The craze for music industry is going up day by day with the passing time. If you want to build a career in the music industry there are endless options for you. You just need to find out the right door to enter the industry.If your foundation is strong it will not be difficult for you to climb up the ladder as jobs in entertainment are waiting for talented people.
When we talk about the music industry we always think of a singer.But the industry incorporates the technical people,the lyricists,the music composers and the producer.With the progress of technology the music industry has also gone hi-tech.With the opening of new avenues a number of jobs in the music industry have evolved.
Now a day we not only depend on eight-track tapes.There are Mp3 players,CDs,cell phones,I-pods and so on to play and capture music.In present day,music is not only recorded.It is mixed and re-produced.Highly skilled technicians are needed to bring out the best result.
The technician needs to be there all the time.He needs to know about all the technical instruments because he is the one everybody would fall upon when an instrument does not work.It is his job to bring that instrument into life.Though people outside the industry are not aware of his importance,the music industry is greatly dependent on him.
Another important person in the industry is the lyricist.The singer sings the song but somebody needs to write it.He needs to follow the recent trends and write the song accordingly.If the song is a filmy one then he also needs to consider the context.
Just like the lyricist the music composer holds an immensely significant position in the industry.Without his presence the production of a song would not have been possible.He needs to have a sound knowledge of the music instruments.A composer can always be recognized by his style.
When the song is written and music is added to it now it is the singer who is going to bring the song to life.If you possess a good voice it is not difficult for you to enter the industry.Specially these days when everyday some or the other channel host a reality show to find out new talents.
If you are talented you can easily get through. But one thing is very important i.e. education.Don't get scared.It is not like sitting in a stuffy classroom and learning some theory.People who teach have practical experiences and you can also play the instruments yourself.
Internship also gives you the opportunity to gain some experience which undoubtedly is going to help you in future.If you get a chance to work in a music video production you should count every moment.It will help you to make industry contacts.
Finally the industry needs a programmer who will work along with the music arranger as well as the sound mixer.He/she needs to program the tracks so that the singer can hear the track while performing.
There are a number of jobs in the music industry you can go for and if you are expert in more than one field you are an asset for the industry.
Traveling is a wonderful way to escape monotonous everyday routine and get to know new places and people. However, these experiences may lose colors with time. The best thing to do in order to escape that is to keep a travel journal.
Take some time to think over your latest journey. What stands out vividly in you memory? Now try to recollect your very first trip. Without a doubt, there are fewer things that you remember about. Things you have forgotten are lost forever. A journal would have helped you to reconstruct those experiences. Keeping records is a popular practice and was known long ago.
An excellent travel journal should contain a particular number of features. First of all, it has to be compact so that it does not occupy too much space. Secondly, it should be protected by a cover from various possible spills and water drops. Thirdly, there must be blank areas for your remarks. And the last – the so-called cue spaces are necessary for you to set down specific things for each travel. Cues should comprise these points:
1) Who went on travel with you;
2) Where you stayed and if you liked it;
3) Who you got acquainted with and their contact information;
4) Places you ate at;
5) Places of interest and sights to see;
At the end of your journey, your diary should provide you with the following:
1) Addresses and phone numbers of the people you met;
2) All the necessary information needed if you go to that place again;
3) Important impressions to remember;
4) Memories you can disclose to your children and grandchildren.
To make it work, you should spend on writing your journal several minutes each day of your trip, because every day of your travel brings fresh impressions and experiences even in the most commonplace situations. There is always something worth writing down. Traveling is a life-changing experience. Do not let it fade away with time.
About the Author
Madison Foster is employed with one of the well-known and well established custom writing service. She is certainly willing to share tips and give a good piece of advice on how to accomplish annotated bibliography and mla essays to students.
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Individualism, Self-sufficiency, Control, the Pursuit of Individual Goals
Traditionally conceptualized as a continuum, individualism collectivism approach in the management of remuneration has received considerable attention from sociologists and social psychologists [Hofstede 1983; Hui and Triandis 1986; Wagner and Moch 1986]. Due to the recent shift from "collectivism" to "individualism" approach in remuneration the philosophy of reward system in UK has changed. In order to analyze those changes which took place let's compare "individualism" and "collectivism" approaches in management.
Individualism refers to a self-orientation, an emphasis on self-sufficiency and control, the pursuit of individual goals that may or may not be consistent with in-group goals, a willingness to confront members of the in-group to which a person belongs, and a culture where people derive pride from their own accomplishments. In an individualistic environment, people are motivated by self-interest and achievement of personal goals. They are hesitant to contribute to collective action unless their own efforts are recognized, preferring instead to benefit from the efforts of others.
Collectivism involves the subordination of personal interests to the goals of the larger work group, an emphasis on sharing, cooperation, and group harmony, a concern with group welfare, and hostility toward out-group members. Collectivists believe that they are an indispensable part of the group, and will readily contribute without concern for advantage being taken of them or for whether others are doing their part. They feel personally responsible for the group product and are oriented towards sharing group rewards.
Individualism -collectivism is a dimension of culture at both the societal and organizational levels, although most of the research has focused on societal or national culture. Thus, Hofstede [1980] has shown that countries such as the United States, Australia, Great Britain, and Canada demonstrate high scores on his individualism -collectivism index, while Venezuela, China, Pakistan, Thailand and Mexico score fairly low.
Although less researched, individualism -collectivism would also appear to be an important dimension of organizational culture. Wagner and Moch [1986] argue that individualism -collectivism is implicit in organizational science, but has received scant attention. Triandis et al. [1985, p.340] discuss the need for corporate education programs directed at employees who bring a particular societal orientation, say individualistic, to an organization whose values are more collectivistic.
Individualism and collectivism in the management of remuneration would seem to have both functional and dysfunctional aspects within an organizational setting. For instance, individualistic managerial approach may foster development of an individual's self-concept and self-confidence. There is also likely to be a greater sense of personal responsibility for performance outcomes, while interpersonal competition may generate a steady stream of ideas for innovative change. However, there is also likely to be an emphasis on personal gain, selfishness, and expediency. Further, high levels of personal stress are a likely by-product of this type of environment, and interpersonal conflict may be encouraged.
Collectivism managerial approach in compensation offers the advantage of more harmonious relationships among individuals. In this type of management, greater synergies may occur from the combined efforts of people with diverse skills, while individuals may enjoy a network of social support. Alternatively, there is likely to be a loss of one's self to the group or organizational persona, and a greater level of emotional dependence on the organization. Individuals may have a greater tendency to "free ride" on the efforts of others, while outcomes may represent compromises among the differing interests participating in a task. What remains unclear are the implications of an emphasis on the individual versus the group or collective when attempting to foster high performance of employees in an organizational setting.
Individualism -collectivism would seem to be one of the more salient dimensions of culture insofar as management of remuneration is concerned. In Hofstede's [1980] global study of national cultures, he demonstrated a relationship between an emphasis on individualism and a country's level of economic development and wealth. Others researchers identified relationships between individualism and the willingness of employees to violate norms [Verma,1985, p.175] as well as their level of achievement motivation [Hofstede 1980].
More fundamentally, perhaps the richest research tradition focuses on the psychological traits and sociological characteristics of the "individualistic" employee (e.g., Brockhaus [1982]). Implicit in this research is the assumption that the career process is a highly individualistic pursuit.
While individualism may help explain the economic development in the country, it is less clear how individual approach in management of remuneration in existing firms is affected by this dimension of culture. For example, the corporate culture may be fairly collectivistic, while coexisting in a relatively individualistic society. However, the relationship may be more complicated.
Wagner and Moch [1986] suggest that overly individualistic corporate cultures may be inappropriate for contemporary organizations in which highly interdependent methods of productions, inventory management, and matrix structures are employed. The individual employee is overly motivated by self-gain, and can be "bought" by the highest bidder; whereas, the group or collective cannot. Moreover, the corporate setting demands certain political skills and an ability to work with and through others, which may be inconsistent with a strong individualistic orientation. Finally, collectives are viewed as more able to generate a continuous stream of incremental innovations, as opposed to the major breakthroughs that periodically come from individuals.
At the same time, others continue to stress the role of the individual in corporate culture. Peters [1987] places strong emphasis on the need for organizations to support radical champions within their ranks. Peters [1987, p.98] argues that achieving innovation in large firms requires that managers find ways to apply the concepts of individual liberty and freedom as the rewards within the corporate walls. Burgelman and Sayles [1986, p.156] claim that individualism does not inherently conflict with big business, and that successful performance of employees is built around the integration of individualism.
Shift from "collectivism" to "individualism" has greatly influenced rewards system in UK. The primary motivation that is used by managers in the system of rewards became individual motivation based on rational self-seeking behaviour. Certainly, the organisational behaviour literature for a long time has argued that the motivational needs of individuals in organisations are more complex than as represented by neoclassical utility-maximising theories. Maslow argued that individuals have a hierarchy of needs, which range from physiological needs at the lowest level (such as food and warmth), through safety needs, love needs, esteem needs, to self-actualisation at the highest level (1964, p.77). Neoclassical economics tends to emphasise low level needs, whereas the concept of 'high custodians' is more commensurate with esteem and self-actualisation needs important to high income groups.
According to Maslow perspective, we might expect attitudes and behaviour of employees to be concerned with a 'job well done'. Self-interest becomes inter-related with a wider group interest. From doing the job well peer group recognition results (Whyte, 1996, p. 143). The inclusion of esteem, pride or group respect in people's utility functions to the system of rewards is compatible with Gary Becker's more inclusive notion of utility maximisation (Mitroff, 1988, p.55). Furthermore, Fama notes how the labour market for management may capitalise performance in managerial remuneration producing a direct incentive for managers to satisfy owners independent of the precise form of the ownership (Fama, 1980, p.289). In its simplest terms, effective management has its own rewards in terms of salary and promotion prospects.
Individualistic approach in management of remuneration stresses financial rewards instead of recognition by peers (which is the primary motivation in collectivistic approach). Thus, one of the examples of remuneration based on individualistic system of rewards is the system of remuneration established for high level management and top executives. As the research shows, financial motivation and benefits based on individual approaches to each manager did not only help to enhance performance of managers but increase profitability of the whole company.
The principal agent framework has become a widely used theoretical model to explain the remuneration of high level management and chief executives (Main, 1992, p.156). Such models typically predict that a positive relationship between compensation and company performance can emerge. In the typical agency framework shareholders (who collectively act as a risk neutral principal) delegate decision making authority to managers (the risk averse agent) whose interests potentially diverge from those of the shareholders. This hierarchical structure has an important source of market failure namely that the effort levels of the manager are not directly observable by the principal and so cannot be fully contracted upon. Moreover, the shareholders and the managers' interests potentially diverge since managerial effort positively affects the output variable which the shareholder is interested in and hence adds to the shareholders' payoff, but is costly to the agent and so detracts from the managers' interests.
The problem for the principal is to design a contract such that the expected monitoring costs for the shareholders are minimized but still induce the executive manager to act in the best interests of the shareholders although now at the executive's own volition (Tirole, 1988, p.78). The contract offered will depend on the relative risk attitudes of the parties involved and will also be subject to a participation and incentive constraint. The participation constraint requires that the manager receive at least his fall back outside option. The incentive constraint requires that it is in the agent's interest to undertake the costly action. The contract offered typically ties the reward received by the manager to a variable that the principal is interested in such as company performance or shareholder returns (Gibbons and Murphy, 1990, p.38).
The recent empirical literature has paid much attention to the notion of relative performance evaluation (yardstick competition). In essence the output of other firms provides shareholders with important information about the effort levels of own firm managers. Strong and Waterson (1987) further entertain the idea that there is a broader range of company specific signals which also reveal information about managerial effort levels. In the case of yardstick competition this was achieved by observing the outturn of other firms. All information available to shareholders which describes firm performance potentially reveals underlying effort level of managers. Hence, the shareholder might offer an incentive payment scheme which consists of an alternative signal indicating other observable information available to shareholders upon which the contract may be conditioned. This scheme includes indicators of yardstick competition, and also firm specific characteristics. Indeed this provides an important route by which product market structures, the risk of bankruptcy and so on can potentially influence executive effort, and hence performance, by increasing the information base for incentive contracts.
As well as providing information to shareholders signals may also influence managers outside employment opportunities. Fama (1980) argues that explicit incentives contracts may be redundant since managers are disciplined through the managerial labour market. That is, superior performers are suitably rewarded with high wage offers whereas inferior performers receive low offers. Holmstrom (1982) augmented this theoretical notion arguing that whilst the disciplining effect of the managerial labour market is not insubstantial it cannot be regarded as a pure substitute for efficient contracts (42). In the absence of contracts he shows that executive effort falls as the retirement period approaches. The discipline in the managerial labour market assumes that manager improve their outside options by effort, congruent with maximising shareholder wealth (Gibbons and Murphy, 1992, p.469). However, it might be possible for outside options to be related to other factors not necessarily congruent with the interests of shareholders.
Thus, as well as corporate performance acting as a signal for managerial effort there are also other important corporate specific information available to shareholders (signals) which are likely to be taken into consideration in pay setting. Indeed, signals emanating from product market, debt holding, acquisitive behaviour and union presence all potentially reveal information about the extent to which corporate performance is due to managerial effort. In addition, these company specific signals may reveal information about managers outside career options which will also be reflected in managerial remuneration.
All the types of signal considered are important in shaping pay. Relative performance evaluation or the use of the performance of other firms is taken into account in determining pay and the coefficient is consistent with relative sales growth being the appropriate measure of performance used. However, the same result does not appear to apply to shareholder returns. Reduced union presence results in higher pay for top executives but heading a subsidiary lowered pay in this period (Gibbons&Murphy, 1990, p.35). Most surprisingly however, is the result of cash holding and acquisitive behaviour by firms. Lower cash holdings relative to current liabilities raises pay, as does expansion through take-overs (Gibbon&Murphy, 1990, p.39). Firm growth by take-over which results in the firm being cash poor is a strategy for managers which raises pay considerably, despite other evidence which suggests that such behaviour does not enhance firm performance. Indeed such a strategy left firms highly vulnerable to the subsequent recession. This may be explicable if increasing firm size improves managers outside options. Either way this result raises questions about the degree of effective control of top managers pay and over decision making concerning who controls and benefits from take-over decisions.
Thus, highly individualistic approach to employee remuneration produces strong incentives for high performance of employees, but will also result in a gamesmanship, zero-sum competition, sequestering of information, and the chaotic pursuit of tangential projects having little strategic fit with the organization's competencies or overall direction [Maidique 1980]. In the absence of any group or team identification, individuals are more likely use organizational resources to satisfy self-interests [Wagner and Moch 1986]. Further, many tasks can be left incomplete as individuals are unable to obtain cooperation from those having the expertise and resources necessary for implementation of the company mission.
However, in a strongly collectivist environment group performance and reward systems can encourage "free-rider" or "social loafing" syndromes on the part of specific individuals. Further, tasks become over-segmented, such that individuals lose sight of the larger project and concentrate only on their assigned duties [Peters, 1987, p.78). Compromise is highly valued, as is acceptance of group norms and roles. The result can be mutually acceptable incremental solutions, as opposed to more controversial breakthrough innovations. In the final analysis, the collective will work to resist significant change, while fostering imitation and adaptation.
Tropman and Morningstar [1989, p. 123] explain, "in a firm where unity of interest is the dominant theme, emphasis on the creating of some diversity, heterogeneity, and internal organizational friction are necessary to get the supply of new ideas required for continual achievement." The highest levels of employee performance will occur when a fairly balanced amount of consideration is given to the needs of the individual and the collective. This quasi-balance would seem consistent with Waterman's [1987] concept of "directed autonomy." Respect for the individual combined with personal incentives (financial and non-financial) are necessary to spur employees to tap their creative potential and develop novel concepts on a continual basis. Moreover, individual autonomy and a sense of ownership of innovation encourage the risk-taking and significant persistence required to implement the goals of the company.
Rosabeth Kanter, in her book The Changemasters [1983], explains (p. 410), "There ate times when autonomy and individual responsibility, are more important than participation and team responsibility . . ." At same time, the complexity of many new product opportunities, combined with technological constraints, the diversity of markets, governmental restrictions, uncontrollable economic developments, and the need for partnerships with suppliers and distributors suggest a degree of teamwork and well-coordinated task integration are vital for the company success. Thus the single-minded employee must be adept at crafting coalitions and building teams who feel a strong sense of joint involvement and contribution (Kanter, 1983, p.76).
The key in establishing rewards for employees is to balance the need for individual initiative with the spirit of cooperation. Individuals are needed to provide the vision, unwavering commitment, and internal salesmanship without which nothing would be accomplished. The company employees do more than provide functional expertise or perform specific tasks. They modify and adapt the innovation as new and unanticipated obstacles arise, all the while being kept on track and spurred on by the individual champion. And, in the final analysis, it is this amorphous group that takes ownership of, and credit for, the end-product.
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About the Author
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Are there any writers out there who don't want to make money from writing? Who don't want to earn a living from their writing? Who don't want to become rich from their writing?
Well, there probably are. And that's fine. But this article isn't for them. This article is for you. You who knows that you can't wake up in the morning without the itch in your fingers, can't get through the day without putting pen to paper or fingers to keyboard, you who can't listen to a conversation on a train, a bus or at a coffee shop without thinking, "I've got to write that down and use it in my next story", and you who sees many things in life as great story ideas.
Write and grow rich is for you.
Now, this is not entirely about getting financially rich from writing. But apply the following advice and you stand a great chance of making that happen. Riches do come in many forms, one of which is money. But the many other forms of riches life has to offer are also yours for the taking when you follow the lead of the greats of writing, storytelling and inspirational thinking.
So let's have a look at the 7 essential elements that will help you to write and grow rich.
1. Desire
This is absolutely the most important step in achieving success in any endeavour, and ignoring it will mean almost certain failure. Putting it simply, you have to want it! Whatever your writing goal is - whether it's to be a bestselling novelist, a successful screenwriter, to win a short story competition, to write for a national newspaper or magazine, or simply to finish something you've started, you must want it so much that the thought of it inspires a physical reaction in you, and the lack of it causes you both emotional and physical pain.
Does this sound extreme? Maybe. But you must have a deep, intense desire to make your writing dreams come true. So let's put first things first - what is your magnificent obsession? What do you want more than anything else? Got it? Write it down and let's move on.
2. Faith
It is imperative that you believe you can achieve your goal. It is also imperative that you believe in what you are writing, and why. JK Rowling said that it was her belief in the story of Harry Potter that kept her going through 5 years of planning the entire series and then the writing of the first novel. With absolutely no promise of publication and being well aware of how difficult it is for an unknown author to get published, she could easily have let economic and personal difficulties overwhelm her and quit writing. But it was an overriding sense that she had to do right by the book that kept her going.
So your second step is to examine your own commitment to what you are writing. Do you believe in the story you are telling? Does it mean anything to you personally, or to the world in general? And if you are writing non-fiction, do you believe in your topic, your point of view, and the value of what you are bringing to the world? Faith in yourself, and in your work is the one thing that has been known to work miracles.
3. Imagination
This may seem obvious, and yet it needs to be said. It is imagination that sets great writers and storytellers apart, just as it sets great artists, businessmen and movie-makers apart. Imagination falls into two categories - the creative and synthetic imaginations. And both are equally important to you as a writer.
Examples of the creative imagination are of course JK Rowling having Harry Potter stroll fully formed into her mind while she was travelling between Manchester and London by train, and then spending the next four hours creating Hogwarts and the major cast of characters in her mind. Then there's anything Stephen King has ever written, from what happens when a dead pet resurrects itself, to what would you do if you were trapped in your car when your family dog turns rabid.
Great uses of the synthetic imagination (when the mind takes elements it already knows and recognises, and puts them together in new ways) are also abundant in fiction. How many variations on the classic boy meets girl, boy loses girl, boy gets girl, have you read or seen? Hundreds, probably. And what about James Cameron's epic film, Titanic? We all knew the boat would sink, we'd all seen it countless times before, but we still flocked to the cinema, enchanted by Cameron's incredibly believable characters, Rose and Jack, and their moving but short lived love story.
So if you're a fiction writer, don't fall into the trap of thinking you have to dream up something that has never ever been seen before. Simply look at what you like to read and write about, and put a new angle, or twist on it, and then go for it.
For non-fiction writers, it's open slather here. Simply pick your topic, take a fresh look at it, create a new angle and get into it. Your expertise and opinion matter certainly, but use your imagination to create a new way for your readers to see your topic, and you will have a ready-made audience.
4. Specialised knowledge
Many fiction writers have woven their own interests and areas of expertise into their novels. CS Lewis created a world rich in Christian symbolism, to reflect his own beliefs. John Grisham is an ex-lawyer who writes compelling courtroom dramas. Patricia Cornwell is a former medical examiner, and Candace Bushnell wrote about her own newspaper column in Sex and The City.
These are all excellent examples of how you can turn your 'real-life' career into the basis of life as a novelist. Of course there are also countless examples of authors who carry out extensive research, moving from one topic to another as they build their catalogue. Either way, to create a believable world is, for the fiction writer, as important as building credibility in your field is to the non-fiction writer. The upshot is, that one way or the other, you need to acquire some specialised knowledge if you are to write in a way that captures your audience. Whether you parlay your own knowledge into your work, or acquire what you need through research, it's important to remember, that we are first and foremost scribes, reporting stories to the people around us.
5. Organised Planning
I am a great believer in planning. For the fiction writer, having a story plan, whether for a short story, novel or screenplay, ensures you keep yourself on track, not winding off down dead ends and blind alleys. For the non-fiction writer, it's a matter of doing your research, gathering your notes, and writing an outline before you set about the main task of writing your article or book.
But organised planning for the writer means much more than planning the story, book or article you are writing right now. It also means planning for your own success as a writer. Travelling back to the first point, desire, you had to write down what you wanted to achieve as a writer. Have a look at that now. How are you going to get there? What steps can you take, starting now, that will move you in the direction of your goal? Saying you want to see your screenplay nominated for an Academy Award is a fine aspiration, but if you don't even have an idea yet for your story, how do you think you're ever going to be treading the red carpet?
So putting together an organised, step-by-step plan to get you from where you are now, to where you want to be, and adding a timeframe for your goal's achievement will be an important step to getting you where you want to go. A great way to do this is to work backwards from your goal, imagining what came immediately before the goal, and then before that, and then right before that, until you have the step that you need to take RIGHT NOW to move you forward. It may be something as simple as buying yourself a special notebook to jot down your ideas, but whatever it is, it is one important step toward you achieving your writing desire.
6. Persistence
It has been said that persistence outstrips all other virtues, and when it comes to achieving success as a writer, I truly believe that, other than being ready when your opportunity comes, persistence is the one quality that will absolutely guarantee your success. JK Rowling would never have been the phenomenon she became if she had never finished her first book, would she? And remember she wrote several adult novels that never saw the light of day, before Harry turned her life on its ear. Stephen King wrote several novels before he hit pay dirt with Carrie. Jonathan Livingstone Seagull was rejected more than 200 times before being published. Matthew Reilly began his career as a self-publisher and is now one of Australia's most popular authors. His persistence, and self-belief paid off.
So whatever you are writing, stick with it. Persistence is the one thing, along with a thick skin, that you'll need in abundance to crack it in the competitive world of publishing. And remember, the so-called "experts" don't always know it all. The man who handed JK Rowling her first advance, a mere £2,500, advised her not to give up her day job as "no one makes any money out of writing children's books". 12 years and over $1 billion later, I think she's proven him wrong. Who are you going to prove wrong?
7. The Sixth Sense
This may seem like an unusual thing to suggest, but I truly believe that those who achieve great success as writers have an intuitive sense about which stories are the ones that are worth pursuing and which ones are better off left behind.
I advocate that you should pursue the ideas that "scare you a little, and excite you a lot". This is a simpler way of describing the 'sixth sense' idea and also may be easier for many of you to measure. As an example, JK Rowling said that when Harry appeared to her on that train journey, she had an actual physical response, unlike anything else she'd ever felt before with her writing. She felt quite light-headed when she got off the train, and likened the feeling to that delicious feeling at the start of a love affair.
Is this the sixth sense? The case could be argued either way. I am merely suggesting that the more in touch you are with your intuition, the more likely you are to be able to distinguish between the "Harry Potter" ideas and the "dead horses" that Bryce Courtney describes having experienced, when he just knew that an idea had run out of steam for him.
So those are the 7 steps to Writing and Growing Rich. Type them out, paste them up near where you write and refer to them often. And as you advance confidently in the direction of your dreams, may you experience success unexpected in common hours.
About the Author
Suzanne Harrison is the founder of Writers Central, online creative writing school and community. Specialising in all facets of fiction writing, Writers Central offers exceptional courses, a vibrant community forum and non stop writing tips and techniques. http://www.writerscentral.com.au
When the Devil Gets a foothold: Turn Bobby Jones off "CHRISTIAN!!!" -Part 2 of 4
Writing for magazines is a great place to freelance because you can earn a good paycheck writing cover stories, features, how-to articles, interview pieces, product or travel destination reviews, and other types of articles. Plus, your byline will promote yourself as a freelance writer to the public.
Follow these tips:
TIP #1: Most of the articles you will write for magazines will be between 800-1500 words.
TIP #2: Know the magazine before you submit your article. There's nothing worse than submitting an article with the wrong style, topic, or editorial slant to an editor who doesn't publish that kind of article.
TIP #3: If you aren't familiar with the magazine editor and the editor isn't familiar with you, then submit a non-seasonal article (not specific to a time frame) for consideration.
TIP #4: Once you have written your article, study the Internet for the best possible way to write query letters or proposals.
TIP #5: Plan out your article in a well-organized, thoughtful manner. Editors want strong openings and fantastic conclusions.
TIP #6: Pitch an article or query letter to one of the many departments in the magazine. Writing short articles for departments or topic-specific sections is easier to break into.
TIP #7: Articles for print must be better than the articles you write for the web, especially SEO content. Editors expect exceptional work. These days editors expect you to interview sources, gather facts from newsworthy sources, and provide photos or illustrations to accentuate your article. However, with more and more newbie editors coming onto the scene to start a magazine with family money, try to keep your options limited to magazines with good, stable editors who know the business. For instance, freelance writers consider established newsstand magazines as the upper echelon of magazines in the industry. Approach them first. The pay will be better and so will the exposure for you as a writer.
TIP #8: Know your audience. If you don't know your audience, you will not be able to write material aimed at the magazine's readership.
TIP #9: Know what will interest your readers. For example, High Roller Magazine does initiate sales from High Rollers, or at least people who consider themselves to be high rollers. Covering articles on choice destinations with great rooms or a highly profiled tournament should appeal to an editor of a magazine such as this.
TIP #10: Know what topics are highest in demand.
SUBMISSION GUIDELINES
For detailed submission guidelines of many magazine, F&W Publications publishes annual market directories, such as the popular Writer's Market. These annual directories can offer some submission guidelines. I recommend you subscribe to Writer's Market Online, where the publishers routinely update listings and guidelines for magazines and other markets. If you want to sell what you write and make money as a freelance writer, you need Writer's Market Online. In addition to listing magazines that are open for submissions, Writer's Market Online also lists writing opportunities for syndicate services, websites, annual specialty magazines, and special one-shot publications. FreelanceWriting.com also maintains a free database of magazines that pay freelance writers for articles.
You can use Google to find magazines, websites, and other media outlets that hire freelance writers. Use the phrase "writer's guidelines" and/or "submission guidelines" in the search box. You may also want to add a modifier to your search, such as "pets," or "travel," or "technology," etc., depending on what markets you want to find.
By knowing the names of editors and publishers, how to contact them, and what their current editorial needs are, you are that much closer to selling your articles. Furthermore, these directories provide hints and tips on how to submit your material. Each editor and each magazine has different editorial needs and how they accept pitches from outside freelance writers.
Since offline magazines receive hundreds of submissions a month from writers, you must submit your work professionally. If you don't know what editors look for in their submissions, you need to read a couple of the issues. Most, if not all, magazines are available at your local bookstore or supermarket. Buy a copy. Visit each magazine's website (all of them have one) to review their editorial calendar, articles they have recently published, and what they are covering in their next issue and future issues. Each magazine's website will give you valuable hints and insight about what editors are publishing and what they are looking for.
Print magazines are not your only market to sell your articles. Many online magazines are sprouting up on the Internet, and their editorial needs are the same as print publications. The field is wide open.
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Brian Doyle (born in 1935) is a well known Canadian author, whose children's books have been adapted into both movies and plays. He lives in Ottawa and the stories are drawn from his experiences growing up in Ottawa and the surrounding area. Among Canada's most distinguished authors of middle-grade and young-adult novels, Brian Doyle is acclaimed as an exceptional storyteller as well as a talented writer whose works reflect both insight and sensitivity in depicting the moral dilemmas of young people. Doyle's books take place in both historical and contemporary periods and his sense of humour is considered one of his most appealing features. His writings evoke a strong sense of location, reflecting urban Ottawa and the Gatineau Valley-which lies to the north in the province of Quebec. Angel Square and Easy Avenue are set in Ottawa in the 1940's and 50's; Spud Sweetgrass represents Ottawa in the early 1990's. Uncle Ronald and Covered Bridgedraw on Brian Doyle's childhood memories of the Gatineau Valley. Writing in Books for Young People, Eva Martin called Doyle "one of the most daring and experimental writers of young-adult novels. He deals with the most sensitive of issuesace, violence, anti-social activity of all sortsith a tongue-in-cheek humor that never denigrates the human spirit." Writing in Magpies, Agnes Nieuwenhuizen concluded, "Perhaps Doyle's most extraordinary feat is that there is never a sense of design or message or moralising. What shines through his work is a breath of vision and tolerance and a quirky exuberance and curiosity even in the face of adversity and resistance." Many of Doyle's most popular early novels are collected in the 1999 anthology The Low Life. Born in Ottawa, Doyle grew up in two "homes": his family's home in the ethnically-diverse section of Ottawa where he spent the school year and a log cabin on the Gatineau River near Low, Quebec, about forty miles north of town, where he spent his summers. Doyle's memories of his parents, siblings, and neighbors as well as the landscape and atmosphere he encountered as a child greatly influenced his writing, as did his experiences raising his own two children. Doyle grew up in a home with a rich story-telling tradition but his home life was difficult. His father was cruel when he drank and his mother, who cared for Doyle's mentally disabled older sister, Pamela, as well as for the rest of the family, was often overwhelmed. When he was in the eighth grade, Pamela, who had Down's syndrome, passed away; Doyle's memories of Pamela and the toll her caretaking took on his mother, has led him to include several characters with disabilities in his books. In high school at Ottawa's Glebe Collegiate Institute, Doyle began submitting short stories to magazines, some of which came back with personal rejection letters. However, writing only occupied a small part of his teen years. Doyle played football, won medals in gymnastics, and published poetry in the yearbook; he also fought, stole, and skipped school. After graduating from Glebe Collegiate, Doyle attended Carleton College in Ottawa, where he majored in journalism and met Jackie Aronson, the woman he would later marry. Just before graduation, he won a prize for an essay he wrote on the Gatineau River Valley; right after graduation, he became a reporter for the Toronto Telegram. He soon left journalism to teach high school in Ottawa; he also completed the course work for a master's degree in literature at Ottawa University, but left before writing his thesis. While working as a teacher, Doyle continued his writing, working as a columnist for a local newspaper and publishing a short story in the literary magazine Fiddlehead. After he and his wife adopted two children, Megan and Ryan, and became involved in local theater, his writing took a new turn when he began writing well-received plays for his students. Doyle also became somewhat of a celebrity when one of his articles on the poor quality of teacher training was quoted in the Toronto Globe and Mail. Offered a position at his alma mater, Glebe Collegiate, Doyle became head of that school's English department and continued to write well-received student plays, including ten musicals and a satirical parody of Shakespeare's Hamlet before retiring from teaching in 1991. Doyle published his first book for young readers, Hey, Dad!, in 1978. 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A discussion of culture and translation in the play "The Glass Menagerie, Tennessee Williams
There are several aspects involved in the process write a book. Opposed to what some may think of that commerce, not simply the easiest and most accessible to express our feelings. By contrast, requires hard work and a lot of thoughts that come from our personal and collective experiences. It is possible to affirm that all content is the result Literature of a consultation process, along with the art of making use of reality through their own influences, namely the author's cultural background - their habits, beliefs, language and lifestyle. For this reason, you can always read a book in North America and then, unlike other ways of writing. Therefore, the main objective of this study is to analyze the adaptation of The Glass Menagerie (O Vidro Zoo), Tennessee Williams, Portuguese, with special attention responsible for the actresses playing the characters of Amanda and Laura Wingfield. What cultural differences can be seen between North American and Brazilian versions of the Glass Menagerie? Where are these differences? However, before discussing these questions, I will present some definitions of culture, multiculturalism, and translation to support my views later.
According Dereti (1980), culture is everything that humans have created, discovered, constructed, transformed, and developed over time. In this way, culture can also be defined as "a lot of knowledge, beliefs, principles artistic and moral, laws, habits and skills acquired by humans as members of a social order "(DEMO, 1987, p. 61). Through Banks and McGee (1989), culture is not concerned with its artifacts, tools or other cultural elements, but how members of one group interpret, use, and perceive. In turn, Albo (2005) defines culture as a concept related to identity. He states that people tend to recognize as part of a group due to common characteristics shared with other members as well as the differences grow in relation to others. In addition, after noting some definitions of culture, Gomes (2008) shows his anthropological concept. According to his words, culture is the way to act in society, which gives the sense of a system coherent thinking, doing, before the absolute positioning and, finally, reproducing ourselves. As a final example, by exposing one of the first notions of culture proposed by Edward Burnett Tylor, Laraia (2004) warns us saying that every cultural system is always subject to change. Like many, understanding this dynamic is important to reduce conflicts between different generations and avoid stigmatized behaviors. " In the same way that it is crucial to understanding differences between people of different cultures, it is necessary to understand the differences that occur within a different system (Laraia, 2008, p. 101).
As all these considerations of culture, we can think about the following questions: Is it possible to dialogue with the difference? Can two different dialogue groups each other and contribute to the improvement of others? This, as some researchers have argued, refers to the process of multiculturalism. But what does it mean? Of According to Albo (2005), multiculturalism is between social groups and people from different cultures. Moreover, the author presents the difference between negative and positive intercultural contact. The first is to happen when there is a kind of destruction of what is culturally different - that is, when the interaction makes their reduction or assimilation. On the other hand, the second type of contact occurs when active intercultural respect to the different and therefore promotes its improvement through a process of mutual learning. But only involves intercultural respect for the different? In connection with this hypothesis in the context of education, Walsh (2001, p. 10-11) argues that multiculturalism is a process of negotiation and translation ", where social, economic, and political relations and conflicts related to social power are not kept hidden, but, by contrast, are recognized and confronted. "In this perspective, we can say that intercultural involves much more than respect, as defended, for the most part, on the other.
Moreover, in order to point out the differences between the play The Glass Menagerie and its adaptation to the Brazilian context, it is important to focus on some theories on the subject of translation. What how culture influences the way of translating? In a more restricted point of view, how many changes occur in two different adaptations of the work itself? However, before discussing these issues, it is necessary to characterize some of the traditional approaches to translation studies, or literal (word for word) and free (sense-of-way) of translation as well as questioning the postmodern concept of translation, namely, the one anchored in what has been called the theory of deconstruction. As Munday (2001) said, a literal translation refers to the act of translating a given text in the target language as expressed in the original version, in this case, the translator searches for words that correspond to those used by the first author. On the other hand, translation freedom that occurs when the translator is not linked to the words and structures of the first version, for this reason, he / she usually changes some constructions in the text, although it always tries to preserve its "original" meaning. Unlike these approaches, the postmodern concept of translation is related to the principles of the theory of deconstruction. In particular, this conjecture is opposed to the idea logocentric, which refers to the idea of a world inhabited by the unique and fixed meanings. With reference to language, deconstructive philosophy tries to show that any text is an all off, but instead maintains a bunch of contradictory meanings, and that the text provides more than one interpretation. As a result, Arrojo (1992) states that any translation also reflects the subject-translator, the historical moment and cultural community that produced it. Thus, the translators are recognized as authors, to be precise, in the senseproducers, as it is expected that the dialogue with two different cultures to express a particular message.
With the support of this theoretical framework Generally, if we believe that translation is always the product of a cultural exchange, it becomes possible to compare the performance of the actresses who play Amanda and Laura Wingfield in America North and Brazilian versions of The Glass Menagerie. However, in order to do so, it is essential to note that, among several aspects, some which are usually more difficult to translate into a play, such as the accent of the characters and language varieties and their gestures and socio-historical moment where the story takes place. Consequently, there could be different with The Glass Menagerie, which presents a typical family in the southern United States seeking to achieve the American dream of happiness, peace, and wealth at the time of the Great Depression. So how could a Brazilian adaptation of the environment environment must accurately represent all aspects created by the author in the first place, in this case, Tennessee Williams? In fact, we can read the original version of the work and expect the same views of their adaptation to the Brazilian? What about the southern accent, it could not be represented by actors and actresses of Brazil? What the feeling of loss that had the U.S. over 1929-1939, how could a Brazilian playwright represent a fact to which viewers are recognized in history and at the same time to understand what happened in another context?
To illustrate these questions, you should refer the presented two versions of The Glass Menagerie. The first, produced by Anthony Harvey in 1973, we can see that both Amanda and Laura are very well played by Katharine Hepburn and Joan Miles, respectively. According to the cultural context proposed by the play, they seem to be very close to their characters, both in terms of reproduction of his accent and language varieties, and gestures. For example, when we read the scenes in which Amanda takes part, we have the impression that she always talks too much in order to escape reality. In adaptation works for American television, we have confirmation of this idea, as Katharine Hepburn tries to faithfully reproduce even the gestures as Amanda in Tennessee Williams - Such as how to behave and talk to other people. In connection with Laura, exactly the same, for any reason Joanna Miles accumulated their performance with a good sense of kindness, sensitivity and strangeness, which is combined with the metaphorical image of blue roses, as a result, the television seems Laura be very similar to the work. On the contrary, if we compare this version of North America to its Brazilian adaptation Cássia Kiss and actresses playing Karen Coelho Amanda and Laura Wingfield in that order, we will see many differences between their performances, the performances of the other actresses, and the personality of the characters. Cássia Kiss, for example, seems a different Amanda since she exaggerates to some extent in their gestures - after all, she is a Brazilian actress. In addition, Karen Coelho Laura presents a dementia, which does not comply with its characteristics in the work. In this way, how could we see and / or define these differences on the basis of theories on culture, multiculturalism, and translation?
In the word of Karamania (2002), as translators
"We are facing to a foreign culture requires that your message is conveyed in anything but an alien way. That culture expresses its idiosyncrasies in a way that is "a cultural issue" cultural words, proverbs, and, of course, idiomatic expressions, whose origin and use are intrinsic and related to the culture in question. So we are called to make an intercultural translation whose success will depend on our understanding of the culture we are working. "
In this way, we can say you can not simply transfer the meaning of a message from a certain language to another, there are a lot of cultural aspects to consider in this process. As soon as to The Glass Menagerie, for example, how could the accent of the characters played in the Brazilian context, without losing their originality? How Blue Roses metaphor could be transferred into Portuguese of Brazil, without losing its importance? In the first case, the drawl of the United States could be represented by the Brazilian northeast accent, ie a type of discourse whose cultural representation is analogous to the original version. In the second case, such as pleurisy (Pleurosys) does not rhyme with Rosas Azuis Portuguese and English, Brazilian adaptation of the work focused opted for another way to explain the presence of the Blue Roses nickname in history, to be precise, instead of referring to it as a partnership Pleurosys with the disease in Portuguese were described Laura's cheek, as a result of his time with pleurisy. On these examples, we can conclude that culture is something very important in the translation process as it determines how readers and viewers understand the contents of the text and as such, to grasp its meaning. In addition, in connection with The Glass Menagerie, one can observe two theoretical perspectives in their translation, ie interculturalism and deconstructive n. One takes for the reason that the Brazilian version of the work is constantly seeking dialogue with the culture of North America, which can be seen in the gestures of the characters of Amanda and Laura Wingfield. On the other hand, the deconstructive approach in translation can be viewed in the attempts of several of the Brazilian adaptation ressignify original content of the work to another base, or through other cultural representations (Hall, 2006).
In short, through this essay intends to discuss some of the problems in the translation of the work Zoo glass, Tennessee Williams, in Brazilian Portuguese, with special attention to the results of the actresses who played the characters of Amanda and Laura Wingfield in American and Brazilian versions. However, I have therefore chosen to divide the text into two parts. First, it presented some theories on culture, multiculturalism, and translation. Secondly, we discussed the cultural aspects involved in the adaptation of the work focused on the Brazilian context. One of the main ideas presented in this paper was the fact that all the translations tend to ressignify original version of a text, which in turn, is seen as always incomplete and as such can be (re) construct cultural based. After all, from the cultural meanings are created and transformed into the texture of the tongue, it can be said that the act translation is only an attempt to regard a particular culture through different eyes.
References
Albo, X. Culture interculturalidade and inculturação. Palmas, Loyola, 2005.
ARROJO, R. (Org.). Or Sign deconstructed: implicações for a tradução, a leitura eo ensino. 1. ed. Campinas: Pontes, 1992.
CANDAU, VM Direitos Humanos, educação e interculturalidade: between tense as igualdade and Diferença. In: Revista Brasileira de Educação. V. 13. n. 37. Pontifical Catholic University of Rio de Janeiro, 2008.
DEMO, P. Sociology: uma introdução critical. São Paulo: Atlas, 1987.
DERETTI, T. Culture. In: Introdução à sociologia. Porto Alegre: FEPLAM, 1980, p. 17.
GOMES, MP Anthropology: Ciência do homem: Philosophy of Culture. São Paulo: Contexto, 2008.
HALL, S. A Na pós-cultural Identidade modernidade. Trad. Tomaz Tadeu da Silva Lopes Louro and Guacira. Rio de Janeiro: DP & A, 2006.
Karamania, Translation AP and Culture. In: Tra nslation Journal, v. 6, n. 1. 2002. Available. Reviewed at: November 5th, 2009.
Laraia, RB Culture: Anthropological Conceito um. Rio De Janeiro: Jorge Zahar, 2008.
Munday, J. Introduction to Translation Studies: Theories and applications. London: Routledge, 2001.
WALSH, C. The Education of intercultural education. Peru: Ministry of Education, 2001. Mimeograph.
About the Author
Marco Túlio de Urzêda Freitas is undergraduated in Letras (TEFL) at the Federal University of Goiás (UFG). Currently he is a student of the Masters' Course in Linguistic Studies at the UFG and works as an English teacher at two projects entailed to the same university: Language Center and Intercultural Teaching Course for Indigenous Teachers. Also, he takes part in two research groups: Studies in Foreign Language Learning and Teaching and Postmodern Linguistic Perspectives on Identity, Subjectivity, and Knowledge. His main academic interests are: Critical Foreign/English Language Teaching and its Implications to Critical-Reflective Education of English Teachers and Students, Intercultural Teaching of English, and Poststructuralist Topics Related to Language Education, such as Nation, Class, Race, Gender, Sexuality, Capitalism, Science, Colonialism, and Popular Culture.
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