Business Cards for Artists?

Are personal business cards something an artist should have? Most definitely.

Business cards are ideal for inexpensive self promotion--a way to get your name out.

• Writers, if you freelance or have published a book or two, the business card can be a mini-flier that tells about your work. 
• Artists, whether fine art or graphic arts, a business card shows a level of professionalism that will enhance contact with potential clients and galleries.

The basics for your business card are: Your name, phone number and e-mail address. For personal safety reasons, do not list your home residence or studio. If you have an office or P O box, that could be included.

Freelance specialties, such as portrait artist, newsletters and brochures, or regional history should be stated. It's also useful to list a web site URL where more information and examples of your work can be found.

Always be ready to distribute your card. Put them on bulletin boards at the Laundromat, churches and libraries; leave them with tips at a restaurant, and include them in those fishbowl collections set up for winning a free lunch. Tuck them into the envelope when you pay your bills--this especially benefits non-fiction writers and specialty photographers (weddings, kids, pets).

The more business cards you pass out, the greater the chances of reaping unexpected rewards.

Too Many Words Slow the Flow

© 2004 Get It Together Productions

Words. The key element of writing. But sometimes, too many words can be a problem, and certain words can change your expressive work into a bumpy read. Some of the common offenders are that and there (it) was/were/is. Overuse of these words is natural to most writers. Our ideas pop to mind and we start writing. We want to get our thoughts on paper! This need is admirable, productive--but often sloppy. Example:

There was a row at the campground last night that went on for two hours. It was started by the ranger when he said that some people needed to move to an area that was less crowded. Before it was over, there were three rangers trucks and two city police cars at the scene that was lit with spotlights from the ranger trucks.

Well, the facts have been given—along with way too many words. The correction comes in the rewrite (see below).

CHANGE IS GOOD: Usually when 'that' is used an 'it was' or 'there was' is someplace nearby, resulting in a bland sentence. These words nullify an active voice, but word choice can revive it. Consider this sentence: It was Ashburn's decision that led to a new program. Both negative elements are here: 'It was' and 'that.' Let's get rid of them. How about: Ashburn's decision led to a new program, or better, Ashburn's decision resulted in a new program.

Here's another example: Margie took the path that led to the well. 'That led to' could be omitted or replaced. Margie took the path toward the well or Margie took the path leading to the well. Better yet: Margie hurried along the path to the well. The modified sentences are more active and contain fewer words.

Another example: There could be some things that would aid their comfort would be better as Some things could aid their comfort. Best would be to mention at least one of the things: More blankets and water could aid their comfort. Notice, even with this detail, the sentence contains fewer words.

SEEK AND DESTROY: The all-important "I-have-to-get-it-out-of-my-head-and-onto-paper" write is finished. You have your theme and story developed. The first draft is complete. Ta daa! Revision time! You read the manuscript, revise and read again...Are you catching those slow-the-flow words? Probably not. As writers, we read our own work knowing what we intended, and thereby seeing what we want to see. The analytical approach is best to seek and destroy the slow-down words. You'll be more productive by setting a specific task than trying to catch the miscues in a proofread. Most word processors have the perfect tool.

Use the "find" command of your software program. It's usually in the "edit" menu. Set it to find 'that', and study the offending sentence. You will quickly see what needs to be cut or how the sentence could be rewritten for better clarity and verve. Hit "next" and you've got another 'that.' Continue to the end of the manuscript. You can search out 'there was' as a sentence beginning by instructing your search tool to match case--'There'--with a capital T.

CHOP, CHOP: Let's go back to the opening campground paragraph--now revised.

Last night's campground row continued for two hours. It began when a ranger insisted some people move to a less crowded area. Before it was over, spotlights from three rangers trucks lit the scene, and two city police cars had arrived.

Sixty-three words have become forty-three words, and the information moves along at a better pace.

More Writing Tip articles are available at the GITP Webpage

Make Your Characters Vivid

© 2008 Get It Together Productions

What keeps most readers turning the page? Not an intricate plot or big type. Readers relate to the characters. In order to create these crucial elements of your story, it is important to take a long look at your characters. Be certain you know them well and portray them the very best you can. 

Make character sketches for every major character you have. When you do that, here are things to consider.

1. What type of personality? Is your character exuberant or shy? Maybe someplace in between. Remember, most real people aren't strictly one way or another. It's the blend and sometimes mercurial traits that make them interesting. Perhaps someone doesn't like dogs in the house, but enjoys visiting the zoo. What does that tell you? Here's someone who likes things well defined and orderly. Use these types of juxtapositions to enhance your characters.
2. How will the events affect this personality and vice versa? Consider the challenges and events that your characters will come up against in your story. How will this shy (assertive), orderly (messy) person deal with what you throw at them? Decide if the event makes a change in the personality.
   If several characters are confronted with the same challenge, write the scene from each character's perspective. These sketches will be notes for you, and when you put the scene in your manuscript, it will be believable and easier to write.
3. Examine all details to make this person real. Keep in mind each character's age, nickname, upbringing, siblings, date of birth, performance in school, number and type of friends, favorite colors and foods, preferences for movies, books, shoes, athletic or not, and so on. By writing this down, you can keep the facts consistent throughout the story. Readers don't appreciate a character (even a minor one) being nineteen on page seven and on page seventy (only story month later) the same character is eighteen. Also be certain the characters act their age. If someone is fifteen and still likes to play hopscotch, let the reader know why.

Once you start writing your story, a character will sometimes "insist" on behaving a certain way, or a sub-character will want to "take over" a scene. This is a clue to rethink those characters and their importance in a story.

If you're writing nonfiction, much of this character-study work has been done for you. But you still need to decide the points that will enhance the story as you're going to tell it. It is quite easy for the research material to overwhelm your story. Be certain you don't lose your characters behind facts and figures. The statistics have to have relevance to the characters or the story won't be interesting.

Readers appreciate believable and well-thought out characters. The extra time spent in with this important element will boost your hold on editors (your story's FIRST reader) and book buyers.

Find more articles at the GITP website.