Proofreading - My Top 12 Tips by Pete Wise

If you're producing any kind of professional writing, proper proofreading is essential. As a freelance copywriter, nothing looks worse than if I make a basic error or leave in a typo, though even I get it wrong sometimes. So, at the risk of setting myself up for a fall, here are my tips for getting it right.

1. It's a tough job. So get someone else to do it. Especially as a fresh pair of eyes are more likely to pick up what you've missed. Once you've written something down, it can be hard to read what you've written clearly, seeing instead only what you intended to say.

2. Failing that, wait a few hours or preferably till the day after you've written it before you proofread your own work.

3. Avoid distractions - try and proofread in a quiet environment.

4. Read what's written aloud to help spot missing words or dodgy phrases.

5. Common errors include inconsistencies of style, changing tenses, extra spaces, different font sizes, irregular line spacing or other formatting and repeated full stops.

6. Put yourself in your target audience's shoes. Are you really clear in what you're saying?

7. Be suspicious of every word if you want to catch all the mistakes.

8. If you tend to make the same errors, be extra careful when you're checking those particular words or phrases.

9. Check and check again. Professional editors may proofread a piece up to ten times.

10. Be especially vigilant when it comes to any text in capital letters - it's harder to spot upper case errors.

11. Print out pages for the final check - it's often easier to see errors on paper than on screen.

12. Never, ever just rely on your computer's spell checker. For one thing, it can't work out what spelling is right for a particular context - "two" or "too", "who's" or "whose" and so on.

Happy poofreading! (Whoops...)

© Peter Wise

* Peter Wise is a freelance copywriter and SEO copywriter who also offers a complete website and copy package. Based in London, UK, he also writes ads, direct mail, brochures, newsletter articles and press releases. If you're looking for a freelance copywriter, please call 44 (0) 7767 687524 or visit http://www.ideaswise.com/

7 Elements Of A Perfect Website Copy That Converts by Cleva Smith

A perfect website copy is the one that converts visitors into clients. In order that this happens, there are 7 key elements that a writer must incorporate in the article before it can work this way. Let us consider the elements and see how they are relevant in the conversion.

1. Has a compelling offer

Maybe we should define the meaning of the term compelling so that you understand how this element works. When an offer is compelling, it is probably irresistible. You would feel the temptation to take the offer any time. So, a writer would need to make sure that they give a reader such an offer.

The best way a writer can do this is to explain to the reader in clear and concise terms how the products and the services being marketed would be of value to them. It is the value that readers look for, not the cost, not the name either.

2. Targets the right audience

Yes, a writer must first of all identify the audience before they can start writing a copy. This is very crucial because in the writing, the writer needs to connect with the readers and certainly you will all agree that you cannot connect with someone you do not know.

Understanding your audience is about understanding their needs, fears and above all what they would want most. Try to figure out what you target market would appreciate most before you start communicating.

3. Must have reasons

The reader is very smart. They must not see that you are into marketing strategy. You need to convince they why they are the right people for the message, products, site and why they are not lost being in the site. These answers must flow and they should be convincing.

Never try to bring so many points together at once. At least, you need to be sure that the reader will not have any 'why' questions unanswered while reading the copy.

4. Must call for action

Even though you are not forcing the readers to take action, it should be clear from the copy that there is an action they are supposed to take. So, you need to state clearly what you want your visitors to do in the copy.

5. Does not give room for next time

It should be clear at the copy that the time for action is now. This can be done when you answer all the visitor's questions and they have nothing else that they would want to think about. As in, they feel the information is adequate and what they need is just to make their orders.

You must be focused in the call for action. Do not expect so much from the readers. You must have one intended outcome and let it be.

6. Must have sense of credibility

Readers are very wise. You have to give them enough proof that your claims are true. They need to see some testimonials and even case studies at least so that they are sure.

7. Finally, a perfect copy must use the right words

While trying to craft a professional website copy, perfect choice of words is the number one thing you need to ensure. This would invoke emotions hence the readers would take the desired actions without coercion.

No doubt, this is one of the most crucial services that a copywriting agency would offer. It has the power to build or break a business.

PlayShakespeare.com Joins Forces with The Shakespeare Society

PlayShakespeare.com, a comprehensive free website devoted to all things Shakespeare, has established a working partnership with The Shakespeare Society in New York City. The two organizations will collaborate in cross promotion and support.

PlayShakespeare.com, in addition to producing its own Podcasts, will collaborate with The Shakespeare Society on Shakespeare Talks. The programs, produced in New York City, feature interviews, seminars, workshops and backstage passes with noted Shakespearean experts, educators, directors and actors. The first of the series features an interview with author of The Shakespeare Wars, Ron Rosenbaum conducted by Davis McCallum. McCallum, who recently directed The Belle's Stratagem at the Oregon Shakespeare Festival, lives and works in New York.

The Shakespeare Society is a membership-based, non-profit organization that promotes Shakespeare and his works through seminars, workshops, and educational programs featuring stage performances by outstanding actors with illuminating commentary by noted Shakespearean writers, scholars, and directors. Its past participants include F. Murray Abraham, Stephen Greenblatt, Liev Schreiber, Patrick Stewart, Sir Peter Hall, Derek Jacobi, Philip Bosco, Marjorie Garber, Ralph Fiennes, and Claire Bloom.

In addition to offering online access to the complete works of William Shakespeare, PlayShakespeare.com features ongoing reviews of Shakespeare productions on stage and screen by a network of noted critics located in major Shakespeare "hotspots" around the world. Their commentaries on theatrical performances, books and films related to Shakespeare and his works are post regularly on PlayShakespeare.com under the guidance of editor-in-chief Denise Battista.

PlayShakespeare.com also produces the popular Shakespeare application for users of the popular iPhone or iPods. Anyone with iTunes can download the application, which contains the complete works of Shakespeare, free of charge.

In addition, PlayShakespeare.com roster of worldwide critics honor the best in Shakespeare with the website's annual Falstaff Awards, soon to be announced in February.

Related links:

The Shakespeare Society: http://www.shakespearesociety.org/

Podcasts on PlayShakespeare.com: http://www.playshakespeare.com/podcasts

PR Success Monthly E-Newsletter Is Launched

The January issue of PR Success Monthly, a new e-newsletter for PR and marketing professionals, features 10 top tips for handling PR in the recession.

The newsletter, published by New Venture Publishing, also includes the first of a regular "five minutes with..." slot in which editors explain frankly what they want – and don't want – from PR.

In the January number, Andrew Sawers, editor of Incisive Media's Financial Director magazine, points out: "The most successful PR people don't try to solve their client's problems. They try to help editors solve their readers' problems."

The e-newsletter has a feature on why singer and fashion designer Gwen Stefani became such a great celebrity endorsement for maternity fashion and children's goods retailer Mamas & Papas.

In the first of a regular series, Press Release Clinic looks at how to craft a release introduction which has editors sitting up and taking notice rather than reaching for their delete button.

And there's news of a survey in which 115 PR clients tell what they look for when they study proposals from agencies pitching for their business.

PR Success Monthly is free to professionals in public relations and marketing who register to receive it.

The January issue can be seen at http://www.prsuccess.co.uk/

Writing Fast: How to Write 10 Times Faster, Guaranteed by Jeff Bollow

How many times have you stared at a blank page, deadline looming, and felt the trickles of sweat on your forehead? Or cringed at the thought of writing a thesis, term paper, business proposal, or status report? Or dreamt of writing a book, novel or screenplay, but pushed it aside as "too difficult; it would take forever"?

Alright. Enough procrastinating. Let's cut through the waste and nail down the solution, right here, right now.

The reason you struggle with writing is simple: You think writing is an activity. But it's not. Typing is activity. Writing is a process. And the way to write ten times faster than you do right now is this: Find a systematic approach to that process.

My approach is the FAST System. It's got four simple steps:

Step 1: Focus your idea. All writing is communication, and the first thing to do is capture the essence of the idea you're trying to communicate. Brainstorm, map and plan your concept. See the overview. Give yourself a roadmap.

Step 2: Apply your plan. Once you've got your writing plan in place, get the words onto the page as fast as possible. And I mean lightning fast. Don't stop and re-read a word. You know where you're going thanks to the plan, now just get words on the page.

Step 3: Strengthen your words. If you've created your writing plan and then blasted the words onto the page, you're already halfway home. Now it's time to go through what you've written and strengthen it. How well have you expressed your idea? Mark up your writing. Some of it will have missed the mark completely; other sections will be pretty solid. Edit and adjust, and then repeat steps 1 and 2 if necessary.

Step 4: Tweak your writing. This is what most people do at the start. But that's what slows you down. Forget perfection at the start. Wait until you've created your plan, blasted words onto the page, and then strengthened those words until your idea is expressed clearly. Now tweak and polish your writing to make it a lightning fast read.

Ironically, the more you write fast, the faster you'll write.

Now, writing fast does not mean writing poorly. Quite the contrary. Writing fast means getting your words on the page as quickly and efficiently as possible. If you can talk, you can write -- they're two sides to the same coin.

Both are communication. Think about it. If you know what you're saying, the words come easy. So Focus, Apply, Strengthen and Tweak. You will be writing ten times FASTer in no time.

Guaranteed.

Jeff Bollow is an independent film producer, director, author, public speaker, film festival organizer, and entrepreneur. His book Writing FAST: How to Write Anything with Lightning Speed was an Amazon.com bestseller. He founded Screenplay.com.au and began teaching screenwriting in Australia when he couldn't find any screenplays to produce.

Sentence Fragments With Conjunctions: be a Rebel by David Bowman

We really like sentences that start with the conjunctions and, but, and or. But we don't like the way most writers do it. Every time you write a sentence that begins with these words, you create a sentence fragment, which is against the rules. However, breaking this rule for the right reason can make your writing more powerful. (Breaking the rules by accident usually results in poor writing.) Actually, you can create fragments with conjunctions in several ways. First let's look at the rules for using conjunctions, and then let's consider when it might be useful to break them.

Rule One: Coordinating conjunctions

Those three words are coordinating conjunctions, along with for, nor, yet, and so. The term conjunction means join together. This means that you have one part of your sentence joined to another part with one of these words. This is the formula:

Part One Conjunction Part Two.

To follow the rules, you must have a Part One and a Part Two. If you leave out either part, you will have a sentence fragment. Here are some examples of this rule applied correctly.

John loved Sally, and Sally loved Tom. The conjunction is joining two independent clauses (complete sentences, notice the comma).

Tom loved Mary but not Sally. The conjunction is joining the independent clause Tom loved Mary to the noun phrase not Sally.

Mary did not love John or Tom. The conjunction is joining two nouns.

Mary loved and admired Frank. The conjunction is joining two verbs.

Frank thought Mary was cute, but Tom was his friend, so he chased after Sally instead. This is like the first example.

John got upset with Frank and approached him in the parking lot after work. The conjunction is joining two verb phrases.


What do we learn from these correct examples, other than the fact that someone is going to have either a broken heart or a bloody nose? Each conjunction falls between Part One and Part Two.

Now consider this obviously incorrect sentence: John went to the store and. Part Two is missing, so this is a sentence fragment, meaning it is only part of a sentence. Now consider this incorrect sentence: But we don't like the way most writers do it. Part One is missing, so this is also a sentence fragment. Very few writers make the first kind of mistake, but many make the second (sometimes on purpose and sometimes not).

Rule Two: Subordinating Conjunctions

While Rule One is pretty easy to use, and errors with Rule One are really easy to fix, Rule Two is a bit trickier. First, let's define subordinating conjunction. A subordinating conjunction starts a phrase or clause that only has value because it tells something about an independent clause (think: complete sentence again). As an analogy, pretend you have a job. You have that job only because the company for which you work exists. You are subordinate to that company. Now pretend that one day you go to work only to find out that the company has gone out of business. Suddenly, you are without a job. In the same way, a clause or phrase that starts with a subordinate conjunction only has a job when it is attached to a complete sentence. By itself, it is unemployed. It is a fragment.

How can you identify this type of conjunction? We're glad you asked. This type of conjunction is recognizable by what it does. They do the work of adverbs, which means that the phrases they start tell something about the main verb. Subordinate conjunctions do one of four things: tell when something happened, show a cause and effect for actions, provide opposing information about an action, and establish some kind of condition for the main action to occur. Let's look at some examples from Precise Edit.

Time: Since kissing Mary, Frank felt guilty. Since is the subordinating conjunction, starts the subordinate phrase since kissing Mary, and tells when Frank felt guilty.

Cause and effect: Because Frank felt guilty, he told Tom what he had done. Because is the subordinating conjunction, starts the phrase Because Frank felt guilty, and explains the cause of his weird action (tell).

Opposition: Even though Tom was angry, he forgave Frank. Even though is the subordinating conjunction and starts the subordinate phrase Even though Tom was angry, which provides opposing information to he forgave Frank.

Condition: Unless Frank kissed Mary again, Tom promised to forget all about it. Unless is the subordinating conjunction, starts the subordinate phrase Unless Frank kissed Mary again, and establishes a condition for Tom forgetting.

What have we learned, other than the fact that Tom is perhaps too forgiving but perhaps a bit possessive over a girl who doesn't care for him? Each subordinate phrase needs an independent clause (still thinking complete sentence?) to have a job. By itself, the subordinate phrase, started with a subordinating conjunction, will be a sentence fragment. In each of these examples, the subordinating conjunction is at the beginning of the sentence, but the entire phrase could be moved after the main verb. For example, you could write Frank felt guilty since kissing Mary. (Notice that the comma is gone.)

Some other examples of subordinating conjunctions are:

Time: when, as, after, before, until, while

Cause and effect: now that, because, since, so that

Opposition: even though, although, rather than, instead of, while

Condition: if, in case, should, even if

Breaking the rules

Call us rebels if you want, but we think that breaking the rules is sometimes acceptable. If you do it carefully. When you create a sentence fragment, such as we just did, you create a hard pause in the reader's mind. You draw much attention to the fragment and what the fragment says. Basically, you are telling the reader, "Stop! Pay attention to this."

If you do this once in a great while, you won't be criticized by most readers. However, if you do this frequently, you make your writing tedious to read, and you will seem quite amateurish as a writer. A good editor should know when doing this is effective. Our advice is this: examine your conjunctions (especially your subordinating conjunctions) carefully and make sure that they are linked to complete sentences. Follow the rules first. Then, and only then, consider whether you can break the rule. Be a rebel, but be a careful rebel.

When you are ready for expert assistance with your writing, contact Precise Edit.

About the Author:

David Bowman is the Chief Editor of Precise Edit, a comprehensive editing, proofreading, and document analysis service for authors, students, and businesses. Precise Edit also offers a variety of other services, such as translation, transcription, and website development.

Self-Editing Improves Manuscript for Publishing

A writer who wants to publish often entrusts manuscript enhancement to expensive third-party editors. However, no one can do the first round of improvements better than the person who can best keep the written ideas closest to the original: the author.

Drawn below is EDIT. These are practical tips for a writer to self-edit before giving the manuscript to a publishing company. The acronym makes the guidelines easier to remember as a writer plans about how to get a book published.

Eliminate. Get rid of improper words and replace them with accurate ones needed to convey the message. To get the most precise word that describes an idea, it is best to use a thesaurus. When in doubt of the meaning of a word, consult a dictionary. Even if already repeatedly used, a word may imply another meaning when taken in a different context.

Try to eliminate the negatives. Using the word “not” is sometimes effective for emphasis. Nevertheless, sentences written in a positive tone are generally better and stronger than negative ones.

Design check. Another way of self-editing a manuscript is to check the design of the sentences. This means looking at structure, construction and even figures of speech.

Watch for passive sentences. It is always clearer to express an idea when sentences are in active rather than in passive voice. The subject-verb-object structure describes action rather than illustrates situations and this provides readers with an easier understanding of what a writer wants to tell.

Keep an eye for the right punctuation marks and avoid complex sentences as much as possible.

Be consistent and careful in using figures of speech: they must be within the context of the descriptions. Do not confuse readers by comparing something to a forest only to associate it later to an ocean. Using figures of speech is for a purpose, not just for a play on words. Use them creatively and logically.

Inspect. Thoroughly examine each sentence for accuracy of grammar and spelling. Check out your word processor for this application but be watchful in applying the changes to your manuscript.

Test. A writer must test how the message sounds by reading the manuscript aloud. This allows revision of awkward phrasings and avoids redundancy.

These are the four handy self-editing tips that are vital to the publishing process. To complete your publishing journey, you may request a free book publishing guide.

Xlibris was founded in 1997 and, as the leading publishing services provider for authors, has helped to publish more than 20,000 titles. Xlibris is based in Philadelphia, PA and provides authors with direct and personal access to quality publication in hardcover, trade paperback, custom leather-bound, and full-color formats.
www.xlibris.com/requestkit/index.asp?src=apr&key=rc

Just Jargon by Shalini Kagal

You do need jargon sometimes. Otherwise, there are times when people don't take you seriously. It's when jargon overpowers what is being said or puts it into the realms beyond understanding that the problems begin. Then, you either turn your reader off because he realizes that there is no content worth mentioning or you turn him off because he gets lost in the jungle of jargon and can't understand what you are saying.

If you are trying to impress the reader, forget it. You'll lose your readers so fast, there won't be anyone left to impress. A reader needs to feel that there's some kind of take-out value for him. So what you get is his time. And that's the most valuable thing you can ask for. In that time, you have to interest him, hold his attention and sell to him. The selling could be an idea, a way of looking at things, a product or a service.

What jargon very often does is to derail this process. It's a distraction unless it's very essential to the communication. Look at something you read the last time. Did it draw you in or turn you off? If it did turn you off, it could have been because it had nothing to say that you didn't already know, or it was boring or it had too much of jargonese. Try not to put the fences of jargon up in your writing. It will only keep the ones you want to attract away.

What exactly is jargon and how does one avoid the jargonese epidemic?

All jargon is not bad. It's when you use jargon for jargon's sake or to confuse or when you don't have anything worthwhile to say that it becomes de trop. There are times when you need to use jargon, when your readers are not simplistic creatures but highly skilled and waiting to learn more, be exposed to more. Then you can knock it to them and it would be more than welcome. But when you try to be superior, when you try to confuse, when you use jargon as a crutch to try to appear to know a lot more than you do, beware. It's a dangerous jungle you're entering and it could just swallow you up in its devious paths.

Finally, when it's a toss-up between the simple way to explain something complex and the jargon jungle route, remember that simple wins hands down every time. There will be more people who read it in today's fast-paced world and simple stuff goes down quicker and better as a lot of people don't have the patience to read anything afflicted with jargonese. So stick to the straight, the simple and the easy. Spice it up along the way with a stopover for a jargon high if you like but get back on the road very fast before the thrill of a jargon shower begins to irritate. The great old man of advertising, David Ogilvy always had a piece of advice for his creative teams: The consumer isn't a moron – she is your wife. While some might not see the difference, it pays not to treat your reader like a moron – they might just turn and walk out on you!

(C) Shalini Kagal
Writer and Rewriter
http://ohmtalk.com/

Starting Sentences With "it" by David Bowman

It is what it is, isn't it?

It's a bad habit to start sentences with it. It causes your readers to pause momentarily while they figure out what it is. It makes your sentences clumsy. It is true that doing so is an easy way to write a sentence, but usually it is not good writing. It even becomes a bit annoying when you do it too often. It is bad to annoy your reader.

Starting sentences with it is a bad habit. Your readers will need to pause momentarily while they figure out what it is, and your sentences will be clumsy. Writing this way may be easy, but starting sentences with it is usually not a good idea. If you do this too often, you may annoy your readers, which is never a good idea. Editors at Precise Edit have to address this issue often, and we offer the following help to writers.

A. 3 Problems caused by starting sentences with It

Problem 1. Buried subject

In most sentences starting with it, the real subject is buried somewhere later in the sentence. By real subject, we don't mean the noun or pronoun performing the verb in the predicate, which is called the grammatical subject. We mean the person, idea, place, or thing that is the focus of the sentence, which is called the rhetorical subject.

Consider this (poor) sentence: It is a real challenge to find a good deal on a car. In this sentence, it is serving as the grammatical subject because this word is in the subject place followed by the verb is. But what is this sentence about? It is about finding a good deal. [Note: We are willing to start this sentence with it because we have already told you what it is--this sentence.] Finding a good deal, therefore, is the rhetorical subject.

When we put the rhetorical subject in the place of the grammatical subject, we get: To find a good deal on a car is a real challenge. This can be further simplified to read: Finding a good deal on a car is a real challenge. Now the grammatical subject and the rhetorical subject are the same.

After editing, the sentence is more direct, and the reader immediately knows what we are writing about without having to wait, even momentarily, to figure out what it is. We have improved reader understanding, which is the goal of editing.

On the other hand, let's say you and your buddies are comparing all the daring, challenging things you have done in your lives. Everyone's life seems so exciting compared to your boring, unadventurous life. You want to prove that you are exciting, too, so you want to emphasize the challenge of finding a good deal on a car.

In this case, you could rewrite the sentence as: A real challenge is finding a good deal on a car. (Oh, boy! That will really show them who's boss.) They may still doubt your derring-do, but they won't doubt your ability to write well. With this sentence construction, the rhetorical and grammatical subjects are the same, as in the revisions above. A good editor will always make sure this is true.

Fix 1: Make sure the rhetorical sentence is also the grammatical sentence--at the start of the sentence.

Problem 2. Redundancy

Precise Edit has a very firm rule about redundancy: Remove it. By redundancy we mean writing 2 or more words/phrases/clauses/etc. that have the same meaning. As seen in the discussion of the first problem, using it to start sentences has the added problem of two subjects (grammatical and rhetorical) that mean the same thing: It means finding a good deal on a car. We only need one of these. Of course, we want to use the more specific subject, not the vague it, which has no meaning by itself.

When we place the rhetorical subject in the position of the grammatical subject, we are left with only one subject, and the redundancy has been removed.

Fix 1 (again): Make sure the rhetorical sentence is also the grammatical sentence--at the start of the sentence.

Sometimes it is buried in the sentence and still causes this redundancy. Consider this sentence: We don't like it when writing is redundant. In this case, it means when writing is redundant. To remove this redundancy, ask: What is it? You will answer: redundant writing.

An editor will get rid of it and add the answer to the question. Now we have We don't like redundant writing. Removing the redundancy has produced a far more economical and graceful sentence.

Fix 2: Remove redundant words and simplify the details.

Problem 3. Context confusion

Sometimes, the word it is used when the writer (or speaker) doesn't know what the subject is, doesn't want to reveal it, or thinks it is already clear. Of course, from the reader's perspective, the sentence may lose all meaning. The problem here is one of context. By context we mean the topic in which the sentence exists (i.e., what the sentence is about). The subject of a sentence, indeed, the entire sentence, needs to refer to the context, and using it may not do that.

If someone asks you, Do you like this car? and you answer, It is really nice your listener will know what you are talking about. He or she already knows the context of your statement: the quality of the car.

However, if you walk into a colleague's office and say, It is difficult for me you might get a strange look in response. Your colleague doesn't know what you are talking about and might ask, "What is?" He or she is confused, rightly so, and you will need to explain the context of your statement. Instead, you could have originally said, Making coffee is difficult for me. You may still get a strange look, but at least your colleague knows what you are talking about.

Fix 3: Make sure the subject refers to the context of the sentence.

B. Burying It

You have to be careful with your revisions. The word it might be buried in the sentence and still cause the same problems. When you edit your sentences, you need to watch out for this.

Consider this sentence: You know it is bad to tease angry dogs. This sentence doesn't start with it, but it suffers from problems 1 and 2. A good editor (or writer) understands how this sentence comprises one primary sentence and an embedded sentence. The primary sentence is You know, and the embedded sentence is It is bad to tease angry dogs. The embedded sentence has the problem and needs editing.

You can revise it to read: Teasing angry dogs is bad. The entire sentence will now read You know [that] teasing angry dogs is bad. (Hmm. We may now have a problem with the tone. If the person already knows this bit of wisdom, why are we saying it? Admitting that he or she already knows this seems a bit condescending. If we must make this statement at all, perhaps we should simply say Teasing angry dogs is bad and pretend that this is new information.)

C. Some fun (?) samples

It is clear to me that our main problem is the inability to fly without wings. Our main problem is the inability to fly without wings. [Since you said this, it must be clear to you! Saying It is clear to me is redundant]

It was a dark and stormy night. The night was stormy. [It means dark and stormy night, and most nights are dark.]

It only happens once every 70 years. Tomorrow night Halley's Comet will appear. Halley's Comet only appears once every 70 years, but it will appear tomorrow night. [This solves the context problem of the first sentence.]

It is a nice car you have in your driveway. You have a nice car in your driveway. [An even better solution might be A nice car is in your driveway, but this seems to lose the idea of ownership.]

Some people like it when the traffic lights aren't working because they can drive right through it. Some people like broken traffic lights because they can drive right through the intersection. [We would be very amused to see someone drive through the light!]

David Bowman is the Chief Editor of Precise Edit, a comprehensive editing, proofreading, and document analysis service for authors, students, and businesses. Precise Edit also offers a variety of other services, such as translation, transcription, and website development.

PR Expert Shares Press Release Tips that Earn Results

Earning publicity is top-of-mind for small business owners across America coping with a daunting economy and the challenge of delivering their messages effectively in a dynamic media environment. Those hungry to learn time-tested and proven ways to use press releases to build buzz can access a new and free audio file at PRLeads.com.

PR Leads Founder Dan Janal invited Publicist Nancy Juetten, founder of Main Street Media Savvy to share her tips to empower business owners seeking affordable and effective ways to earn publicity for their products, services, ideas, or cause.

Juetten queried dozens of publicists from across the nation to learn their best tips and strategies and incorporated their insights into this well-attended teleseminar. She also posted information-packed blog entries for December 1- 3 that addressed the topic of press releases in a deeper way

"Almost 300 people listened in to this call and many have raved about the useful tips, free resources, and suggestions that are packed within this one-hour teleseminar," Janal said. "Making this information available to business owners everywhere for free is a holiday gift that is timely and useful to share."

Among the top tips, Juetten recommends the following:

*  Press releases must convey real news. If you've got "puff" to share, don't. It's a waste of your time and effort, and it doesn't add value to the newsrooms either. News is timely, newsworthy, relevant, interesting, local - and most importantly - interesting.

*  The headline of your press release and the subject line of your email are the most important elements to inviting readership. If the headline is boring to you, it will most definitely be boring to a seasoned news veteran. Be creative in your approach. Have some fun. Look to the magazine racks for headline inspiration.

*  The press release format is one that the news media is familiar with. That means presenting information in the order of most importance and writing in a journalistic style. By following this format, you serve the media decision maker as you help to shape your own story.

*  Who you send your release to is as important as the news you share.

Website: http://www.prleads.com/