Monthly Archive for November, 2009

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Microera Printers Offers Tips For Brochure Printing.

Published on November 12, 2009 in Writing/Publishing. 18 Comments Tags: .

Microera Printers Offers Tips for Brochure Printing.

Microera Printers understands brochures have been very useful in increasing the visibility of a certain company. Whether it is for advertising purposes or spreading information, brochures really have done a great job in keeping the people well-informed. Brochures

In fact, it is the brochures that represent you and your business. For this reason, you should be wise enough in making a promotional print brochure for your marketing drive.

There are so many kinds of brochures that you can make. Each kind of brochure has its own feature and way of printing. Usually, what people know is that the brochures are categorized as tri-fold and bi-fold. The tri-fold brochure is the one used when you want to launch a new product while the bi-fold is suitable for representing your company.

Keep in mind to make sure that the design of your brochure should speak of your company specifically the services as well as the products that you have to offer to your potential customers. See to it that the brochure conveys the right message that you want to pass on to your prospects.

To be able to make a powerful brochure print, there are some brochure printing tips that you should consider berfore designing and printing a new piece. Digital Brochures

1. Determine the brochure size. Knowing what is the suitable size of brochure is very important in brochure making. Incorrect setup size for brochure often leads to the return of the brochure project to the printer, which is very costly and time-consuming on your part as customers. For that reason, it’s best to ensure that the brochure is in the proper shape and size so as not to compromise the overall quality of the print job.

2. Use the correct type of paper stock. It is suggested by experts to use a 100lb paper stock in printing your brochures. This paper is a heavy stock that is suitable for any type of finish, whether gloss or matte. Because the 100lb stock is heavier, it gives an impression that you are professional.

3. Consider the image resolution. A brochure that features high resolution images are said to be more appealing than the usual one. Having a proper resolution is vital in brochure printing since it can greatly affect the overall quality of your brochures. Incorrect resolution usually leads to shadowy and distorted brochure images.

4. Last is the most important. Don’t forget the bleed. The bleed refers to the extra inch of each brochure edges. It is recommended that you use 1/8 inch for each edge of the brochure to give an allowance in cutting each page, especially if there’s a picture or color that should be placed on the extreme edge of the brochure.

After the brochure is ready for print production consider using digital printing technology. Digital Printing has come a long, long way.With the use the remarkable HP Indigo Press 5000, featuring advanced technology that you can leverage to create a business advantage. Sharp details. Incredible colors. Superior reproduction throughout, no matter what the quantity or turnaround time. The HP Indigo Press 5000 uses actual inks instead of toner, to give you the true-to-life image quality you would expect from an offset press. We invite you to contact us to see the level of quality you can expect on your next job. Microera Printers has plenty of options available for you and pricing that is like no other in the Rochester NY area. Visit us at www.microera.com.

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5 Reasons Why You Can’t Make It As A Writer (And Why None Of Them Are True)

Published on November 10, 2009 in Writing/Publishing. 2 Comments Tags: .

I have a very tidy house. I vacuum almost daily, regularly scour my silverware drawer for crumbs, and organize my closets at least three times a year. What’s my secret? I’m a writer who works from home.

Like many writers, when deadlines loom I hover around my laptop, finding excuses not to get started. But because I do consider myself a writer (and my Mexico vacation depends on it), eventually I plant myself in the chair and get to work. And yet I’m one of the lucky ones. I hear from a lot of people who long to call themselves writers, but have generated all sorts of reasons not to try. So here’s a list of the top five dreamdashers, and why none of them are worth believing:

I have no time to write. Every beginning writer is time-challenged, because until you’re getting paid for your writing, you’re probably spending a chunk of each day doing something else. But consider this: author Claudia Mills, who has two sons and works as a college professor, said at a workshop that she writes every morning while her family is still asleep. Many days, she only gets in 5-15 minutes of writing. But those are actual writing minutes; not minutes spent thinking about writing, or worrying about writer’s block, or staring at a blank piece of paper. When she assembles all those little bits of intensive writing over several weeks, she ends up with a book. Check out her results at http://www.claudiamillsauthor.com

I’m too old. Editors won’t know how old you are if you don’t tell them. Your readers won’t know if you don’t put your picture on the book cover. If you write well, your voice will be ageless. I know of a woman who promised herself on her 65th birthday that she’d pursue a lifelong dream of writing a children’s book. She followed the advice to “write what you know,” and at age 69 received her first contract for a middle grade novel based on events from her childhood.

I don’t have a college degree. Guess what? If you’re a children’s writer, neither do your readers. Sure, you need to know the basic rules of grammar and how to express yourself on paper, but hopefully you mastered that by junior high. The best education you can give yourself as a potential children’s book writer is to read children’s books––many children’s books, especially those similar to the kind of books you want to write. And don’t let your lack of knowledge about a nonfiction topic stop you from writing about it. If you’re a skilled writer who enjoys research, you can teach yourself enough about many subjects to write about them, or find experts to help you fill in gaps in your knowledge.

Everything’s been written about. You’re probably right, but next season the shelves will be filled with brand new books. Why? Because though it feels like we’re approaching the saturation point on new ideas, the way those ideas are presented can constantly change. You have a unique way of looking at the world that no one else can duplicate. So play around with those worn out ideas until you hit on something fresh.

Publishers are afraid of controversial topics/religion/men writing for kids/books that teach a lesson…. The only thing publishers are afraid of is not selling books. Do cutting edge, issue-driven books get attention? Take a look at major awards lists. Does religion sell? Go to any chain bookstore and note that even trade publishers are bringing out fiction and nonfiction with religious themes. Do male writers need to use female pseudonyms? Again, I refer you to prestigious awards lists. Can a children’s book contain a moral these days? If you do it in an entertaining way without preaching, parents will snap up your work.

If you’re tempted to start a sentence with “Publishers are afraid…,” it probably means one of two things: you haven’t walked into a bookstore recently, or it’s easier to blame a pile of rejection letters on timid editors than to figure out why your manuscript isn’t selling. Though editors are under pressure to show a profit (publishing is a business, after all), they’re always looking for the next manuscript that will turn children’s books in a new direction. If you’re going to be that writer, in the end all you really need to do is plant yourself in the chair and get to work.

Laura Backes publishes Children’s Book Insider, the Newsletter for Children’s Writers. For info about writing children’s books, free articles, market tips, insider secrets & more, visit http://Write4kids.com.

Interested in learning how to write a book and send it to children’s book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

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How To Pick A Great Title For Your Children’s Book

Published on November 6, 2009 in Writing/Publishing. 2 Comments Tags: .

I’m not too good with titles. Fortunately, I publish an information newsletter, and my subscribers already know that each issue will focus on how to write children’s books. So an article title simply needs to convey at a glance to the reader whether the piece can be put to use right now, or filed away for later. Book titles, on the other hand, must entice a potential customer to pick up the book, open it, check out a few a few lines, and then purchase it. When your customers are children with big demands and short attention spans, your title often serves as your main sales tool.

Picture book titles, like the stories themselves, must be active, concrete, and sound appealing when read out loud. A little surprise doesn’t hurt: Diary of a Worm by Doreen Cronin, Don’t Let the Pigeon Drive the Bus! by Mo Williams, and When the Chickens Went on Strike: A Rosh Hashanah Tale by Erica Silverman all promise stories of animals acting in very un-animallike ways. Titles can give a clue to the plot and tone of the book but should draw the reader in without giving away the ending (Hannah Mae O’Hannigan’s Wild West Show by Lisa Campbell Ernst; Sumi’s First Day of School Ever by Soyung Pak). And don’t be afraid to go for a grabber like Walter, the Farting Dog by William Kotzwinkle. You may not like the story, but I dare you to walk by the book in a store without wanting to read a few pages.

Chapter books and middle grade novels must appeal to children more than their parents, so don’t use the character’s name as the title unless it’s very unusual (Bunnicula by James and Deborah Howe; Maniac Magee by Jerry Spinelli) . Titles that are funny (The Stinky Sneakers Contest by Julie Anne Peters), irreverent (Your Mother was a Neanderthal by Jon Scieszka), or relevant to readers’ lives (Gossip Times Three by Amy Goldman Koss) will give the author immediate credibility. This audience wants to read books about kids just like them, only more so (bigger problems, better clothes, more exciting social lives). Titles that telegraph adolescent angst (Shakespeare Bats Cleanup by Ron Koertge; Rosy Coles’ Worst Ever, Best Yet Tour of New York City by Sheila Greenwald) forge a connection with readers.

Titles of young adult books are typically spare, sophisticated, and dramatic. The title may represent an idea from the book rather than the plot, as in Chris Crutcher’s Whale Talk. Coupled with the cover illustration, the title is intended to intrigue the reader by presenting the overall tone of the story. Francine Prose’s After, illustrated by the word spray-painted on a bleak, gray brick school wall; Walter Dean Myers’ The Beast, with the title printed in large orange and yellow letters running bottom to top that almost swallow the black background; and Caroline B. Cooney’s Burning Up title imposed over an illustration of marshmallows being roasted on a beach bonfire, the flames a little too red, the marshmallows a little too burnt, all tell young adults that these are not their younger siblings’ books.

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Children’s Book Publishers: How To Analyze A Catalog For Submission Opportunities

Published on November 2, 2009 in Writing/Publishing. 4 Comments Tags: .

Before sending off your manuscript, it’s essential that you dig deep into children’s book publishers‘ lists to find the best fit for your manuscript. Your first stop is Children’s Writer’s & Illustrator’s Market published by Writer’s Digest Books. Note which publishers do the type of book you’ve written (or are planning to write, and are also taking submissions from new writers. Then send for a current catalog.

Let’s look at the picture books from two hypothetical publishers:

Publisher A:

Total picture books: 26.
Picture books by type: 8 talking animal stories; 4 concept books; 2 realistic stories; 2 humorous stories; 2 fantasy; 1 holiday book (Easter); 3 nonfiction (2 animal/nature, 1 religion); 4 poetry collections.
Age range of books: 6 for ages 2-5, 12 for ages 4-7, 6 for ages 6-10.
Types of authors: Established authors (two or more books published)–5; famous authors (significant name recognition/ awards)–11; reissues of classic books–5 (3 poetry collections); new authors–5.
Percent of list from new authors: just over 19%.

Publisher B:

Total picture books:14
By type: 4 talking animals; 1 concept book; 2 realistic stories; 3 humorous stories; 4 nonfiction (history, biography).
Age range of books: 3 for ages 3-6; 11 for ages 4-8 or 4-9.
Types of authors: Established authors– 7; famous authors–3; new authors– 4.
Percent of list from new authors: 28.5%

Suppose you have a picture book starring talking animal characters. Even though Publisher A has fewer new authors, it publishes a greater percentage of talking animal stories. And you really want Publisher A to do your book. Should you submit? First, look at the authors in Publisher A’s stable. More than half are famous or authors of classic books (which means instant sales for the reissued editions). Plus, after checking out the bios of the authors in the catalog, you discover that 3 out of the 5 new authors are either celebrities or well-known illustrators writing their first books. Clearly, this publisher likes their authors to have some name-recognition. Does this mean you shouldn’t submit here?

Not necessarily, but move it down your list. Publisher B has a higher percentage of new authors (no celebrities and only one known illustrator), a fair number of animal stories, and a greater number of humorous books. Since your talking animal story has ironic humor that will appeal to older picture book readers (who make up the majority of this publisher’s audience), Publisher B seems a good fit.

Other things we’ve learned: Publisher B favors books about history and real people, as indicated by the nonfiction titles and the fact that both realistic fiction books are based on public figures (you’ll learn this by reading the plot descriptions). So your picture book fiction incorporating real events set at the turn of the century might appeal to these editors.

On the other hand, Publisher A has published a holiday book and a religious book, whereas Publisher B has neither. So a religious picture book might work best with Publisher A, unless the book is a biography of a religious leader.

Clearly, analyzing publishers’ catalogs isn’t an exact science, but it can help increase your chances of finding a good match with an editor down the road.

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