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                    W R I T I N G   W O R L D

A World of Writing Information - For Writers Around the World


Issue 13:21           13,240 subscribers         November 7, 2013
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THE EDITOR'S DESK: Climbing the Mountain, by Moira Allen
CRAFTING FABULOUS FICTION, Arcs of Artifacts, by Victoria Grossack 
FEATURE: Movin' On Up: Graduating to Better Paying Markets, 
by Audrey Henderson
FREE STUFF FOR WRITERS: Getting Organized, by Aline Lechaye
THE WRITE SITES -- Online Resources for Writers
The Author's Bookshelf   
Novel, Too!  What if this year you could honestly call yourself 
an author because you could support yourself and your family?
Details Here: http://www.awaionline.com/go/index.php?ad=592721
* FEEDBACK. Get feedback for every poem and story that you write.
* CONTESTS. Over 50 contests are always open and free to enter.
* FUN! Get feedback, enter writing contests, and learn.
DON'T GET SCAMMED!  Choose the right Self Publishing Company for
your book. What you need to know before choosing a self publishing
company and the questions you should ask.
WRITERSCOLLEGE.COM has over 60 online courses. Prices are low. If
you can reach our web site, you can take our courses. 
STEP INTO THE WINNER'S CIRCLE! Find more than 1600 contest 
opportunities in Moira Allen's "Writing to Win: The Colossal Guide
to Writing Contests"!  Available in print and Kindle.  
Print: https://www.createspace.com/3778183
Kindle: http://www.amazon.com/exec/obidos/ASIN/B007C98OUA/peregrine


Climbing the Mountain
I was planning to follow up my editorial on "dreams" with one on
"distractions," but then... I got distracted. My husband made a
comment that got my mind spinning in a completely different

"Our problem," he said, "is that we keep forgetting to look back
down the  mountain..."

What he meant was that we spend a great deal of time and effort
"climbing the mountain."  We each have our own, individual
mountains to climb.  We climb with our eyes fixed upon a lofty
peak, a destination, a goal to be reached.  We climb diligently,
determinedly, pressing onward and upward, seeking out handholds,
taking a moment's rest on a ledge and then moving forward again,
determined to reach the top. 

Perhaps our mountain is that novel we're trying to finish.  Perhaps
it's the goal of getting launched in a writing career.  Perhaps
it's the desire to get something published for the first time. 
Perhaps it's a specific objective of writing a certain number of
words or pages, in a day, or in a month, or in a year.  Whatever it
is, it has the power to motivate us to keep pushing forward.  And
we DO push forward, even though, quite often, it does indeed feel
like rather a steep climb.  

We're encouraged in this venture by nearly every newsletter, blog,
or publication catering to writers.  We are surrounded, bombarded,
and urged onward by articles that tell us what we ought to do to
"make it to the top" -- whether, again, that "peak" we have our
eyes fixed upon is a novel, or a poem, or a career move.  At the
beginning of the year, you're bound to run into endless articles
suggesting "resolutions" for the serious writer: Write so many
words, send out so many queries, organize your notes, dig into your
"dead" files for new article ideas, turn your old articles into
reprints, and so on.  I've written some of those articles myself!

And I'm all for climbing the mountain.  I think dreams are a
wonderful thing, and that it's far better to have a lofty goal than
to have no goals at all.  I can't think of anything much more
dreadful than being the sort of person whose primary concern in
life is what happens to be on television tonight.  The very word
"aspire" makes one think of lofty peaks and grand vistas.

But there's one small problem with climbing that mountain, and
that, as my husband pointed out, is forgetting to look down.  Every
so often, one needs to stop, take a rest break, make camp, and look
back down the mountain to see HOW FAR ONE HAS COME.  

If all we do is keep our eyes focused on the peak ahead of us, or
the one after that, or the even taller peak coming up after that,
the danger is that all we end up thinking about is how far we still
have to go.  If we ONLY focus on where we're going, it's too easy
to start getting frustrated and dismayed by how far ahead of us
that goal still is.  That peak is still so high above our heads; we
still have so far to climb!  And quite often, it can start to feel
as if we may go on climbing forever, and never reach the "top" of
our mountain.  (Or, if we do, we're just going to find that it's
only a foothill and a much higher mountain still lies ahead.)

So as we move into the last months of the year, I'd like to
encourage all you climbers out there to stop for a moment.  Look
back over the route you've taken to get to where you are at this
moment.  Identify the achievements you've made along the way. 
Identify the hurdles and obstacles you've overcome during your
climb.  And don't stop at simply "identifying" them.  CELEBRATE

Was one of your goals to send out a certain number of query letters
this year?  Regardless of how many you actually sent out --
regardless of whether you reached your "target goal" -- celebrate
the queries that DID make it out the door.  Was your goal to work
on your novel?  Perhaps your "destination peak" is to FINISH the
novel -- but if your eyes remain fixed only upon that distant goal,
it's easy to overlook the fact that you have, in fact, written a
dozen chapters, or half a dozen -- or even one!  

When January hits, we'll be inundated with potential resolutions. 
I see lots of articles about how easy it is to break those
resolutions -- but I rarely (if ever) see one that encourages us to
celebrate the resolutions we've kept.  Perhaps that's because our
society encourages us to focus on what we have yet to do, rather
than to celebrate what we have done.  We are overachievers in part
because we're never comfortable resting upon our achievements -- or
even recognizing them.  This, in turn, keeps us perpetually "on the
climb," because quite often, we don't even realize we've reached a
peak and left it behind, because we're so focused on the next
mountain on the horizon.

Don't get me wrong: Climbing is a good thing.  But as Miley Cyrus
sings in one of my favorite exercise songs, "Always gonna be
another mountain..."  

So take a break this coming holiday season, and look back down the
mountain.  You might be astonished to discover just how far you've

-- Moira Allen, Editor

This article may be reprinted provided the author's byline, bio and
copyright notice are retained.  (For an author bio and complete
details on reprint terms, please visit 

Link to this article here:


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By Victoria Grossack

Many articles have been written on the subject of character arcs. 
I have not gone through this subject rigorously myself, but if I
live long enough, I'm sure at some point I'll cover it.

In this column, however, we'll discuss the arcs of artifacts -- the
arcs of objects which are mostly inanimate.  I say "mostly" because
these items, although they rarely have real speaking parts,
nevertheless sometimes have profound effects on a story.  Sometimes
it is simply in how the others react to the items; in other cases,
such as "The Lord of the Rings," the One Ring appears to have a
malevolent, manipulative personality and actually influence events.

Chekhov's Gun
You may be aware of the dramatic principle "Chekhov's Gun," which
concerns simplicity and foreshadowing.  It goes like this: if you
introduce a loaded gun early in a novel or a theater piece, it
should be fired in a later chapter or act; otherwise, the gun
should not be shown in the first place. The principle was
articulated by Russian playwright Anton Chekhov; he said it several
times in different ways, so I won't quote it exactly as there are
several valid versions.

Of course, in real life, not ALL loaded guns get fired -- if they
did there would be even more casualties than there already are --
but we are creating fiction, not reality.  Fiction simply can't and
shouldn't include everything in the real world.  If you were to
describe a real living room for a story, would you want to detail
every piece of furniture? The carpet, the curtains and the
photographs?  All the kitschy knick-knacks?  If you did, you would
lose many readers, as you filled paragraph after paragraph with
description.  In general it is recommended that you give enough
description to suit the purpose of the story or the passage -- and
then stop.

Fiction is in many respects an abridged version of real life, and
one way of abridging is by reducing the number of artifacts.

Which Artifacts Matter?
Since we've just said that you can't put the entire world into your
story, you have to pick and choose which objects to emphasize. Of
course, it's your story, so the decision is up to you, but
reviewing the following principles and perspectives may help you

THE PERSPECTIVE OF THE CHARACTERS: Which items do they care about
and why? Things can matter a lot to characters for various reasons.
A car may matter to a young man because it is a status symbol; it
may matter to a single mother because it is her means of getting to
her job. By showing which items the characters are invested in, you
show their personalities.

THE PERSPECTIVE OF THE PLOT: Which items do you need to make the
plot work? Even as Chekhov points out that if you show a gun in Act
I, you'd better shoot it by Act III, readers may feel cheated if
you have a gun go off in Act III without its having been seen
earlier. This is one area where you may sometimes "cheat" --
occasionally a character will, without any apparent warning, pull a
gun out of a pocket and shoot. This happens in real life, or there
would not be all the discussion about concealed weapons.  You need
to consider whether having things appear out of the blue improves
your story or detracts from it.

THE PERSPECTIVE OF THE READERS: Which items do you need to satisfy
your audience? Some may be necessary for establishing the time and
period for those reading stories in a particular genre -- an
English 18th-century lord would not be an English 18th-century lord
without a fine carriage and the matched horses to pull it -- so you
may as well fulfill your readers' expectations and give your lord a

Furthermore, some artifacts create an expectation in your audience,
like the gun over the mantelpiece in Act I. So if you decide NOT to
use something -- especially when an expectation has been created in
your readers -- you may want to give a reason why.

TO YOU, THE AUTHOR: Which items do YOU want to include? You are,
after all, the author; you can write anything you want! Let me warn
you, however: it is possible to go overboard with description of
scenes or particular items. So even if you are "into" ship steam
engines, and your characters are crossing the ocean in 1900, you
may want to limit your description of the vehicle's steam engine
unless additional description will please your readers or serve the

Artifacts Throughout the Story
There are far too many possibilities to list them all in a single
article, but here are some considerations for creating arcs for
your main artifacts:

ARE THE ARTIFACTS USED? If they are, are they used in the usual
manner or in a secondary manner? The One Ring conveys power on its
owner. It also makes whoever wears it invisible, a secondary use.
If you have an important artifact, what is its primary function?
Can you think of unusual functions? Unexpected uses of the artifact
can be very enjoyable for your readers.

DO THE ARTIFACTS CHANGE OWNERSHIP?  If so, how? The item can be
transferred during a gift-giving ceremony, such as when Galadriel
gives various presents to the members of the fellowship of the
ring. The ceremony does not have to be particularly pleasant, as
when the second Mrs. de Winter arrives in "Rebecca" to be installed
as the mistress of Manderley.  Artifacts can change hands via
inheritance, theft, loss, or discovery. The transfer can happen
with pomp and circumstance or even go unnoticed.

relationships to it change? Do they want to own it, use it, hide
it, wear it? Their changing relationships with these items can be a
significant part of their arcs.

Literary Symbolism
Artifacts have made potent symbols throughout literature. I've
mentioned a few specifically; let me elaborate on them. 

Manderley was the great estate in Daphne du Maurier's "Rebecca." 
The estate, unlike the first person narrator of the novel, has a
name.  Not only was that the custom of great estates but it helps
signal the significance of the place. The book opens with the
narrator dreaming of the estate, and the estate plays a role at the
end as well. It is a symbol, a motive, and nearly an actor in the

The One Ring in J.R.R. Tolkien's "The Lord of the Rings" is another
significant artifact. It changes hands several times throughout the
trilogy. It is circular, made of special gold. It is a symbol of
power and power's ability to corrupt. 

Artifacts and what happens to them in your story can mirror your
characters and what happens to them. Perhaps something represents
pride; perhaps something else represents lust, or greed, or triumph.

Just as readers want to know what happens to your characters at the
end of your story, they will likewise want to know the disposition
of the significant objects. Are the objects destroyed?  Put on
display?  Buried with their owners?  Donated to charity?  Left to
gather dust in a closet?  Your choice can impact the impression
your readers take away from your story.

As many objects can survive longer than humans, your objects can
sometimes move from one book or from one story to the next. You can
make use of them if you're planning a sequel, or perhaps a series
of stories, such as "London" by Edward Rutherford or "Roma" by
Steven Saylor, in which coins and a talisman, respectively, are
passed down from one generation and one story to the next. 


Victoria Grossack studied Creative Writing and English Literature
at Dartmouth College, and has published stories and articles in
publications such as Contingencies, Women's World and I Love Cats.
Victoria is co-author with Alice Underwood of the Tapestry of
Bronze series (Jocasta; Children of Tantalus; The Road to Thebes;
Arrow of Artemis), based on Greek myths and set in the late Bronze
Age. On her own she has written The Highbury Murders, in which she
did her best to channel the spirits and styles of Jane Austen and
Agatha Christie. Besides all this, Victoria is married with kids,
and (though American) spends much of her time in Europe. Her
hobbies include gardening, hiking, bird-watching and tutoring
mathematics. Visit her website at http://www.tapestryofbronze.com,
or contact her at tapestry (at) tapestryofbronze (dot) com.
Copyright 2013 Victoria Grossack. 
This article may not be reprinted or posted without the written
permission of the author.

Want to learn more about crafting fabulous fiction? Victoria now
offers one-on-one writing classes; find out more at: 

Link to this article here: 



E-book Market is Maturing
According to a four year study by the Book Industry Study Group,
sales of e-books have now reached a stable level.  The study found
that in the second quarter of 2013, e-books accounted for just
under 30% of books sold and 14% of profits - the same as in the
last quarter of 2012.  For more on this story visit: 

Agents Worried as Publishers No Longer Commit to Print Runs
A worrying new trend is developing in publishing whereby publishing
contracts no longer specify what format the book will be published
in.  Agents are concerned this could mean the end of print runs for
first time authors.  For more on this story visit: 

Rise of Digital Gadgets Leading to Decline in Childhood Reading
This is the worrying conclusion of the Reading Street report from
Egmont, entitled Reading and the Digital World.  The report found
that parents were reluctant to let their children read e-books as
they want to reduce the amount of time children spend on digital
devices, preferring them to read a physical book, but that children
themselves felt they didn't have enough time to do so.  To read
more on this report visit:  http://tinyurl.com/od54gqc


A publishing revolution is sweeping the industry. We explain what
is happening and show you how to self-publish your own eBooks.


Writing Jobs and Opportunities
Comic Creators Wanted by 8th Wonder Press
8th Wonder Press is seeking outlines and proposals for comic
creations on the theme of science and mad science for its Uncanny
Adventures volume. You need to submit a proposal outlining your
story and characters. (If you can't draw, mention this too and they
will try and partner you with an artist.)  Deadline date for
proposals is November 30.  

Read the full guidelines here: 

The Family Farce is Seeking Writers and Columnists
The Family Farce aims to entertain via "snarky, irreverent, dark,
family-themed humor."  It is currently seeking columnists and
writers to submit fiction, essays and interviews.  They are a
paying market and pay approximately 17 cents a word. 

See guidelines for full details. 

Writer's Digest Seeking Articles for Songwriter's Market Guide
Digest is currently open to queries and articles for its 2014
Songwriter's Market Guide. They are looking for articles by music
journalists, songwriters and freelancers on a wide variety of
topics to do with the song writing industry.   

For full information view the complete guidelines at Writers Digest
here: http://tinyurl.com/pgebde7


FEATURE:  Movin' On Up: Graduating to Better Paying Markets 
By Audrey Henderson

You may have been grinding away for years to produce 400-word,
500-word or even longer articles for less money than it takes to
fill the gas tank of your car.  But your pitches are almost certain
to be accepted without question.  Or the publisher pays reliably
every week, or even twice per week, which makes budgeting a snap.

You may consider yourself to be in a good place as a freelance
writer. In reality, your complacency - in reality, a fear of
venturing beyond your (dis)comfort zone - is doing yourself a
serious disservice.  If you rely too much on any one or two
freelance outlets for writing income, you are only one editorial
job change or search engine algorithm adjustment away from finding
yourself without work. 

As any wage earner who has watched helplessly while his or her job
was shipped overseas can attest, you never want to find yourself in
this position. But if you've consistently been writing for one or
more publishers, you have the skills you need to protect yourself
against such a fate. However, you must be willing to diversify into
new markets, as well as move up to markets that pay more for the
words that you produce.

Are You Ready to Move Up to "Better" Writing Markets?
Don't get me wrong; I'm the last person to turn my nose up at less
than prestigious writing work. After all, I wrote "Writing to Pay
the Bills" and "Writing to Pay the Bills - an Update," both of
which were posted to Writing-World.com. I still do content writing,
but much less than in previous years.  And while I'm not yet
writing for "The Atlantic," I can visualize the day when I might. 
And so should you. Maybe.  The following list can help you
determine whether you're ready to move up to higher profile, more
lucrative consumer and B2B writing markets.

Signs That You're (Probably) Ready
* Are you recognized as a professional by your peers? A reliable
gauge is determining whether you are eligible for membership in
selective writing organizations. Note the word "selective." Some
organizations accept anyone who is willing to pay the price of
admission. On the other hand, it's not necessary to qualify for
membership in the American Society of Journalists and Authors to be
considered a professional writer. 
* Do you have published clips (that you're proud of)?  The fact
that your work was good enough to be included in reputable
publications lends credibility to your stature as a writer. If
you're genuinely proud of a piece of work, there's a decent chance
that it will pass muster as writing sample. On the other hand, if
you have trouble identifying any work you've produced that you're
willing to provide as a writing sample, you'll have a hard time
breaking into top tier or even mid-level markets. 

* Are you on a first-name basis with one or more editors and/or
publishers? Do your incoming messages open with the salutation
"Dear Audrey" or "Dear Ms. Henderson"?  You'll probably never
become best friends with an editor, but if you've moved beyond
chilly surname exchanges, that's a fairly good indication that
you'll be seriously considered for juicy freelance writing

* Do you have at least one specialty or area of expertise? Once
upon a time, I was a GA (general assignment) reporter for a daily
newspaper near my hometown.  Writing about regional festivals and
covering the local police beat was fun when I was 22, but the
seasoned reporters whose stories regularly appeared "above the
fold" on page one had established "beats," specific areas where
they concentrated nearly all of their writing.  It's the same with
freelancing. Many of the highest earning writers have established
at least one specialized niche. 

* Are you at the top of your game? Do you routinely receive praise
(from editors, readers or well respected experts) concerning your
work? Are other writers consulting you for advice? Are you
considered a subject matter expert in your specialty? If your
answer to each of these questions is "yes," you're almost certainly
ready to move up. 

* Are editors saying "not now" rather than "no way" to your
pitches? No one is successful 100 percent of the time.  However, if
you nearly always receive the dreaded "Dear Writer" response to
pitches, take an honest assessment of your writing credentials. If
you're shooting too far over your head, focus on becoming better
established within your niche so that future pitches have a better
shot at being accepted.  On the other hand, maybe a particular
editor just bought a piece similar to the one you're proposing.
Perhaps he or she likes your writing style even if your pitch
missed the mark. If editors encourage you to stay in touch, take
that as an encouraging sign for future prospects, even if the
rejections still sting now.

* Do you receive detailed feedback from editors?  Even the best
writers sometimes miss the mark.  That's why God invented editors.
If editors take the time to explain where you've gone wrong and how
to fix things, it's a safe bet that they believe that you have the
writing chops to produce good work. In my experience, editors have
provided guidance for refocusing pitches and even manuscript drafts
so that they were a better fit for their publications. 

* Do you demonstrate willingness to do research or revisions?
Taking a one-shot approach is a savvy way to deal with many content
provider assignments, where you must churn out work rapidly to earn
anything approaching a living hourly wage. It doesn't make sense to
labor over multiple drafts or conduct more than a quick Internet
search to flesh out an article that pays $25 or $30.  However, an
editor who is paying you hundreds or thousands of dollars will
expect you to pick the phone and put in shoe leather to produce
credible sources and reliable background data for your work. And
yes, you may need to execute one or more revisions before your work
is ready for publication. 

Developing a Specialty Niche (or Two) 
It's a hard truth that editors at mid-tier and top level
publications look for freelancers who know what they're writing
about, or, at the very least, who are able to tap thought leaders
as sources.  Demonstrating subject matter expertise or industry
contacts for one or more specialized writing niche(s) helps you
establish the credibility you need to gain traction with better
paying consumer and trade markets.  Don't hesitate to let editors
know about your unique qualifications to write about certain topics.

Let's say, for instance, that you're really passionate about
environmentalism and you'd like to develop a specialty as an
environmental writer. If you have an advanced degree in biology,
geology or even public policy, you're that much ahead. Or if you
are a tax attorney who has (legally) saved your clients thousands
of dollars on their federal income tax returns, you'll find a
receptive audience with business publication editors if you can
translate dense tax code legalese into anything resembling plain

Likewise, if you have cultivated prominent contacts in specific
industries that would make good interview subjects, you're in a
great position to snag high quality writing assignments.  For
instance, if you're on a first-name basis with Mike Holmes (of
"Holmes on Homes" fame), editors for home improvement publications
will definitely sit up and take notice.

All very well and good, you may be thinking, but how can writers
who don't have celebrity contacts or advanced degrees establish
specialty niches in the first place?   If an honest self assessment
of your portfolio and credentials determines that you're just not
ready to move up to higher paying markets, don't despair. It simply
means that you must be willing to take a creative approach to
developing the expertise you need.

For instance, if you would like to become an environmental
journalist but you don't have an advanced degree or published
clips, it's not necessary to go back to school. Instead, gain
subject matter expertise by becoming a regular reader of
publications like TreeHugger.  Stay abreast of environmentally
related issues in the news. Join Meetup or other local groups
related to sustainable building practices, clean energy or green
transportation to begin making contacts. Establish a blog devoted
to topics related to sustainability and contribute regularly until
you've assembled a respectable body of work that you can present to
editors along with your pitches.

Making Your Move
As you rack up good quality writing samples and credits in high
quality publications, mention your previous publications in your
queries. Even if your published clips aren't directly related to
the publication you're pitching, the fact that you've passed muster
with other editors demonstrates that you have the writing chops to
produce good work.  For instance, I frequently mention that I won a
prize for a story published in the Transitions Abroad webzine even
when I'm pitching publications unrelated to travel. 

If you've been toiling away writing $25 articles, aim initially
toward markets paying $100 to $150. It's also totally legitimate to
shop a few of your better previously published efforts as reprints
as long as you hold the proper copyright to do so  - you'll get
credit for a clip for almost no extra effort.  Once you've gained
your first few acceptances at mid-tier publications, move up to
markets paying $200 or $300, and then on to even higher paying
markets.  Don't be deterred by one or two "no" responses along the
way.  If you're receiving personal feedback, it means you're on the
right track.

When the Editor Says "Yes"
If the news is good concerning a particular pitch, you're allowed
to celebrate - for the next five minutes. However, especially if
this is your first assignment for a particular publication,
recognize that in a sense, you're on trial. If you don't submit
your best effort (tsk, tsk) all the hard work you put into earning
that coveted assignment will have been wasted, which would truly be
a shame. On the other hand, you can parlay a well executed finished
product into even more well paying assignments. You may eventually
earn a place as a regular freelancer for that particular
publication, or even begin receiving your own unsolicited

You REALLY Know You're Ready When . . .
The email message had a promising opening: "Hi Audrey, (using my
first name - friendly!) This was a thoughtful, well articulated
pitch. However, it's not the right topic for us at this time . . ."
Although I was discouraged, I kept reading until I reached the
closing sentence:  "Please do pitch us again."  However, before I
had a chance to develop another pitch for the publication, the
editor actually contacted me.  Was I interested in taking on a
prospective assignment? 

In my case, stretching beyond the constraints of familiar writing
outlets, along with good published clips, positioned me to receive
this unexpected and pleasant surprise.  My story is not at all
unusual. Writers with established portfolios or who have otherwise
demonstrated their merit to assigning editors regularly receive
unsolicited assignments. If you're willing to put forth the effort,
there's no reason why you cannot become a go-to writer for editors
too - and receive increasingly lucrative assignments in the bargain.


Audrey Faye Henderson is a writer, researcher, data analyst and
policy analyst based in the Chicago area. Her company, 
http://www.knowledge-empowerment.net/, specializes in social policy
analysis concerning fair housing, affordable housing, higher
education for nontraditional students, community development with
an asset based approach and sustainable development in the built

Link to this article here: 

For more advice check out our section on the secrets of successful
freelancing here:  


FREE STUFF FOR WRITERS:  Getting Organized

By Aline Lechaye

Getting organized is probably one of the biggest challenges in a
writer's life. On the one hand, we need freedom and spontaneity to
fuel the creative process, but on the other hand, from a business
perspective, we also need to be organized so that we can "plan" out
the visits from our creative muses, or, at the very least, do our
best not to miss deadlines. This month, let's look at some tools
that will, hopefully, keep you organized. 

Any.do is a fun and interactive app that makes daily planning a
playful and relaxing experience. You can sort your to-dos by due
dates or by categories, and for the app display you have a choice
between soothing white and businesslike black. Once you've
completed a task, simply cross it off with your finger, and then
shake your phone to clear all completed tasks. The best thing about
the Any.do app is probably the "Any.do moment" function, which
allows you to go through all the items on your to-do list and plan
when you're going to get to them. Once you're done with that, the
app gives a cheerful chirp of sound and cheers you on with a few
simple sentences: productivity doesn't get much cuter than this!
The app runs on both Android phones and iPhones; there is also a
Chrome extension so you can sync your tasks to your computer.
Download the app or learn more at http://www.any.do/. The people
behind Any.do have also made a calendar app named Cal, but it is
currently only available for iPhone users. 

Do It Tomorrow claims to be the app for procrastination, but don't
let that put you off. If you miss the days when planners were made
of paper rather than pixels, then this is definitely the app for
you. Do It Tomorrow looks like a notebook with two pages (for today
and tomorrow), and is super simple to use. All you have to do is
list the tasks you need to do, and then cross then off whenever you
manage to get to them. Uncompleted tasks will automatically be
carried over to the next day (hence the title, "Do It Tomorrow").
The app is available for both Android phones and iPhones. Download
the app or try it out here: http://tomorrow.do/. 

Remember The Milk may sound like an odd name for an organizing app,
but there it is. The app runs on Android phones, iPhones, iPads,
and BlackBerry phones, and there is also a web version that can run
in web browsers. Remember The Milk makes it easy to organize tasks
according to your needs: you can sort to-dos by lists, tag clouds,
or even locations. Share, send, and search your tasks easily. Get
reminders on the go, via email, SMS, or your favorite instant
messaging application. One great advantage of Remember The Milk is
that it works with many other websites and applications such as
Gmail, Google Calendar, Microsoft Outlook, and Twitter. If you're
an iPhone/iPad user, you'll be happy to know that Remember The Milk
also works with Siri. Download the app or sign up for a free web
account at http://www.rememberthemilk.com. 


Copyright Aline Lechaye 2013

Aline Lechaye is a translator, writer, and writing tutor who
resides in Asia. She can be reached at alinelechaye at gmail.com

This article may not be reprinted without the written permission 
of the author. 


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