Writing World Newsletter Archive
Return to Newsletter Index · Home


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

A World of Writing Information - For Writers Around the World


Issue 14:09           13,240 subscribers              May 1, 2014
MANAGE YOUR SUBSCRIPTION: See the bottom of this newsletter for
details on how to subscribe, unsubscribe, or contact the editors.
COPYRIGHT NOTICE: No material published in this newsletter may be
reprinted or posted without the consent of the author unless
otherwise noted. Unauthorized use is a copyright infringement.


THE NEWSLETTER EDITOR'S DESK:  A Fond Farewell, by Dawn Copeman 
CRAFTING FABULOUS FICTION: Sensible, Sensitive Sentences, 
by Victoria Grossack 
FEATURE: The Mythical, Magical Number 7 in Technical Writing, 
by Geoff Hart    
FREE STUFF FOR WRITERS: The Smart Device Writer Kit (Part 3), 
by Aline Lechaye
THE WRITE SITES -- Online Resources for Writers
Who Stumbled on the Secret of Making 6-Figures from Home as a
Writer! Click Here for Free Video
* 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.
superb instruction with unparalleled flexibility. Students and 
faculty work together at a 10-day residency (in Louisville or 
abroad), after which students return home to study independently 
with a faculty mentor. For details, request FA90 from 
mfa@spalding.edu, or visit http://spalding.edu/mfa.


A Fond Farewell
Ten years ago I decided to become a writer.  One of the first
newsletters I signed up to was Writing-World.  This newsletter and
Moira Allen have been a huge part of my writing life ever since.  

Back then my daughter was a toddler and I wrote when she slept. 
Later I wrote when she went to school, and later still, I wrote
when we'd finished our home-school work.  

Now, however, she is in back in full-time school and I have
returned to full-time teaching.  

I have the privilege to work as a special needs teacher and I work
with some amazing young people; people who have to overcome all
sorts of barriers every single day.  

I love my job.  

But teaching is and always has been a demanding profession - we
don't just work from 9 to 3 as certain newspapers would have you

And my daughter still needs me too.  She has returned to school of
her own volition, but secondary (high school) is tough for
everyone, so I need to have time for her too.  

I also like to spend time with my husband! 

So with all this competition for my time, I regret to admit that I
just cannot fit Writing-World into my life any more. 

I enjoy writing for Writing-World.  I enjoy writing full-stop.  But
it is getting harder and harder to find the time to do my writing.
And believe me; I've looked at all the options! I get up at 5 am as
it is, so can't really get up any earlier in the day.  I also
regularly work past 9 pm, so can't add it on to the end either! And
as I have a 30-minute lunch break - it's pretty hard to fit it in

As for weekends, well, they are the only place I can currently fit
it in, but this means taking time away from my family, and as we
only really now have weekends and parts of the evening together,
this is precious time to me. 

So I've regretfully come to the conclusion that something has to
give, and that something is my regular commitment to Writing-World. 

I have thoroughly enjoyed the ten years I have been here (as a
reader, contributor and editor) and will continue to be an avid
Writing-World reader and occasional contributor (when time allows).
We have an amazing international community of writers here at
Writing-World and I will miss you all. You are an incredibly
talented, supportive and friendly bunch of people and I have been
proud to be a part of this wonderful newsletter. 
So with a sad heart, I bid you all a fond farewell. 

-- Dawn Copeman, Newsletter Editor

An End of an Era
When Dawn told me, a few weeks ago, that she'd been given a
permanent teaching position, I was thrilled for her.  But I also
had, even then, the feeling that this might not be such good news
for me!

Dawn's e-mails were already becoming short and sporadic - with
lines like "Well, I have to write three lesson plans in three
different languages and grade a bushel-basket of papers before
supper - gotta go!" in most of them.  Actually, I've always
wondered where Dawn found the time to do what she does - from
home-schooling to teaching to writing business and advertising copy
and blogs - and, of course, handling our newsletter.

So her news didn't come as a gigantic surprise, but... it does
indeed mark the end of an era.  Dawn has been with
Writing-World.com for eight of our 13+ years!  Before that, she
came on board with TimeTravel-Britain.com, providing a wealth of
wonderful articles and then a regular column (or was it two?). 
Bringing her over to Writing-World.com in 2006 was just the obvious
choice.  At times in the past eight years she's handled both the
site and the newsletter pretty much single-handedly.  

In that time, it has been a joy to watch her writing career grow -
and while I'm delighted that she has a full-time teaching job, I
hope this doesn't mean that she'll abandon her writing dreams (or
at least, not for too long!).  

You'll always have a home here, Dawn - and we'll definitely miss

-- Moira Allen, Editor


A WRITER'S YEAR is the ONLY 365-day planner designed specifically
for writers!  It helps you plan your schedule, track your billable
hours, organize your tasks, keep track of important deadlines and
due-dates, and track your progress and achievements!  Each week
brings an inspirational writing quote. Best of all, it's F*R*E*E.
To download an electronic version in PDF or Excel, or information
on how to order a hardcopy (this year in two formats!), visit

COLUMN: CRAFTING FABULOUS FICTION: Sensible, Sensitive Sentences
By Victoria Grossack

Sentences are critical to storytelling, because this is where and
how your characters take action. With subjects and verbs --
elements contained by most sentences -- your tale moves along.
Depending on what you write, your sentences could show setting,
movement, emotion and voice -- basically everything you need in
your story.  In this article we'll consider the structure of
sentences, the role their structure plays in conveying the sense
and the emotion of your story, and touch on a few other ideas along
the way.

What Are Sentences?
If you click on Merriam-Webster's on-line dictionary, the relevant
definition appearing is this:

4 a: a word, clause, or phrase or a group of clauses or phrases
forming a syntactic unit which expresses an assertion, a question,
a command, a wish, an exclamation, or the performance of an action,
that in writing usually begins with a capital letter and concludes
with appropriate end punctuation, and that in speaking is
distinguished by characteristic patterns of stress, pitch, and

This may be too technical.  For our purposes, sentences begin with
a capital letter and end with a piece of punctuation that is either
a period, exclamation point or question mark.  For example, in the
right context, the exclamatory sentence fragment,

        What a piece of work!

functions perfectly well.

Sentences Should Make Sense
What should your goals be in creating sentences?  The first goal is
basic: your sentences should make sense.  You may think I am
stating the obvious; OF COURSE, your sentences should make sense,
but this goal is not always achieved.  Write them, read them, then
come back later and read them again.

Secondly, you want your sentences to convey the meaning you
intended.  Far too often I review my work to discover that an
unexpected meaning comes through.  For example, I recently wrote:

The rest of the audience seemed to share her opinion, for they
coughed, shifted in their chairs, and even spoke impolitely to each

When editing this I realized that my audience members were speaking
impolitely to each other instead of being rude to the performer!  I
rewrote it as:

The rest of the audience seemed to share her opinion, for they
coughed, shifted in their chairs, and spoke to each other instead
of paying attention to the performance.

The above was an example of simply writing something I did not mean
to write.  

Positive and Negative
You can write your sentences in either a positive or negative
manner. Here's an example of the negative:

        He did not remember to mail his tax return.

Now we re-write it into the positive:

        He forgot to mail his tax return.

Generally, sentences written without using negatives are preferred.

Active and Passive 
Should you write your sentences using a passive or an active voice?
 Using the passive voice means writing with a form of the verb to
be, in a way that what would logically be the object of the
sentence has become the subject instead.  This is much easier to
illustrate with an example than it is to explain with words, so
here is an instance of a sentence in the passive voice:

        The man was bitten by the dog.

Re-writing this in the active voice gives us:

        The dog bit the man.

Nearly everyone agrees that the active voice is better than the
passive voice.  If you indulge in the passive voice a lot, your
writing will seem hesitant or bureaucratic.  The active voice is
much more forceful.

On the other hand, the passive voice has its place.  Let's look
again at:

        The man was bitten by the dog.

This sentence puts the emphasis on the man.  The active version
puts the emphasis on the dog. Also, occasional use of the passive
voice allows you to shift the rhythm of your sentences.  

The structure of your sentences has an enormous impact on the
rhythm of your overall work. Some writers become monotonous, always
doing subject-verb, subject-verb, or, if the occasion calls for it,
adding an object.  I have encountered passages like the following:

The dogs barked.  The birds whistled.  The sun shone.  The trees
grew leaves.

Writing like this could be done for effect; that is, with an
artistic purpose, rather like a strong drumbeat at the beginning of
a song as you wait for the melody to make its appearance.  The
anticipation of the melody, or in this case, the story, makes the
sentence in which something happens all the stronger by its being
delayed.  For example, you could continue the sentences above by
adding one like the following:

The dogs barked.  The birds whistled.  The sun shone.  The trees
grew leaves. 

Suzie wondered if she would die from boredom at her aunt's cottage,
or if the lack of excitement would simply drive her crazy.

In this passage the first four sentences serve as an ironic
introduction to Suzie's feelings, and their monotonous rhythm
mirrors the dullness they describe.  However, if the writer never
supplies her readers with a longer, more intricate and more
interesting sentence, readers will eventually be turned off, start
to giggle, or become aware, either vaguely or explicitly, that
something lacks in the writing. 

There are exceptions to everything.  Hemingway was known for his
strong, stark, simple sentences, and he won the Nobel Prize for
Literature in 1949.  On the other hand, William Faulkner won it in
1954 and his sentences were anything but short and simple.

Pace and Length
The length of your sentences impacts the readers in other ways, by
influencing the pace of your story.  Long sentences tend to slow
down the story, inviting your readers to wander a bit or to get
comfortable and relax, like sinking into a soft sofa with a glass
of port.  It is possible to go too far and to relax (or bore) your
readers to the point where they fall asleep.  On the other hand,
shorter sentences quicken the pace.  Long sentences are good for
delivering complicated, subtle concepts to your readers --
information that can make a second reading worthwhile. Use short
sentences when you absolutely must get the point across, when you
are shocking your readers, when you want to make sure that they are
paying attention.  For example, you could write:

        He didn't die.  He's living upstairs.

Depending on the rest of the story, those sentences could be very
important, delivering an important plot twist and compelling your
reader to keep going.

Sentence length can also be used to characterize your characters.
Some may tend to speak in long sentences, others in short.  There
is a wonderful passage in Shakespeare's "Henry IV Part I" in which
Falstaff goes on and on about his favorite subject -- that is to
say, himself, and why he should not be banished from Prince Hal's
company.  The prince slashes through the pompous self-praise with a
pair of sentences which could not be more succinct:

        I do.  I will.

The Order of Words Within Sentences
There is more to sentence structure than the length.  Consider the
lead sentence from an article on cane toads:

Poisonous and ugly, Australia's cane toads are suckers for

In this sentence, we see that the first part of the sentence sets
up the context -- cane toads are both poisonous and ugly -- and the
last phrase in the sentence, "suckers for nightlife" -- is
unexpected. It is also what the article is going to describe.  In
other words, even within a sentence, you need to be mindful of the
fact that within the sentence you are going somewhere, leading your
readers on a journey, and that you are responsible for making it
easy for them to follow.

The order of the words also impacts the emotions experienced by the
reader.  If you can deliver a surprise with the very last phrase or
word -- whether it be a plot-twist, emotional or informational --
your sentence delivers much more impact.  For example, in our
novel, "Jocasta," the very first sentence is:

        I don't want to die.

By making DIE the last word in the sentence, it has more impact. 
Imagine, instead, that we had written:

        Die? I don't want to.

Somehow, it doesn't have the same force.  People fight for the last
word, because the last word has more power.

Last Words
Each sentence should be sensible, and convey the information needed
for your story.  Each sentence should also be sensitive, and be
constructed in such a way that your readers experience the emotions
you promise them.



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; and Antigone & Creon), based on Greek myths and
set in the late Bronze Age. On her own she has written The Highbury
Murders, in which she channeled the spirits and styles of Jane
Austen and Agatha Christie.  Her newest novel is Academic
Assassination (A Zofia Martin Mystery) - available now on Kindle
and coming soon in print.  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 2014 Victoria Grossack. 

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

Link to this article here: 

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


WritingCareer.com is a free online resource to find paying markets
for your poetry, fiction, and nonfiction. Updated daily, we report
on current needs of editors and publishers who are open for
submissions, pay competitive rates, and do not charge reading fees.



Spain Begins Hunt for Bones of Don Quixote Author
Miguel de Cervantes died on the same day as William Shakespeare --
April 23, 1616 -- and asked for his  bones to be buried in the
grounds of a convent that had helped to release him when he was
taken captive by pirates.  However, no-one is quite sure exactly
where he was buried.  Now Spain has decided to use forensic
archaeologists to hunt for his remains.  For more on this story
visit:  http://tinyurl.com/l9tmyrl

Pelican Books Make a Welcome Return
Pelican Books are being relaunched by Penguin.  Pelican books were
first launched in 1937 to provide cheap nonfiction books to the
fiction-buying Penguin customers.  Just as the originals, the new
Pelicans will have a pale blue jacket.  They will, sadly, cost more
than 6d, (or six pence in pre-decimal English money.)  For more on
this story visit: http://tinyurl.com/kqtu7zx

Sales Rise Again at Amazon
Amazon has reported an increase in sales of 8%, leading to an
increase in revenue of 23%.  Most of the increase in revenue came
from white goods, merchandise and cloud services, not books.  For
more on this story visit: http://tinyurl.com/mxxscfl


EVERY WRITER NEEDS A HOLIDAY!  Moira Allen's new "The Writer's
Guide to Holidays, Observances and Awareness Dates" offers 1800 of
them for instant inspiration on those days when you can't think of
a thing to write about!  Holiday topics are a perennial favorite of
magazine editors around the world -- so fuel your inspiration and
jumpstart your articles today!  Available in print and Kindle
editions; visit http://www.writing-world.com/year/holidays.shtml


Writing Jobs and Opportunities

Garden-Themed Erotic Short Stories Wanted
Greenwoman publishing is looking for sexy gardening-themed stories
for its upcoming anthology, 'Fifty Shades of Green.'

They want stories of between 1,200 and 1,600 words that are fully
developed, entertaining and engaging and have a sexual element, all
stories must include gardening. 

Payment is $100 upon acceptance for First North American Rights. 
Contributors will also receive a print copy of the book.  For more
information visit: 

The Alligator Literary Magazine is Open to Submissions
Our magazine was, at first, just an experiment. We were just a
bunch of college grads with differing modes of creating art, and we
founded The Alligator as a way to share what we made with our
friends and family. Now we are a monthly periodical that publishes
experienced and emerging artists from around the globe. Our goal is
grow large enough to have a printed version along with our online

What we especially look for are works that have a distinct voice
and an element of risk. We want our contributors to have a platform
where they feel safe experimenting with their wildest ideas. For
this reason we don't limit ourselves to a specific genre; we accept
fiction, nonfiction, poetry, visual art, comics, photography, and

One can submit one's work by sending an e-mail with attachments to

There is no submission fee. And unfortunately, right now, there is
no payment for contributors, but we are looking to change that in
the near future.

You can find more information about submissions and guidelines by
following this link:  http://www.alligatormagazine.com/submit.htm.

FEATURE:   The Mythical, Magical Number 7 in Technical Writing
By Geoff Hart

Back around World War II, George Miller was making a name for
himself as a cognitive psychologist. One of my favorite Miller
quotes shows how well he understood us, as his advice identified
one of the major barriers to understanding our fellow humans and
proposed a simple remedy: "In order to understand what another
person is saying, you must assume it is true and try to imagine
what it could be true of." 

Isn't that something every technical communicator should keep in
mind when we try to put ourselves into the heads of the stupid,
illogical, frustrating users of our documentation? Perhaps we
wouldn't use any of those three adjectives if we heeded that advice.

But Miller is best-known to technical writers for his "magical
number 7, plus or minus two." In a famous (some might say infamous)
1956 paper, Miller summarized the results of his research and that
of other psychologists on "working" (short-term) memory as follows:
the average person can simultaneously hold around seven items
(chunks of information) in working memory. 

The "plus or minus two" part refers to the fact that some people
can hold onto fewer items whereas others can hold more. With a good
night's sleep, fewer distractions, or familiar information, the
number increases; with fatigue, distractions, and unfamiliar
information, the number decreases.

Think of working memory as the space available to hold chunks of
raw data while we try to manipulate that data and turn it into
information - that which informs us. If the information is
sufficiently important, we can transfer it into long-term
("permanent") memory by fitting the new information into the
structure of existing memories. 

For something truly new, we must create that memory structure
first, a considerably more difficult task. Of course, we can also
choose not to remember specific data, but instead to write it down.
Think of how we might take notes on a lecture: as we listen, we
assemble the individual words and phrases into discrete chunks of
meaning, after which we record those chunks as notes. If the
speaker moves too fast, we lose information. (In technical terms,
they have exceeded our channel capacity.)

All communication experts (and most editors) recommend that we make
our writing as simple as possible. Miller provided a sound
scientific basis for determining how simple: as soon as we start
pushing beyond "seven plus or minus two" chunks, our audience has
increasing difficulty assembling those chunks.

The Mythical 7
Unfortunately, few people have actually read Miller's article. As a
result, many myths have arisen from partial and incorrect
understanding of second-hand accounts of what Miller tried to say.
I've heard many otherwise intelligent people claim that sentences
should be no longer than seven words, that procedures should have
no more than seven steps, or that chapters should have no more than
seven sections - even that menus (software or otherwise) should
contain no more than seven choices.

I call these myths because they're incorrect and misleading - yet
like all myths, each has a grain of truth. Effective sentences can
certainly exceed seven words in length; if not, English would be a
stultifying language. Procedures can certainly exceed seven steps,
otherwise we could never build rockets or Web pages. If chapters
were limited to seven topics, we could never write about any
complex topic, and if menus could only contain seven choices, we'd
need many more restaurants to offer all the foods we love.

So: Where is the truth in the myths, and how can we use that truth
to communicate more effectively?

The Magical 7
Let's consider each of the examples in the previous section.
Sentences longer than seven words work best if we understand that
each clause or interruption counts towards the seven chunks of
information our readers must hold in working memory. Some chunks
are "free." For example, advance organizers such as the "for
example" at the start of this sentence evoke a mental context (the
following is an example) that readers don't have to remember once
it's been invoked; thus, they don't count towards the total of

In contrast, the parenthetical example in the previous sentence
interrupts the flow and forces readers to hold all preceding chunks
in working memory, figure out how the example relates to what was
said, then continue onwards. A less-intrusive and less
memory-intensive way to say the same thing might be the following:
"...evoke a mental context that readers don't have to remember once
it's evoked. That context is the following is an example." 

Other types of clauses each count towards the limit of seven chunks
before we even begin to think about subjects, objects, and their

-  Restrictive and nonrestrictive clauses ("the dialog box that you
must use" versus "the dialog box, which you must use to do X") each
occupy a slot in working memory.

-  Passive voice, by concealing the actor, forces readers to hold
one of those seven chunks open until the actor is revealed.

-  Adjective stacks must be unstacked before the meaning becomes
clear. Compare "speaker-voice-activated, parser-controlled
algorithm" and "algorithm activated by the speaker's voice and
controlled by a parser" to see how this works.

-  Parenthetical statements, non sequiturs, digressions - and
interruptions - each temporarily block the assembly of meaning.

Of course, each of these approaches can be used effectively, but
the more such gimmicks we include in a sentence, the fewer memory
slots remain open. At some point, our poor reader must resort to
writing notes that summarize what they've already read before they
can complete the sentence. We can also use more chunks in print
than in speech, since readers can always reread a difficult
sentence, but lack this luxury in speech.

Similarly, procedures can be long and complex if each individual
step in the procedure is simple. Because readers need only hold one
step at a time in working memory, our information design goal is to
ensure that each step is no more complex than necessary. This is
the source of the common recommendation that each step in a
procedure should be limited to a single task. 

Similarly, chapters and procedures can be can be as long as we like
- if we break them into logical sections at points where readers
might logically pause to catch their breath and assemble meaning. 

Once readers understand a procedural step and act upon it, they can
immediately free up their working memory to begin assembling the
next step. Once a reader understands where a section fits within
the larger chapter, they can ignore the rest of the chapter and use
working memory to concentrate on that specific section.

Restaurant menus provide a more savory illustration of how this
process works and an example of how to apply this thought process
in information design. For most restaurant meals, we have an
opportunity to choose only a few things at a time. For example, we
often order drinks and appetizers before choosing a main course,
and don't have to worry about dessert until we've finished eating.
That lets us focus on the task of choosing among categories of main
courses while the waiter fetches our drinks and finger foods. 

Menus are organized into categories rather than presented in
alphabetical order so we can compare the categories and choose
which one to focus on. For example, we may consider the categories
of seafood, beef, chicken, pork, vegetarian, pasta, and "breakfast"
dishes (seven categories) before deciding that we really want
pasta. Having decided on pasta, we can ignore the other six
categories and focus on the possibilities in that one category. 

Few menus offer more than about seven choices in a given category,
so it's easy to hold those few options in working memory while we
compare them. But if there were many more than seven choices, an
effective menu design would help narrow our focus by grouping the
options into subcategories, such as types of pasta (e.g., thin vs.
thick noodles) or types of protein (beef vs. seafood). We could, of
course, apply the same design logic to the less-appetizing software
menus we confront in our daily work. Those menus might not become
any tastier, but they'd be easier to work with.

Magical, not Mythical
The message I want you to take away from this article is that "the
magic number seven" represents a useful tool for understanding how
people think - not that it's a fixed, immutable limit. Our goal as
information designers should be to understand that our designs
place a burden on the reader's working memory, and that we should
strive to reduce that burden. We can do this by analyzing the
sources of complexity and choosing strategies (such as grouping the
contents of large menus into categories) that minimize the
complexity our audience must face.

Miller, G.A. 1956. The magical number seven, plus or minus two:
Some limits on our capacity for processing information. The
Psychological Review 63:81-97.


Previously published as: Hart, G. 2006. The mythical, magical
number 7. Intercom April 2006:38-39.

Copyright Geoff Hart 2014

Geoff Hart has been working a technical communicator (primarily as
an editor, but also as a translator and technical writer) since
1987.  He has written hundreds of articles aimed at technical
writers, many of which can be found on his website: 

To find out more about technical writing read our archives at:

This article may not be reprinted without the author's written

Link to this article here:


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


FREE STUFF FOR WRITERS: The Smart Device Writer Kit (Part 3)

By Aline Lechaye

In the past couple of months, we've looked at mobile dictionary
apps, collaborative learning and writing apps, outlining apps, and
poetry apps. This month, we'll be looking at more mobile apps: two
character name apps, a note taking app, and a writing productivity
and motivation app. 

The perfect name is just as much a part of a character as
personality and backstory. However, coming up with character names
isn't always easy (especially when there's a deadline looming). You
probably want the name to sound right, be appropriate for the
character's time and background, and maybe even mean something that
has to do with your character. That's when you need a character
name app. The Baby Name-o-Matic app isn't, strictly speaking, a
writer's app (as you might have guessed, it's more of a parenting
app), but it can be useful for finding character names. The app
interface is cute and colorful (although admittedly, rather
baby-oriented), and the app contains over 10,000 names and their
meanings and origins. Plus, as you rate names you like on the app,
it slowly learns to predict names that might interest you. Download
the app at
(The Baby Name-o-Matic app is only available on Android phones at
the moment.) Another naming app to check out is Aesop's Popular
Baby Names app, which also includes origins and meanings of names,
as well as their popularity in different countries over the past
100 years. The app runs on both iPhones and Android phones. To
download or learn more about the Popular Baby Names app, go to

Taking notes is a big part of any writer's life. You never know
when you might see something that inspires your muse, or helps you
break through a bout of writer's block. In the olden days, those
were the times when you frantically started searching for a pen and
a piece of paper (or a paper napkin), but now that you have a
smartphone, taking notes and organizing them should be easy... and
with the ubernote app, it kind of is. With ubernote, you can save
notes, bookmarks, and files from any computer or Smartphone or
tablet computer as long as it is connected to the Internet
(ubernote is compatible with web browsers Internet Explorer,
Firefox, Chrome, and Safari). You can also send notes to yourself
via email or SMS, or share notes with friends. There is also an
option for downloading your notes to your hard drive for
safekeeping. Learn more about ubernote at http://www.ubernote.com/. 

Big writing projects take time to complete, and sometimes real life
and procrastination can get in the way. Breaking a big project down
into sizeable chunks can be a way to motivate yourself: the thought
of writing a thousand words a day tends to be less daunting than
the thought of writing 50,000 words in total. Writeometer is a
productivity app that can help you track your writing progress,
remind you to write every day, and provide writing motivation when
you're in writer's block mode, which makes it just about perfect
for writers! Writeometer currently only runs on Android phones. To
learn more or to download the app, go to 


Copyright Aline Lechaye 2014

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. 


SERIOUS ABOUT WRITING? Join the National Association of Independent
Writers and Editors, the professional association with a
career-building difference. We partner with you to create a
strategic online presence with genuine credibility. You get a free
NAIWE-linked website (and more) so you'll be where people come to
find writers. Join us today at http://naiwe.com!



Technical Writing World
If you are an experienced or new technical writer, this is the site
for you.  It has a blog with useful articles, a job listings page
and a very popular forum where you can post your questions. 

This is another site aimed at technical communication writers and
content management.  It has tips and tricks for technical writers,
a jobs page and an active forum. 

Erotica Readers and Writers Association
This is a great blog to visit if you want to become a writer of
erotic fiction.  It is regularly updated and includes exercise for
the writer of erotica as well as a calls for submissions page.


AUTHOR'S BOOKSHELF: Books by Our Readers

From Pigtails to Chin Hairs: A Memoir & More, 
by Becky Lewellen Povich

Find this and more great books at

Have you just had a book published?  If so, let our readers know: 
just click on the link below to list your book.


on how to reach more than 110,000 writers a month with your 
product, service or book title, visit


Writing World is a publication of Writing-World.com

Readers are welcome to forward this newsletter by e-mail IN ITS
ENTIRETY. This newsletter may not be reposted or republished in
any form, online or in print, nor may individual articles be 
published or posted without the written permission of the author
unless otherwise indicated.

Editor and Publisher: MOIRA ALLEN (editors"at"writing-world.com) 
Newsletter Editor: DAWN COPEMAN (editorial"at"writing-world.com) 

Copyright 2014 Moira Allen

Copyright © 2017 by Moira Allen. All rights reserved.
All materials on this site are the property of their authors
and may not be reprinted without the author's written permission,
unless otherwise indicated.
For more information please contact Moira Allen, Editor