 now says 1946. The crash site location drifts.

Time is moving.

Not like history—like something alive. Like something watching.

You start leaving notes to yourself in pen on paper.

“March 1st—was this the date before?” “Shield image—blurry? or sharpening?”

You open the notebook again, frantic.

You write:

They’re sending you out soon.

I’ve been digging into records and…

I don't think you don’t make it back.

At least, you’re not supposed to.

But the articles keep changing. Every time I look, they shift. The details are melting around you.

Steve, I don’t think this is just a diary. I think it’s doing something.

I think we’re doing something.

You stop. Breathe.

Then you underline the last line twice.

And whisper, “Let this be the one time the future isn’t written yet.”

His next letter is heavier.

Not longer. Just heavier.

You feel it in the ink before you read a word.

They don’t talk to me like I’m a person anymore.

Not really.

It’s always: “Captain, we need you here.” “Captain, the press is outside.” “Captain, don’t forget the camera’s rolling.”

I used to dream about being useful. About mattering. I thought that would feel like being seen.

But this feels more like being worn. Like armor. Like a story someone’s telling without asking me how it ends.

There’s a boy in my barracks—Danny, maybe seventeen. He salutes me with this wide-eyed look like I’m already in a statue somewhere.

I’m scared, Y/N. I’m not afraid of dying. I’m afraid of becoming just the uniform.

You sit with that.

You sit with it for a long time.

Then, when your hands are steady enough, you write back:

I wish you could see what I see.

You're not just a story. But yes—your name is in textbooks.

You’re in documentaries. Murals. Political speeches.

But no one talks about the kid who sketched alley cats in his notebook.

Or the one who writes letters like he’s trying to hold the world steady.

That version of you isn’t a myth.

He’s mine.

You hesitate, then underline the last line.

Then close the notebook with a quiet reverence, like folding shut a love letter written in borrowed time.

You know it’s time.

You’ve avoided it for as long as you could—carefully stepping around dates, omitting the final headlines, pretending your search history wasn’t a countdown clock.

But now, with the shifting records, with his letters growing quieter between the lines, you can’t not tell him.

So you do.

You start slowly.

I’ve been looking.

Not just for answers, but for endings.

The books say your last mission happened in the spring of 1945.

You went down with a plane in the North Atlantic. They never found your body.

Everyone assumed you died.

They didn’t find you for almost seventy years.

You hesitate, then add:

They pulled you out of the ice in 2011.

You hadn’t aged a day.

The pen sits still in your hand for a long time.

Then you add one more line:

I’m sorry you didn’t get to choose.

You don’t sleep much that night.

When you check the notebook in the morning, his answer is already waiting.

It’s not long.

It’s not angry.

Seventy years, huh?

No wonder I feel cold lately.

You smile, despite everything.

Then you read on.

Thank you for telling me.

I think I knew, deep down. That this wouldn’t end the way I hoped.

But if I’ve got time left, even a little…

Then I want it to mean something.

And not just for the mission. Not just for the people who’ll never know who I was.

For you.

So don’t stop writing.

Even when I can’t answer.

Especially then.

You close the book slowly, your thumb brushing over his name like it might smudge under your skin.

And for the first time, you don’t think about saving him.

You think about honoring him—every second he still has.

It begins with a photo.

You’re scrolling through your phone on autopilot—trying to distract yourself, kill time while waiting for a reply from Steve—when you pause.

The picture is from last month. Your desk, cluttered as always. A mug, the edge of your laptop, the notebook just barely in frame.

But this time, there’s something new.

Sitting on top of the notebook is a sketch. A portrait. Him.

You blink, swipe back, forward again.

It wasn’t there before.

You’d remember that—the tilt of his jaw, the shape of his mouth, the shadow of his eyes. It’s his drawing. You recognize the line work, the smudging near the corner. It’s one of the sketches he said he lost. One he said he made before the serum.

Your fingers shake as you scroll through other photos.

In one, the edge of a man appears in the reflection of your window.

In another, a crumpled war bond poster hangs crooked in the background of your living room wall.

None of it makes sense.

You check your files. No edits. No backups. Just… there.

You try to dismiss it—maybe you’re tired, maybe you’re starting to see him in places he isn’t.

But then you find it.

Not on your phone. Not on your computer.

On your desk.

A clipping.

You didn’t print it. You didn’t buy a paper.

But there it is—neatly folded, just sitting beneath your coffee mug like it’s always been there.

BROOKLYN’S SON TO LEAD FINAL STRIKE AGAINST HYDRA STRONGHOLD. April 5, 1945.

Underneath the headline: a photo of Steve in uniform, looking almost directly into the camera.

But the ink smells new.

Like it was printed this morning.

Like time isn’t just bending anymore. It’s bleeding.

You stare at the clipping.

Then at the notebook.

Then, slowly, like testing the weight of something sacred, you open to a blank page and write:

It’s not just us anymore.

I think the world is listening.

And it’s starting to write back.

It’s late when the reply comes.

You’d almost given up—tucked the notebook under your pillow, told yourself sleep was smarter than hope.

But something wakes you.

You reach for the notebook like it’s instinct now.

His handwriting is waiting.

It’s slower than usual. The lines curve heavier, like the words are carrying more weight than they can hold.

I think I’m almost out of time.

The mission’s coming. The one that doesn’t have a return ticket.

They haven’t said it, but I can feel it in the way they look at me. Like they already know the ending.

But I’m not scared the way I thought I’d be.

Because of you.

You read slower now.

You can feel him through the page. Not just his words. His pulse. His choice.

I don’t know what I was before I found you.

But I know who I’ve been since.

Every time you wrote to me, you gave me something real to fight for. Something worth it.

Not a flag. Not a mission.

You.

The next page is blank—completely. Not a mark, not even a date.

Except for one line, centered at the top:

Fill this with something only you could write.

Your hands tremble.

You don’t start right away. You just stare, like the page is a mirror, or a countdown.

Then, carefully, you pick up your pen.

You don’t think.

You begin.

The first time it happens, you think it’s just your eyes.

You’re tired. You haven’t been sleeping much. But when you turn to the notebook, expecting another letter, there’s only half of one. Not half a page—half a sentence. It ends mid-word.

I don’t know if this is the la—

And that’s it.

No punctuation. No date. No name.

You run your fingers over the page like maybe it’s still forming. Like the rest of it is just late.

But it never comes.

The next day, another entry appears. But the handwriting is different. Shaky. Rushed.

They’re moving us. No location given. I don’t know if I’ll have the notebook with me next time.

I’ll try.

Then nothing.

You write back immediately, breathless, ink digging into the page.

Tell me when. Tell me where. I’ll find you. I’ll remember.

You flip forward, searching for more. Nothing. You write again.

Don’t do this. Don’t vanish.

That night, the notebook hums in your hands like it’s holding heat. You try again.

Steve, please.

But the words smear.

Right in front of you.

You watch the ink twist and blur on the page like it's being pulled apart. Not by your hand. Not by anything physical. It’s like the book is fighting itself. Or like time doesn’t want you to keep this.

You flip to another page. A fresh one.

You write:

You’re not gone. I won’t let you be.

It doesn’t smear. But when you blink, the page flickers.

Like it’s forgetting.

Like you are.

You don’t sleep.

You write for hours. Short bursts. Full entries. Memories of his letters, copied back word for word to keep them anchored. To keep him here.

But every time you turn back a page… something is missing.

A date. A word. A name.

He’s not gone.

But he’s fading.

You feel it the moment you open the notebook.

The way the air stills. The way your fingers hesitate over the cover like they already know it’s going to hurt.

The ink is darker than usual. Bold. Certain. Like he wanted to make sure it would hold.

They briefed us today.

It’s a one-way mission.

I’m not supposed to say that, but I know. Everyone knows. They just won’t say it out loud.

The target is deep, and the route’s worse. But they’re sending me. Because I can take it. Because I’m not “just a man” anymore.

But I am. God, Y/N, I am.

And I’m writing this now, not because I think I won’t make it back—but because I’m afraid I’ll come back wrong.

Or that I’ll come back and you won’t be there.

You cover your mouth with your hand, holding something in that doesn't want to stay.

I won’t say goodbye.

But I will say this:

Don’t follow me.

Don’t wait for me.

But don’t forget me either.

Not the boy who drew in charcoal.

Not the voice who kept you company.

Not the man who loved you, even if he never got to say it with anything but ink.

There’s a break. A space. And then:

You changed me.

You made this life worth more than I thought it could be.

And maybe that’s enough.

Maybe I don’t need a future, if I got to live in yours for a little while.

—Steve

You don’t cry.

You sit very still.

The air around you feels too heavy, the light too loud. You close the notebook gently, like tucking someone in.

Then you open it again.

Flip to the last blank page.

Write in small, even letters:

Not the end.

Then close it again, and place it on the windowsill where the moon can see.

Part 6

Series Masterlist @jason-todd-fangirl-14

#steve rodgers x reader #steve rogers #captain america #captain america x you #captain america x reader

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catkin-morgs-kookaburralover · 1 year ago

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Writing Newsletter #1: March 2024

So! Lil author's note to explain this. I decided to start up a newsletter, monthly, but until I get around to figuring out website hosting &c., to post on here instead of emails. Once I get that sorted, I'll switch this to email, and there'll be a newsletter signup gift of two stories - Ever Changing, Ever Near (hosted on my website until recently) and A Fragile Solace. Together, in unedited form, they're around 3k. They're Inklings stories, both of which were highly commended in the separate competitions I wrote them for. Anyway, if you want to be on the taglist for this monthly newsletter, say the word and I'll add you.

Writing update

Lately, my main project has been Patience, Changing. It’s a story about autism, changes in routine and loving despite the inconvenience. There’s also a spice of mental health in there, because I’m me and that’s what I do. Also my protagonists are eleven and twelve years old. Very fun. Rhona is incredibly over-dramatic and while in some ways she’s justified, in other ways she’s just not—I’ve written a couple of scenes from her perspective that I intend to cut, just because I love her so much. (It’s meant to be all from Patience’s POV.) An interesting thing that I’ve noted in the last few days is the inclusion of a character I’d intended to be already gone before the story began, but on a whim I decided to change the timeline. If you’ve read The Patience of Hope, the character I’m referring to is Hannah—Patience’s aunt, who dies of anorexia complications long before. However, I’ve chosen to include her in Patience, Changing because as someone who suffers from anorexia myself, I felt it was important to include the possible outcomes. I’m not entirely sure what her role in this story is, but I’m discovering that she is very important to Patience, so we’ll see when she dies. I’ll have to edit The Patience of Hope to change that detail, but that’s okay.

This is the second time I’ve made myself cry over a character I originally wrote as dead before I wrote them before they died, but anyway.

In terms of word count, I’ve written 80k of assorted Patience content since I started writing the novella in mid-December, so I’m pretty happy with that.

Reading update

At the moment I’m reading Walking on Water by Madeleine L’Engle for Lent (well—Lent-ish), as well as Cry of the Raven by Morgan L. Busse. This is my first time reading both, and I’m tremendously excited to finish them both. The first Ravenwood book was one of my favourites for a long time and I only recently read Flight of the Raven for the first time. It lived up to my expectations.

I’ll have more to put in this section next newsletter when there’s been a definable sense of time since the last one, so. Yeah.

Ramble

Hi. This is just an area where I can ramble about whatever. Since I’m new to this whole newsletter thing, this one is pretty empty. I’m considering how I want to do this thing—considering whether I add in a Goals section or not, or whether I try and get back to posting on my blog, but anyway. Hopefully here on out will become more polished, or something. This was a pretty last-minute idea—I’ve been kicking around the idea of creating a writing newsletter for a While, but until now didn’t actually get round to it.

Anyway, please contact me and let me know what works best or what you’d most like to see! I need the advice.

Drabble

Under Pressure

“Patience!” he called.

She turned to him with relief, pressing her hands to her face in distress. “Oh, Nathan!” she said, leaning a little towards him. “Why can’t I just—be normal?”

“You’re normal—for you,” he said gently. “The public perception of ‘normal’ is so weirdly skewed it’s crazy. Don’t think any less of yourself just because you can’t handle that.” He gestured to the party they had both left behind. “You’re fine, Patience.”

“I’m autistic,” she said bitterly. “I’ll never cope with the world.”

“That’s not your fault.” He didn’t touch her, only smiled, and she was comforted.

Photo

#newsletter #author newsletter #indie newsletter #indie author

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g0thiclygh0ulish-diaries · 1 year ago

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𝕲𝖔𝖔𝖉 𝖊𝖛𝖊𝖓𝖎𝖓𝖌 𝖙𝖔 𝖙𝖍𝖊 𝖙𝖚𝖒𝖇𝖑𝖗 𝖌𝖍𝖔𝖚𝖑𝖘 𝖙𝖍𝖆𝖙 𝖑𝖎𝖛𝖊 𝖎𝖓 𝖒𝖞 𝖕𝖍𝖔𝖓𝖊.

This is my introduction post, taken from my Instagram @k.omearapoetry 🥀 I’ve decided that I want to share my poetry here, where I believe it would be appreciated more.

Please sit back and enjoy some creepy crawley gothic poetry🖤

𝖂𝖍𝖊𝖗𝖊 𝖞𝖔𝖚 𝖈𝖆𝖓 𝖗𝖊𝖆𝖉 𝖒𝖞 𝖜𝖔𝖗𝖐!

2024

Poetry 'No Pleasure in a mans world'- The Selkie 'Everything Shower' Disobedient Magazine 'Sucker Love' 'Eternal Sunshine'- The Petrichor Gazette 'Bitch' - Words With Weight Spring 2024 'Forbidden Fruit' 'too much on your plate' 'untitled' - Moonbow Magazine 'Soft embrace of spring' - Rill and Grove journal mini issue 'Evo Evoloution'- Coin-Operated Press 'two sides one coin' and 'barbed tongue- On the high literary journal 'Serenity'- Beneath The Mask 'Wanting for Spirit', 'Cathedral Marriage', 'Too Much'- Biblotecha anthology 'Sunrise' 'newborn' The Imperfect Zine 'The Haunting of Oakhelm Manor' 'Find all the Skeleton keys'- The Chartium 'Jealousy is an ugly colour- Ad infintum Lit 'Fontanna Neptuna' - HEROICA anthology (competition shortlist) 'Rock Bottom' - The Ravens Muse I'm a bad feminist', 'Stained'- The Petrichor Gazette 'Mr Magpie' - Mythical Type 'The girl with the yellow rose'- Heart locket Magazine 'Sinner', 'Absent God- Cult of the dead arts 'Odd Oddity'- Poetry trapper keeper newsletter Sister Planets- Ad Infinitum Lit Busy, Busy Church - A Sufferers Digest Flocked Murder- The Morgue Mag Even a Worm Will Turn- Purely Liminal Mag

Guides

How to befriend a crow - Coin-Operated Press How to make patches from your old jeans- Coin-Operated Press How to create your own stamp- Coin-Operated Press

Photography/ Art

20th birthday flowers- The Imperfect zine HalloZine 5- Coin-Operated Press ‘Trapped’- Moss Puppy Mag Stardust- Coin-Operated Press

Essays

The Importance of emotions- Bridgerton season 2th Kanthony dance scene- Flicks and Frills

Sponsored content

Display & banner ads

Why Paid Media Matters:

Provides instant visibility

Helps target specific audiences with precision

Boosts brand awareness and conversions

Best Practices for Paid Media

Set clear goals before running ads (brand awareness, lead generation, or sales).

Use A/B testing to optimize ad performance.

Monitor and analyze campaign performance regularly.

2. Owned Media: Controlling Your Brand’s Voice

Owned media includes platforms and content that a brand has full control over. It allows businesses to create a unique brand identity and engage with their audience consistently.

Examples of Owned Media:

Website & blog

Social media profiles

Email newsletters

Mobile apps

Podcasts & videos

Why Owned Media Matters:

Builds long-term credibility and trust

Offers cost-effective and sustainable marketing

Strengthens brand identity

🔹 Best Practices for Owned Media

Keep content fresh and relevant to audience needs.

Optimize your website and blog for SEO.

Use storytelling to engage users.

3. Earned Media: Organic Publicity and Trust

Earned media is any brand exposure or publicity that happens organically without direct payment. It is the most credible and trusted form of marketing because it comes from real users or third parties.

Examples of Earned Media:

Customer reviews and testimonials

Press coverage and media mentions

Social media shares and engagement

Word-of-mouth recommendations

Guest posts and influencer collaborations

Why Earned Media Matters:

Builds trust and authenticity

Increases organic reach and engagement

Enhances brand reputation

Best Practices for Earned Media

Provide excellent products/services to encourage positive reviews.

Engage with customers and build strong relationships.

Create shareable and valuable content.

How to Use the POEM Framework Effectively?

To make the most out of the POEM framework, brands need to integrate all three media types into a well-rounded strategy. Here’s how:

Balance Your Media Mix: Don’t rely solely on one type—combine paid, owned, and earned media for better results. Focus on Quality Content: Content should be engaging, informative, and valuable to your audience. Leverage Data & Analytics: Measure the impact of each media type and optimize accordingly. Stay Consistent: Keep your messaging uniform across all channels.

Conclusion

The POEM framework in digital marketing is a powerful strategy that helps businesses streamline their marketing efforts by categorizing their media into Paid, Owned, and Earned. When used correctly, this approach creates a well-rounded marketing strategy that enhances visibility, engagement, and trust.

By integrating all three components effectively, brands can maximize their digital presence, build stronger relationships with their audience, and drive long-term success. Whether you’re just starting or looking to improve your marketing efforts, applying the POEM framework can give you a clear direction.

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tknblog · 6 months ago

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$15 a month for a single newsletter is unsustainable

#journalism #dollarnomics #editorial - Tyler K. Nothing reporting.

DATELINE INTERNETOPIA - #Substack has created a mythology in the form of the $15 a month newsletter. The claim was that it would help support independent writers who have been driven out of organized news gathering by capitalist greed’s desire to “trim the fat” (meaning people who cost money they’d rather have in their Cayman bank accounts), but the model is unsustainable. In reality, all it does is net Substack more revenue.

Of course, they need that larger cut to support the now far more bloated model that appears to include completely free hosting of a blog, unless you want to use your custom domain, and then you’ll have to cough up $50… and then do it yourself. Yeah. You pay them to then do all the legwork. Liberating, indeed.

Whinging about fees nobody else charges aside, most newsletters are asking for $15 every single month. That doesn’t get you an entire newspapers worth of content, but the words of one contributor. And Substack doesn’t offer discounts for subscribing to multiple newsletters, so if you pay for three newsletters you will be forking over $45 a month.

That comes to $540 a year which is more than double what we pay annually to heat our water and dry our clothes. Imagine floating an entire newspaper’s bullpen at those rates so one person could stay up-to-date with the news! Not that I would, but I can get a subscription to the Pasadena Star-News for $3.50 a week. That’s an actual newspaper with lots of contributors, sections, resources, and whatnot and it’s still a buck less a month than that single newsletter.

We can’t do this. It won’t work. We cannot continue to rely on insanely wealthy oligarchs owning all of our local and national news, whose collective bias against a free press has become increasingly clear over the past few years, to transmit that bias into our consciousness on a daily basis.

If there is one thing we can do as, and I’ll use the word yet again, a collective, it is to subscribe to an organic virtual bullpen of writers to produce open source news that everyone could benefit from, regardless of how deep (or shallow) their pockets are. Several such collectives would be even better. And let’s start it at $5 a month with a sliding scale so readers can select a contribution they can afford.

The mainstream media, popularly known as the MSM in various circles, and the internet as a whole, has been slowly and methodically subsumed by the rich and powerful and turned into outlets for their increasingly unhinged desires to terraform society into something better suited to their wants and needs.

Look no further than Elon Musk’s acquisition of Twitter and its rapid descent into madness. More recently Mark Zuckerberg has announced the end of fact checking on Facebook and other Meta platforms for reasons that are plainly disingenuous. X is much smaller than Facebook, but Facebook and Instagram represents 5 BILLION USERS.

If Mark is able to influence a mere 1% of his global userbase, that’s 50 MILLION people.

That’s just insane.

A solution requires two parties, creators and readers. We have the creators, but readers need to step up and be willing to pay a small monthly fee knowing that it will go towards the production of quality, reliable, fact-checked news gathering. Getting everything on the internet for free is a zombie shambling around a china shop, smashing everything and making a chaotic mess of things and we need to put it down, for good.

After all, you get what you pay for.

For more on my concept of Dollarnomics, read here and here.

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futurecept · 6 months ago

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Content Writing Services in Lucknow: Fuel Your Business with Engaging Content

In the ever-evolving digital world, businesses need to stay ahead of the curve to remain competitive. One of the most effective ways to do this is through well-crafted content that resonates with your target audience. Content writing services in lucknow are an essential component of a successful digital marketing strategy. At Wordsmithh, we offer professional content writing services that are designed to help businesses in lucknow attract more customers, build brand credibility, and drive conversions.

Why Quality Content Matters for Your Business

Content is more than just words on a page. It’s a powerful tool for building your brand and connecting with your audience. Here’s why high-quality content should be a key part of your marketing strategy:

1. Improves SEO Rankings

SEO (Search Engine Optimization) is critical for increasing your online visibility. Well-optimized content can significantly improve your search engine rankings, making it easier for potential customers to find you. By strategically incorporating relevant keywords, we ensure that your content is SEO-friendly, driving more organic traffic to your website.

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Content that speaks to your audience's needs, interests, and problems is key to keeping them engaged. Whether it’s blog posts, articles, or product descriptions, quality content helps keep your audience on your site longer, reducing bounce rates and increasing the chances of conversions.

3. Strengthens Brand Voice

Your content should reflect your brand's identity and values. Consistent, well-written content helps establish your brand’s voice, making it more recognizable to your audience. Wordsmithh ensures that all the content we create aligns with your brand's tone, personality, and goals.

4. Drives Conversions

Content writing isn’t just about informing your audience; it’s about persuading them to take action. Whether it’s making a purchase, subscribing to a newsletter, or engaging with your content on social media, compelling content drives conversions. Our writing is designed to inspire action and generate leads.

How Wordsmithh Delivers Top-Notch Content Writing Services in Lucknow

At Wordsmithh, we offer a range of content writing services that cater to businesses in lucknow. We understand that every business has unique needs, which is why we offer tailored content solutions. Here are some of the services we provide:

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Your website is often the first impression potential customers have of your business. We create engaging, informative, and SEO-optimized website content that highlights your products or services, answers customer queries, and helps drive traffic.

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Blogs are an excellent way to engage your audience, share valuable insights, and boost your SEO. Our blog writing services focus on creating relevant, well-researched, and engaging posts that keep readers coming back for more. We cover various topics related to your industry to help you build authority and trust with your audience.

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For e-commerce businesses, product descriptions play a crucial role in converting visitors into customers. Our content writers specialize in creating persuasive and informative product descriptions that highlight the benefits and features of your products while encouraging users to make a purchase.

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Social media platforms provide businesses with an excellent opportunity to connect with their audience. We craft engaging, creative social media content that resonates with your target market, encourages interaction, and strengthens your brand’s presence on platforms like Facebook, Instagram, and Twitter.

5. Press Releases

Press releases are an effective way to announce new products, services, or company milestones. Our team at Wordsmithh ensures that your press releases are well-crafted, attention-grabbing, and suitable for distribution to media outlets and journalists.

6. Email Marketing Content

Email marketing is a powerful tool for nurturing customer relationships. We write personalized, persuasive email copy that encourages recipients to open your emails, engage with your content, and take the desired action.

Why Choose Wordsmithh for Content Writing Services in Lucknow?

Here’s why businesses in lucknow trust Wordsmithh for their content writing needs:

1. Expert Writers with Industry Knowledge

Our team consists of experienced writers who understand the nuances of various industries. Whether you are in healthcare, technology, e-commerce, or finance, we provide content that aligns with your industry’s trends, ensuring that you stay relevant in the market.

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Our writers are well-versed in the latest SEO practices, ensuring that your content is not only engaging but also optimized for search engines. We use keyword research, on-page SEO techniques, and strategic content planning to help your business rank higher and attract more organic traffic.

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We understand the importance of deadlines. Whether you need a one-time project or ongoing content creation, we ensure timely delivery without compromising quality. You can count on us to meet your deadlines and deliver content that exceeds expectations.

Start Creating Engaging Content with Wordsmithh

If you’re ready to take your business to the next level with expert content writing services in lucknow, Wordsmithh is here to help. We specialize in crafting high-quality, SEO-optimized content that engages your audience and boosts your online presence.

Visit Wordsmithh today to learn more about our content writing services in lucknow and get started with content that drives results for your business.

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naina10 · 7 months ago

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Launching Success: Top Tips on How to Promote a New Business

Starting a new business is a thrilling endeavor, but success depends on how well you promote your brand. To help you navigate this critical phase, here are actionable strategies on how to promote a new business effectively.

1. Craft a Distinctive Brand Identity

Your brand identity should reflect your business's values and mission. Develop a recognizable logo, color scheme, and brand voice to ensure a lasting impression.

2. Leverage Social Media Platforms

Social media platforms like Facebook, Instagram, and LinkedIn provide cost-effective ways to connect with potential customers. Post engaging content, run promotions, and interact with your audience regularly.

3. Optimize Your Website for SEO

Ensure your website ranks high on search engines by using relevant keywords such as "how to promote a new business." Include these in blog posts, product descriptions, and meta tags.

4. Collaborate with Influencers and Partners

Partnering with influencers or complementary businesses can enhance visibility and credibility. Influencer marketing can introduce your brand to a broader audience.

5. Launch Email Marketing Campaigns

Build an email list of potential customers and send newsletters featuring updates, promotions, and special offers. Personalization can boost engagement and conversions.

6. Host an Unforgettable Launch Event

Organize a launch event to showcase your products or services. Offer exclusive deals, free samples, or giveaways to create buzz and attract customers.

7. Seek Media Coverage and Press Releases

Send press releases to local media outlets about your business launch. Media coverage can establish your brand as an industry player.

8. Invest in Targeted Advertising

Consider using Google Ads, social media ads, or local print advertising. A well-targeted campaign can drive significant traffic to your website and store.

9. Participate in Community Events

Join community fairs, trade shows, or local markets. Face-to-face interactions help build trust and loyalty among local customers.

10. Focus on Exceptional Customer Service

Happy customers can be your best promoters. Deliver outstanding service to encourage repeat business and positive word-of-mouth referrals.

By following these strategies, you can effectively promote your new business and establish a strong presence in your industry. Stay consistent, creative, and customer-focused to achieve long-term success.

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learnhowtocreatemusic · 8 months ago

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Touring Tips for Beginners: A Guide for Musicians Hitting the Road

Embarking on your first tour as a musician is an exciting milestone, but it can also be daunting if you’re not prepared. Touring involves more than just playing gigs; it requires careful planning, adaptability, and stamina. Whether you’re hitting the road for a few local shows or embarking on a cross-country adventure, these beginner touring tips will help you navigate the challenges of touring and make the most of your experience.

1. **Plan Your Route Wisely**

One of the most important aspects of touring is planning your route. Consider the geography of your tour stops to minimize travel time and expenses. Try to book gigs in a logical sequence, moving from one city to the next without unnecessary backtracking. Use mapping tools and apps to plan the most efficient routes, and be sure to account for factors like traffic and road conditions.

2. **Budget for All Expenses**

Touring can be expensive, so it’s crucial to create a detailed budget before you hit the road. Factor in costs for gas, accommodations, food, equipment maintenance, and any unforeseen expenses. It’s also a good idea to have an emergency fund in case something unexpected happens. Keep track of your spending throughout the tour to stay within your budget.

3. **Pack Smart and Light**

Space is often limited when touring, especially if you’re traveling in a van or a small vehicle. Pack only the essentials, including your instruments, gear, merchandise, and personal items. Make sure your equipment is in good working order and pack spare strings, batteries, cables, and other necessities. Use packing cubes or organizers to keep things tidy and easily accessible.

4. **Prioritize Self-Care**

Touring can be physically and mentally demanding, so it’s important to prioritize self-care. Get enough sleep, stay hydrated, and eat nutritious meals to keep your energy levels up. Take breaks during long drives to stretch and rest. Also, make time for relaxation and downtime to recharge between performances.

5. **Promote Your Shows**

Promotion is key to a successful tour. Use social media, email newsletters, and your website to announce your tour dates and encourage fans to attend. Collaborate with local musicians or influencers in each city to help spread the word. Consider reaching out to local press for coverage or radio interviews to boost visibility.

6. **Build Relationships with Venues and Promoters**

The relationships you build with venues and promoters can have a lasting impact on your touring career. Be professional, punctual, and communicative. Show appreciation for the staff and promoters, and always fulfill your commitments. Building a reputation as a reliable and easy-to-work-with artist can lead to future opportunities.

7. **Engage with Fans**

Touring is a great opportunity to connect with your fans in person. Take the time to meet and interact with them before and after your shows. Sign merchandise, take photos, and express your gratitude for their support. Building strong relationships with your fans can lead to a more loyal following and better turnouts at future shows.

8. **Stay Organized**

Touring involves juggling a lot of details, from show times to accommodation arrangements. Use a tour itinerary or a mobile app to keep track of important information like load-in times, set times, addresses, and contact details. Staying organized will help reduce stress and ensure that everything runs smoothly.

9. **Be Prepared for the Unexpected**

No matter how well you plan, things don’t always go according to schedule. Equipment might break, gigs might get canceled, or you might face bad weather. Stay flexible and be ready to adapt to unexpected challenges. Having a positive attitude and a backup plan can help you navigate these situations with ease.

10. **Document Your Tour**

Documenting your tour is not only a way to create lasting memories but also a valuable tool for connecting with your fans. Take photos, record videos, and share behind-the-scenes moments on social media. Consider keeping a tour diary or blog to share your experiences with your audience. This content can also be used for future promotional materials.

11. **Learn from Each Experience**

Every tour is a learning experience. After each show, take some time to reflect on what went well and what could be improved. Gather feedback from your bandmates, crew, and fans to help refine your performance and logistics. Continuous improvement will make future tours even more successful.

Final Thoughts

Touring as a beginner can be both exhilarating and challenging, but with the right preparation and mindset, it can also be one of the most rewarding experiences of your musical journey. By planning ahead, staying organized, and taking care of yourself and your team, you’ll be better equipped to handle the ups and downs of life on the road. Most importantly, enjoy the ride and make the most of every opportunity to share your music with new audiences.

#LivePerformance #TouringTips #BeginnerMusicians #MusicTour #GigLife

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shanuworld · 8 months ago

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How to Optimize Your Website Design for Lead Generation: Understanding the Difference

If you’re a student interested in web design as a career, understanding how to design websites that generate leads is a valuable skill. Lead generation is a key goal for businesses, as it focuses on turning website visitors into potential customers. In this blog, we’ll explore how to optimize website design for lead generation, introduce some effective strategies, and clarify why each step matters.

Why Lead Generation Matters in Web Design

Lead generation is the process of collecting contact information from website visitors, such as email addresses, phone numbers, or other relevant details, with the goal of turning them into potential customers. A lead-generating website is designed to encourage visitors to take actions like signing up for newsletters, downloading resources, or making inquiries. As a web designer, knowing how to structure and style websites to facilitate this process can make your skills highly valuable in the job market.

Key Strategies for Optimizing Website Design for Lead Generation

Let’s explore some lead generation strategies that can be integrated into your web designs to maximize their effectiveness.

1. Use a Clear and Engaging Call-to-Action (CTA)

A Call-to-Action (CTA) is an element on your website (often a button or link) that prompts users to take action. For example, “Sign Up Now,” “Download the Guide,” or “Contact Us.” Effective CTAs are:

Short and clear: Visitors should know exactly what action they’re taking.

Prominent: Use contrasting colors, larger fonts, and strategic placement to make CTAs noticeable.

Action-oriented: Use verbs like “Get,” “Start,” or “Join” to create a sense of urgency.

Placing clear and compelling CTAs strategically across your site is one of the most fundamental lead generation strategies.

2. Create User-Friendly Lead Capture Forms

Lead capture forms are essential for gathering information from visitors. However, overly complex or confusing forms can drive people away. Here are some tips for creating User-friendly lead capture forms

Keep it simple: Only ask for essential information, such as name and email address.

Make it visually appealing: Use clean layouts, large input fields, and clear labels.

Place forms in key areas: Consider placing forms on the homepage, at the end of blog posts, or as pop-ups.

Simplifying forms helps remove barriers to sign-up, making it easier for visitors to convert into leads.

3. Focus on Website UX/UI for Lead Generation

A positive user experience (UX ) and user interface (UI) are critical in lead generation because they make it easy for visitors to navigate the website and take action. Optimizing Website UX/UI for lead generation involves:

Reducing page clutter: A clean, simple layout helps visitors focus on key areas.

Optimizing page speed: Fast-loading pages improve user satisfaction and reduce bounce rates.

Ensuring mobile responsiveness: With many users accessing websites from mobile devices, ensuring your design is mobile-friendly is essential.

Good UX/UI design makes it easy for visitors to find and engage with lead-generating elements on the site.

4. Leverage Lead Generation Plugins for Websites

For those working on content management systems like Word Press, plugins can simplify the addition of lead generation features. There are many lead generation plugins for websites that offer tools such as:

Pop-ups and slide-ins: These can grab visitors' attention and prompt them to take action without interrupting their browsing experience.

Exit-intent pop-ups: Detects when a visitor is about to leave the site and triggers a final call-to-action.

Form tracking and analytics: Shows which forms are performing best, helping you make data-driven adjustments.

Lead generation plugins provide an easy way to add effective lead-capturing elements to your design without complex coding.

5. Incorporate Trust Elements to Build Credibility

Adding trust elements to a website helps establish credibility, making visitors more comfortable providing their information. Trust elements include:

Testimonials or reviews: Showcase positive feedback from previous clients or customers.

Security badges: Especially for e-commerce websites, displaying security badges can reassure visitors that their data is safe.

Clear contact information: Providing a phone number, email, or physical address builds trust.

Incorporating these elements can make visitors more willing to share their information, enhancing the effectiveness of your lead generation strategies.

6. Optimize Landing Pages for Lead Generation

Landing pages are dedicated pages on a website specifically designed to convert visitors into leads. Effective landing pages for lead generation:

Have a single, clear message: Focus on one specific offer or benefit.

Feature a strong CTA: Ensure the CTA is clear, compelling, and easy to find.

Remove unnecessary navigation: Keep visitors focused on the action you want them to take.

Using targeted landing pages helps funnel visitors towards conversion, improving overall lead capture rates.

7. Use Content That Adds Value to Visitors

Engaging and valuable content is key to drawing in and retaining website visitors. Valuable content makes people more likely to take action and become leads. Here’s how to use content effectively for lead generation:

Provide educational resources: E-books, guides, or webinars that visitors can access in exchange for their contact information.

Regular blog posts: Keep content updated and relevant to attract repeat visitors.

Video content: Engaging videos that explain products or offer tutorials.

High-quality content not only attracts visitors but also positions your website as a reliable source, increasing the likelihood of lead generation.

8. Analyze and Test for Continuous Improvement

Regularly testing and analyzing your lead generation elements can help you identify what works and what doesn’t. You might consider:

A/B testing CTAs: Test different text, colors, or placements to find the best-performing options.

Monitoring form conversion rates: Check which forms have higher completion rates and adjust other forms accordingly.

Tracking visitor behavior: Tools like Google Analytics can show how visitors interact with your site and help identify areas for improvement.

Continuous testing ensures your website design stays optimized for lead generation over time.

Final Thoughts

Creating websites that generate leads involves a combination of design skills, user experience knowledge, and effective lead generation strategies By mastering these areas, you can help businesses attract and convert potential customers. For a student pursuing a career in web design, knowing how to optimize website design for lead generation will give you a competitive edge in the industry.

Lead generation is an evolving field, so remember to stay updated with new techniques and tools as you grow in your career. With these strategies, you’ll be well on your way to creating lead-generating websites that make an impact!

Why Lead Generation Matters in Web Design

Key Strategies for Optimizing Website Design for Lead Generation

Let’s explore some lead generation strategies that can be integrated into your web designs to maximize their effectiveness.

1. Use a Clear and Engaging Call-to-Action (CTA)

Short and clear: Visitors should know exactly what action they’re taking.

Prominent: Use contrasting colors, larger fonts, and strategic placement to make CTAs noticeable.

Action-oriented: Use verbs like “Get,” “Start,” or “Join” to create a sense of urgency.

Placing clear and compelling CTAs strategically across your site is one of the most fundamental lead generation strategies.

2. Create User-Friendly Lead Capture Forms

Keep it simple: Only ask for essential information, such as name and email address.

Make it visually appealing: Use clean layouts, large input fields, and clear labels.

Place forms in key areas: Consider placing forms on the homepage, at the end of blog posts, or as pop-ups.

Simplifying forms helps remove barriers to sign-up, making it easier for visitors to convert into leads.

3. Focus on Website UX/UI for Lead Generation

Reducing page clutter: A clean, simple layout helps visitors focus on key areas.

Optimizing page speed: Fast-loading pages improve user satisfaction and reduce bounce rates.

Ensuring mobile responsiveness: With many users accessing websites from mobile devices, ensuring your design is mobile-friendly is essential.

Good UX/UI design makes it easy for visitors to find and engage with lead-generating elements on the site.

4. Leverage Lead Generation Plugins for Websites

Pop-ups and slide-ins: These can grab visitors' attention and prompt them to take action without interrupting their browsing experience.

Exit-intent pop-ups: Detects when a visitor is about to leave the site and triggers a final call-to-action.

Form tracking and analytics: Shows which forms are performing best, helping you make data-driven adjustments.

Lead generation plugins provide an easy way to add effective lead-capturing elements to your design without complex coding.

5. Incorporate Trust Elements to Build Credibility

Adding trust elements to a website helps establish credibility, making visitors more comfortable providing their information. Trust elements include:

Testimonials or reviews: Showcase positive feedback from previous clients or customers.

Security badges: Especially for e-commerce websites, displaying security badges can reassure visitors that their data is safe.

Clear contact information: Providing a phone number, email, or physical address builds trust.

Incorporating these elements can make visitors more willing to share their information, enhancing the effectiveness of your lead generation strategies.

6. Optimize Landing Pages for Lead Generation

Landing pages are dedicated pages on a website specifically designed to convert visitors into leads. Effective landing pages for lead generation:

Have a single, clear message: Focus on one specific offer or benefit.

Feature a strong CTA: Ensure the CTA is clear, compelling, and easy to find.

Remove unnecessary navigation: Keep visitors focused on the action you want them to take.

Using targeted landing pages helps funnel visitors towards conversion, improving overall lead capture rates.

7. Use Content That Adds Value to Visitors

Provide educational resources: E-books, guides, or webinars that visitors can access in exchange for their contact information.

Regular blog posts: Keep content updated and relevant to attract repeat visitors.

Video content: Engaging videos that explain products or offer tutorials.

High-quality content not only attracts visitors but also positions your website as a reliable source, increasing the likelihood of lead generation.

8. Analyze and Test for Continuous Improvement

Regularly testing and analyzing your lead generation elements can help you identify what works and what doesn’t. You might consider:

A/B testing CTAs: Test different text, colors, or placements to find the best-performing options.

Monitoring form conversion rates: Check which forms have higher completion rates and adjust other forms accordingly.

Tracking visitor behavior: Tools like Google Analytics can show how visitors interact with your site and help identify areas for improvement.

Continuous testing ensures your website design stays optimized for lead generation over time.

Final Thoughts

#web development #web designing

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chase-roper · 1 year ago

Text

Coffee Rituals and My Favorite Band

Working from home, French press coffee, and my thoughts on balancing personal storytelling versus my They Might Be Giants newsletter.

“Let’s type our pages into the ol’ iPhone notes app today. Sitting on a desk in DuPont, WA is a blue leather-bound book, undisturbed and not being written in. It was left there yesterday as I assured myself I would be working in the office the next day (today) and by a sudden turn of fate, I did not work in the office today. I’m working from home. Why this change of tide? Because I stayed up late and decided my morning could go a lot easier if I didn’t wake up at 5 am. Since I have the flexibility and no meetings today, it’s a viable option and as of 7:20 am at the time of writing this, it’s my reality.”

A hairdryer blows from the bathroom as Chase’s wife gets ready for work. When it turns off, a podcast can be heard faintly. Nicole, a Piss Pig through and through, is listening to her morning shows. Getting up from the couch, Chase sleepily adventures to the kitchen. His plan did not spare him from being tired. The debt for staying up must still be paid. He needs coffee and is kicking himself for purchasing coffee beans to grind and make French press rather than more K-cups for the instant machine last weekend.

“Damn you, Saturday Chase,” he writes in his phone’s app, not actually off from the couch.

“You have really made a mess of things for me with your weekend optimism and ‘love of the French press ritual’ in the mornings. That shit is for the WEEKEND. Not a Tuesday morning.”

Chase succumbs to his environment and pours half a cup of freshly ground coffee into the French press carafe while he waits for his water to boil. Today can still be a good day because at the end of it all, there is a bed about 30ft away that he will reunite with and fall deeply asleep.

10 Long Journaless Entries Later. . .

Back on the couch. It’s a Saturday morning and Grace is awake next to Chase watching Adventure Time. An incense holder designed to look like a plague doctor of the past is emitting scented smoke out of its goggle-masked eyes. On the TV, Finn the Human is visiting Primso the Wishmaster for the first time. The world-building in this animated series always inspires Chase to continue in his quest to be a more fulfilled and prolific writer. Even if not renowned or even profitable, creating worlds from seemingly nothing is something a writer does. Chase considers himself a writer.

“Nicole went camping with friends yesterday after work and I’ve been feeling like I’m getting sick and opted not to go,” Chase manages to type into his phone when not distracted by the cartoon. “Honestly, it’s in the mountains and supposed to rain. That doesn’t sound like a fun time while getting sick. Instead, this morning I’m going to have brunch with my kids at Art House Cafe and then rest.”

CUT TO:

INT. BEDROOM - NIGHT

Chase is lying in his bed 11:59 PM. One arm under the covers and another lying across his forehead. This is his preferred way to sleep.

CHASE (V.O.)

It’s been over 12 hours since I started writing today. Headaches kept coming on and I felt exhausted for much of it. I’ll bet if I were to search for the most used word in all of my written entries, it would be “tired.” Probably a sign that I need to exercise more, eat healthier, and do a better job of prioritizing sleep. Already not happening tonight but maybe one day.

Chase lays still and lets out a deep sigh, wondering how any of what he writes will tie into the book that he envisions. Recently, he found himself starting a new writing project. Another newsletter called, “Kiss Me, Son of Blog,” where Chase intends to write about every song by the band They Might Be Giants. He wonders if this is another fun creative outlet or a self-sabotaging distraction.

#writing #meta narrative #Chase Roper #creative writing

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adn17blog-blog · 1 year ago

Text

Empowering Dreams: Rasmal's Journey to Amplify the Entrepreneurial Spirit in the MENA Region

In a world that is increasingly driven by innovation and the pursuit of dreams, Rasmal emerges as a guiding light for the Arabic-speaking youth in the Middle East. Positioned as more than just a digital media agency, Rasmal sees itself as a partner dedicated to transforming entrepreneurial aspirations into tangible realities. Comprising a team of passionate professionals from diverse fields, Rasmal envisions fostering the entrepreneurial spirit in the MENA region, creating a platform that connects bright minds with opportunities and resources. This blog explores who Rasmal is, its vision, mission, and how individuals can get involved in this transformative journey.

Who We Are:

At Rasmal, the belief is that entrepreneurship possesses the transformative power to make the world a better place. The agency stands as a beacon for the Arabic-speaking youth, offering more than just a platform – it functions as a supportive partner committed to turning dreams into reality. The team behind Rasmal is a dynamic blend of professionals with backgrounds in technology, finance, education, marketing, and public relations. United by a common purpose, they strive to nurture the entrepreneurial spirit in the Middle East and empower innovative ideas to flourish.

Our Vision:

Rasmal's vision is clear – to be the guiding light that connects the brightest minds in the MENA region with the opportunities and resources they need to succeed. The agency aims to ensure that every ambitious entrepreneur receives the recognition and support they deserve, providing a stage for their ideas to flourish.

Our Mission:

Rasmal's mission is threefold:

Spotlight Innovators: Rasmal goes beyond merely sharing stories; it illuminates the path to success. Through its features, the agency showcases resilience, ambition, and innovation, serving as proof that progress is not only possible but achievable.

Enable Startups: Prioritizing the entrepreneurial journey, Rasmal provides guidance, tools, and insights to transform conceptual ideas into thriving businesses. The agency is committed to supporting startups every step of the way.

Connect Communities: Rasmal recognizes the importance of building networks, not just narratives. By connecting investors, entrepreneurs, and partners, the agency aims to foster collaboration, ensuring mutually beneficial growth for all stakeholders involved.

Get Involved with Rasmal:

Rasmal encourages individuals to actively participate in its mission through various avenues:

Stay Updated: Subscribe to the bi-monthly newsletter for insights into the MENA startup ecosystem.

Share Your Story: Entrepreneurs looking to spotlight their startups can share their stories and become part of Rasmal's mission by filling out a provided form.

Contribute Content: Rasmal invites those with insights or tales that resonate with the entrepreneurial spirit to reach out with a summary and their bio to [email protected], fostering the co-creation of inspiring content.

Advertise With Us: For those interested in sponsored content and promotions, Rasmal's sales team is reachable at [email protected].

Submit Announcements: Share press releases and news with Rasmal's PR team at [email protected] to spread the word about important developments within the entrepreneurial community.

Feedback & Corrections: Rasmal values feedback, considering it a driving force for excellence. Individuals are encouraged to provide corrections or suggestions by writing to [email protected].

Conclusion:

In conclusion, Rasmal stands as a beacon for the Arabic-speaking youth in the MENA region, providing a platform for dreams to transform into realities. With a dedicated team, a clear vision, and a mission that prioritizes spotlighting innovators, enabling startups, and connecting communities, Rasmal seeks to amplify the entrepreneurial voice in the region. By inviting active participation through various channels, Rasmal aims to create a collaborative ecosystem that nurtures and supports the growth of innovative ideas. Let's work together to transform more dreams into realities.

Blog Source: Rasmal.com

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