Tuesday, 29 October 2013
7 of the Worst Article Writing and Marketing Tips
“There is nothing more hateful than bad advice.”
- Sophocles
There’s a lot of bad advice whispered in the dark corners of the Internet. What appears like the fountain of quick-and-easy success is often a nightmarish journey toward credibility ruin.
While there are many, here are 7 of the worst article writing and marketing tips we’ve found circulating that you should steer clear of and why.
“Write Content for Content’s Sake”
Writing articles merely to churn out content will not help you – it may pick up a few wayward readers, but it will not sustain your growth. If your articles lack originality, a primary goal, and audience targeting, then you will lack the ability to engage readers. Everything you write should have a purpose and meet a need – your readers should be able to walk away with something. Be informative while sharing your exclusive and original content.
If you lack the necessary insight on a hot topic, expand your horizons by performing the necessary research that will benefit your audience. Integrate this new information with your own commentary or insight on a particular topic. [Learn more]
“Write What’s on Your Mind”
Are your neighbors aggravating you again? Did you make a pie that was simply inspired? Heard something on the news that makes you see red? Is your relationship going through its paces? Unless the heart of your expertise is relevant to any of these issues or you plan on tying any of these experiences to illustrate an informative point, understand this: article writing is not social media, nor is it a platform to publish personal diaries or journals.
Write quality, original, and objective content that meets the interests and needs of your audience and you will succeed at becoming a leading authority in your niche. [Learn more]
“Make Sure it’s Absolutely AMAZING”
Good grammar, spelling, and cohesive ideas are important, but not at the expense of your time and energy. Don’t get stuck in publishing paralysis: you are stuck in a cycle of proofreading and editing without publishing content. Develop a system bent on quality creative execution and stick to it.
We recommend at least 7 steps to create quality content fast: (1) Brainstorm, (2) Outline, (3) Write, (4) Revise and Edit, (5) Proofread for Spelling and Grammar, (6) Perform Final Edits, and (7) Submit It! [Learn more]
“Write for Keywords”
Keywords can have great power. When used responsibly, they can increase your ability to be found on searches and create eye-popping titles readers crave. However, keyword stuffing (scattering keywords throughout the article) creates low quality content, a terrible user experience, and reflects poorly on the author (as well as anyone associated or affiliated with that author).
Raise the quality standards bar to create a positive and memorable experience for your readers. [Learn more]
“Promote Yourself and Your Stuff in Articles”
Readers expect articles to be non-self-serving sources of informative content. Adding self-serving information (i.e., advertising yourself, your organization, your brand, etc.) before the Resource Box is like a spam-tripwire for readers and breaks their trust. Save promotional content for areas of your blog or website dedicated to discussing information about you, your business, and your products or services.
Write quality, informative articles (non-self-serving content) that targets your readers’ needs and wants to build trust because earning trust increases your credibility, maximizes your exposure, and is more successful than a hard sell. [Learn more]
“Use Exact Match Anchor Text”
Publishing the same anchor text aggressively in articles, blog posts, and guest posts both on and off your website doesn’t benefit your optimization – it hurts it! Intended for optimization, exact match anchor text occurs when an unnatural amount of keyword phrases create a static link profile. Avoid appearing unnatural to readers and search engines by creating a great user experience.
Find balance in an organic mix of anchor text to add variety and depth to your link profile while maintaining relevance and transparency. [Learn more]
“Use an Article Spinner”
Article spinning software is a complete waste of money and time. It serves no other purpose than an attempt to plagiarize good content, whether you own it or not. Article spinning occurs when the user places text into a software program that replaces the original words with synonyms. Alternately, there is the “manual” version where content writers attempt “rewrite” content by tweaking a sentence here and there. We’ve said it before and we’ll say it again: Article spinning is “word vomit.” Don’t waste your time or a reader’s time with it.
If you’re interested in squeezing more value out of content you own exclusively, then consider using it on social media, transposing it into videos or audiobooks, create webinars from it, compile it into an ebook or report, and create easy-to-read infographics. Avoid creating derivative content by planning ahead and exploring a wide variety of angles. [Learn more]
What bad advice would you add to this list? Let us know – we’d love to hear from you!
Posted by Vanessa, Editorial Manager on October 7, 2013 at 9:50 am | 2,300 viewsHow to Predict Natural Keywords
Become a Thought Leader
A huge part of your success as an Expert Author can be found in how well you’ve fostered your brand as a thought leader. A thought leader is an innovative authority who is largely recognized as a major influence in a particular niche (and even profits from it).
However, you can’t become a thought leader by writing from the same angles, using the same keywords, and taking the same points of view as every one else in your niche. You must break the line of conformity and one way to do so is to develop a solid content writing strategy built by predicting hot keywords in your niche.
You don’t have to be a magician to predict words, otherwise you’d be drawing keywords out of a hat and hoping for the best (which would be a colossal waste of your time). Lead by knowing your audience’s likes, dislikes, fears, and passions as well as stay on top of trends in your niche. Then carefully and strategically predict new keywords (or long-tail extensions of existing keywords) based on your audience’s interests and relevance to your niche.
Use this graphic as your guide to discovering opportune keywords, providing fresh content for your audience, and building your brand as a thought leader! Simply click on the graphic below to view in a new window and then click the image to zoom in or out.
How to Predict Natural Keywords
Transcription
Why? Predicting Natural Keywords Will Help You …
Get a leg up on your competitionBecome a thought leader in your nicheIncrease your audience by gaining traction with new readersBuild your reputation as a credible sourceHow? Put Your Toolbox Away!
Avoid keyword selection tools. If these keywords are being provided to you, they’re being provided to others as well.
Immerse Yourself! You Can’t Lead if You Can’t Keep Up, So …
Subscribe to News OutletsRead Niche-Relevant BlogsFollow Social Media SourcesDiscover Audience Q&ASpot BuzzwordsScope out Google TrendsLook for Indicators of Opportunity
Identify keywords that are most relevant to your topic.Identify keywords that are most relevant to your audience.Find the opportunity in keywords that are most relevant to your topic and your audience.Tips for Putting These Keywords in Action
Brainstorm articles that are relevant to your topic and your audience.Focus on writing content for your readers, not for search engines.Target both long and short-tail keywords.Be natural; don’t force keywords into the content.Integrate the keyword in the title and article summary.Naturally position the keyword phrase as close to the beginning of the title, summary, and opening paragraph.Use no more than one keyword per 100 words.Want to share this image? Simply copy/paste the code from below into your blog or website.
Have questions or comments? Let us know – we’d love to hear from you!
Posted by Vanessa, Editorial Manager on October 11, 2013 at 9:00 am | 2,531 viewsTop Misused Words Part IX
Happy Birthday, Noah Webster!
In 1828, at the age of 70, Noah Webster published An American Dictionary of the English Language. He hoped to help children in overcrowded schools better articulate themselves and standardize American speech. Born on October 16, 1758, Webster is now known as the Father of the American Dictionary. 255 years later, Webster’s birthday is celebrated by thousands on “Dictionary Day.”*
It’s with great pleasure that we dedicate this edition of the Top Misused Words to Webster and to all who are passionate about language.
Assume vs. Presume
assume – to suppose to be the case, without proof; to take or begin to have (power or responsibility).
Incorrect: I’m not 100% sure, but I would presume a “Toad in the Hole” is an amphibian in the ground.
Correct: I’m not 100% sure, but I would assume a “Toad in the Hole” is an amphibian in the ground.
presume – to suppose something is the case on the basis of probability; to be audacious enough to do something.
Incorrect: Judging from the recipe – a dish of sausages in Yorkshire pudding batter – I would assume “Toad in the Hole” is delicious!
Correct: Judging from the recipe – a dish of sausages in Yorkshire pudding batter – I would presume “Toad in the Hole” is delicious!
Decimate vs. Devastate
decimate – kill, destroy, or remove a large percentage or part of (original meaning limited to kill one person in ten).
Incorrect: Julius Caesar threatened to devastate the 9th Legion during the war against Pompey.
Correct: Julius Caesar threatened to decimate the 9th Legion during the war against Pompey.
devastate – destroy or ruin (something).
Incorrect: The city was decimated by a huge earthquake.
Correct: The city was devastated by a huge earthquake.
Ensure vs. Insure
ensure – make certain that (something) shall occur or be the case.
Incorrect: Encourage passengers to wear seatbelts to insure their safety.
Correct: Encourage passengers to wear seatbelts to ensure their safety.
insure – arrange for compensation in the event of damage to or loss of (property), or injury to or the death of (someone), in exchange for regular advance payments.
Incorrect: If you don’t live in an earthquake zone, should you really ensure your home with an earthquake policy?
Correct: If you don’t live in an earthquake zone, should you really insure your home with an earthquake policy?
Farther vs. Further
farther – used as comparative of far; more distant in space than another item of the same kind.
Incorrect: On the further side of the mountain, you’ll find treasure.
Correct: On the farther side of the mountain, you’ll find treasure.
further – to a greater degree or extent; help the progress or development of (something); promote.
Incorrect: She had depended on articles to farther her exposure as an Expert Author.
Correct: She had depended on articles to further her exposure as an Expert Author.
Literally vs. Figuratively
literally – in a literal manner or sense; exactly.
Incorrect: I can’t believe you figuratively ate an entire half gallon of ice cream in one sitting!
Correct: I can’t believe you literally ate an entire half gallon of ice cream in one sitting!
figuratively – in a figurative sense; metaphorical.
Incorrect: The Haunted House was so scary: I literally died of fright!
Correct: The Haunted House was so scary: I figuratively died of fright!
Proofread. Maintain your credibility. Avoid confusion. Gain readers. It’s that easy! Do you have any misused words you’d like to see added to the Top Misused Words series? Share them in the comments section below – we’d love to hear from you!
For more posts like this, check out the Top Misused Words category!
* This post was updated on October 16, 2013 at 4:15 p.m. CST.
Posted by Penny, Managing Editor on October 16, 2013 at 9:00 am | 1,679 viewsBest Practices to Write Fresh Articles on New and Old Topics
Make Writing New Content a Breeze With These Tips
Fresh content can be incredibly demanding. Faced with personal and professional time constraints, creating quality, original content can seem like an upward battle. However, you know content creation is a must to build exposure for you and your brand, so (somewhat begrudgingly) you flip on your computer, laptop, or tablet device and start plugging away.
This isn’t a sustainable practice.
Give yourself a break! Create fresh and original content using these Best Practices to Writing Fresh Articles on new and even old topics.
New Content Inspired From Natural Keywords
While keywords shouldn’t be the end-all-be-all strategy of your efforts, no one can deny that they have a big impact on your success. Always focus on writing content for your readers, not for search engines and naturally incorporate a keyword strategy to increase your ability to be searched using these tips:
Predict KeywordsAmp up your efforts by breaking from the crowd to become a thought leader in your niche: predicting keywords. Identify keywords that are most relevant to your topic and then pick out those keywords that are most relevant to your audience to find the gems of opportunity.
Target Long-Tail KeywordsFor those in competitive niches, this tip is an absolute must: avoid oversaturating your article portfolio with short-tail keyword phrases by targeting long-tail keywords. Identify your keywords and refine the topic by narrowing the head.
Include a Social StrategyAs social media platforms further embed themselves into our lives, it’s more important now than ever before to expand your strategy to social media outlets. Find what hash-tagged keywords stick and what topics are trending on Facebook, Twitter, Instagram, Pinterest, Reddit, etc. Wherever your audience is: be there and find opportunity in the discussion.
When to Update Old Content
Many authors find themselves in a position of having a large volume of articles that use relevant keywords, but many of the articles are not pulling the weight they once had. Your first instinct might be to update or edit old articles by tweaking the keywords and adding or replacing content.
Like magazines, articles are intended to be published at regular intervals to serve readers in a timely manner. For example, Stephen King isn’t going to go back and update “Head Down,” his popular 1990 article featured in The New Yorker. He may revisit the topic in a future article by providing new insights or cite particular areas that no longer apply; however, he’s not going to rewrite it without new insights and then republish it once again in The New Yorker or elsewhere.
Of course, not all of us are of Stephen King’s caliber and updating may be inevitable. Here’s how you can determine whether you should update your articles or write a completely new one:
If you’re only updating less than 10% of the article, go ahead and edit the article.If you’re adding additional content or adjusting more than 10% of the content, consider writing a new article.For new articles that are extensions of old topics, avoid creating derivative content by ensuring you don’t repeat information. Broaden the scope of the topic and provide new insights that readers can take away.
Use Article Templates
Want to get more out of a topic, but feel like you’ve exhausted every angle and squeezed as much as you can out of it? Give it new breath with Article Templates! A healthy article portfolio is highly relevant and diverse so readers can explore your content to gain more information as well as assess your credibility as a leader in your niche. Use the 52 Article Templates or any combination of the Build Your Own Article Template Packages to increase your portfolio with a vast collection of original insights, engaging topics, and more.
Have questions or comments? Let us know – we’d love to hear from you!
Posted by Vanessa, Editorial Manager on October 14, 2013 at 9:00 am | 2,135 viewsSpeed Up Article Writing Without Sacrificing Quality
A Story of You, a Genie, 3 Wishes, and a Ton of Great Articles
Today, we’re going on a journey to find out a little secret that many of our top authors already know. So grab a beverage, sit back, relax, and read on.
Our Story Begins …
Imagine you’re walking down a tropical beach when you suddenly spot something glinting in the sand ahead. Upon closer inspection you discover a gold lamp covered in sand. Picking up the lamp, you dust it off and admire its gleaming surface.
An instant later, the lamp begins to vibrate. As a wisp of smoke shockingly begins to rise from the spout, you quickly drop the lamp at the water’s edge. The smoke roils and churns while slowly taking the form of a rotund figure floating lazily above the waves – an EzineArticles logo embroidered upon his cap.
You realize immediately it’s the legendary EzineArticles genie and you will now be the lucky recipient of 3 wishes!
“Greetings!” booms the genie. “I am here to grant you 3 wishes that will make you a better Expert Author. What is your first wish?”
You briefly think before responding, “I want to write faster so I can gain the competitive advantage of publishing a ton of articles.”
“Your wish has been granted,” the genie replies. “You now have the ability to write more articles than ever before. With these articles you will flood the Internet with useless drivel.”
“What!? I don’t want to do that! I want to write only high-quality articles!” you shout.
“Is that your 2nd wish?” asks the genie.
“Yes!” you reply emphatically.
Your wish has been granted,” says the genie. “You will now write the best articles the Internet has ever seen. Each will take you many hours to complete.”
“That’s not what I want either!” you blurt out. “I want to to write a ton of high-quality articles faster than I ever have before!”
The genie laughs, “Well, why didn’t you say so in the first place? Is that your final wish?”
In barely a whisper you say, “Yes. Final wish.”
The genie waves his hands in a grandiose gesture … and nothing happens.
“So … what about my wish?” you ask.
The genie chuckles, “It has been granted. Sign into your My.EzineArticles.com account and check your Digital Locker. In there you’ll find a collection of 157 article templates designed to make you a faster, better writer while also providing you with the ideas you need to get started.”
As the genie vanishes, you smile. It appears that you got your 3 wishes after all.
… The End
Obviously, this is just a story, but what 3 wishes would you make if it was real? If the first two wishes match those in the story, then you’re not alone. A large percentage of our Expert Authors strive to write great articles fast, but they often end up going overboard one way or the other. The result is poor quality articles or articles that took hours to write. It appears that there’s no solution to this quandary.
That’s where article templates come in. These PDF documents are just the ticket you need to generate great ideas, write quickly, and build your portfolio of high-quality, informative articles.
Looking to have that 3rd wish granted for you? Look no further than the EzineArticles Shop!
Posted by Marc, Product Marketing Manager on October 25, 2013 at 9:00 am | 947 views10 Distractions that Destroy Productivity: The WRONG Advice
Are You Sabotaging Yourself?
Expert Authors face a fast, competitive atmosphere. Simply finding the time to write while balancing personal and professional priorities is an enormous challenge. Compound that with overcoming pesky distractions and you’re in for an uphill battle.
Here’s a tough point most people will not easily admit: You are the cause of the majority of your distractions.
While distractions like texts, notifications, email, and more may come from others, you choose when, where, and how you react and engage with the distractions. It’s not too late! You can reclaim your power over distractions.
Take a look at the list of distractions below and see how many you can relate to. If the number is overwhelming, it’s time you took a closer look and deal with them in a way that suits your priorities.
WARNING: Each point below is written from the perspective of the wrong advice. It’s delivered tongue in cheek to provide a humorous view of self-induced distractions. I hope they make you smile because I know I’ve been guilty of a few of these excuses. Let us know which ones you’re guilty of too!
10 Distractions that Destroy Productivity: The WRONG Advice
Turn On All Electronic Devices
Email/Internet: Maintain a non-stop connection to the Internet while you’re writing for news updates and constant idea generation. Also, avoid scheduling specific times to check your email – it’s far too important to respond to each message straight away. Be the ultimate multitasker, don’t neglect email or the Internet!Phone Calls/Text Messages: Never risk letting a caller go straight to voicemail. Even if you’re on a great track in your writing, you should make time to chit chat with friends and brush up on your texting skills while you’re brainstorming. It won’t bust your productivity too much and it’s better to respond to others quickly to keep them engaged in conversation. Keep your phone on at all times.
Television: With so many great shows on TV and streaming media channels, how can you possibly keep up with it all? Tune to your favorite programs and have them play in the background while you’re writing! It will ultimately save time because you’re multi-tasking! Challenge yourself to concentrate on your writing and what’s going on in the show you’re watching. Take a seat on the couch, write, and take in all the drama of the entertainment world at once!
Video Games: Playing video games or apps on your smartphone can be soothing. Take a break from writing by grabbing a controller and get lost in fantasy or the latest app saga with a truly hands-on experience. Your writing can wait. You can get back to work once you complete the next level or the one after that.
Be at the Beck and Call of Relationships
Friends: Your friends need your full attention. Try to make plans with them while you’re thinking about your next set of articles. Do they want to drop by during your scheduled writing session? No problem! It’s good to interact with others when you’re trying to focus. Casually talk about current events and controversial topics to get your mind racing and to make the room more tense.Neighbors/Surprise Visits: We’ve divorced ourselves so much from face-to-face communication these days due to technology. Encourage your neighbors to visit as they please! You never know when you’re going to have company over, so have the kettle and a few homemade goodies ready. Don’t ignore knocks at the door because you’re busy – you can pick up where you left off with your writing.
Pets: To most pet owners, these loyal and adorable animals are like family. Include your pets in your writing sessions. Isn’t it adorable the way your cat sits on your keyboard? How hilarious is your dog’s latest tail-chasing antics? Never let your pet think your office is off-limits; after all, they want to be near you and get updates on dinner. Take frequent breaks to give them attention.
Let It All Go
Physical Condition: Turn discomfort into opportunity! Being too comfortable while you’re working will put you to sleep. You need to feel agitated, hungry, tired, and shift constantly in your seat if you want to be alert. Let the motivation to relieve the discomfort – eat, sleep, or straighten out your back – drive you to finish your work faster.Environment: If you’re the type to be distracted by a little dust or coffee stain, by all means – take the time to thoroughly clean your workspace. You need the absolute cleanest environment for any type of writing. When you see an opportunity to organize, dust or vacuum, be sure to take it! Alternately, if your workspace is so messy that you can’t find your outlines or notes, let it go and don’t worry about organizing the space! You can let your memory do it’s work or perform the research over again.
Procrastination: It’s necessary to put things off from time to time. You need to mull over an idea because the longer you put off writing, the more powerful your ideas will become as they mature in your mind. Throw out your calendar and avoid a schedule. Take your time and wait until tomorrow, or the next day. You’ll get around to it!
DISCLAIMER: Do not follow the advice given above – in fact, do the exact opposite! Think about the distractions you specifically struggle with. If you recognize and understand how harmful these can be to your productivity, you will have a chance at success. Remember, you can do things as you’ve always done them and get the same results. Or break the pattern, step it up, and focus on your writing by eliminating distractions. The path you take is up to you! Are you guilty of any of the above self-induced distractions? Do you have solutions to drive away distractions? Let us know – we’d love to hear from you!
Posted by Vanessa, Editorial Manager on October 21, 2013 at 9:00 am | 5,194 viewsEzineArticles Asks: What Reading Level Should You Target?
Use Words That Speak to Readers
Authors have typically achieved higher levels of education than the average reading level and tend to write at the same reading level as other authors in their niche. So where does that leave the actual reader?
According to many reports (including the U.S. National Center for Education Statistics’ 1992 Adult Literacy survey), the average reading level is the 7th or 8th grade. Combine that with reports of increasingly low-attention spans of Internet users who require even milder language and you’re looking at a reading level of the 6th or 7th grade.
What Should You Do?
Our recommendation is this: If you want to communicate the right idea to the right audience, then you need to use the language and vocabulary with which they’re most comfortable. Sometimes that will require simple words and sometimes more specific language should be used. Ultimately, you need to dig into the demographics of your target audience to determine their reading level. This will ensure you’re sensitive to their needs and will be able to communicate your message.
Also, take a look at recommended reading lists that are prescribed for the various reading levels. There are plenty of words like “assimilate” and “eccentric” that occur on 8th grade vocabulary lists, so it’s important to point out that reading level doesn’t indicate the shortness of words. The key is your readers should understand the words and its context.
What Do You Think?
Now we’d like to pose this highly debated question to you: What Reading Level Should You Target?
Do you believe that articles should be watered down to reach a wider audience? Why or why not?
Do you believe that audiences should be challenged with a higher reading level? Why or why not?
Share your feedback or questions in the comments section below. For those who are curious about where your article’s reading level is, stick around to calculate your current reading level.
Calculating Your Article’s Current Reading Level
There are several formulas to determine reading level (Flesch, Dale-Chall, Gunning, SMOG, etc.).
Read-able.com provides a great Readability Test Tool to help you easily determine the current reading level of your articles. All you have to do is enter your article’s URL and it will provide the actual scores for 6 readability formulas and the text statistics used to calculate your score.
Want a closer look at exactly how these reading levels are calculated? Try the SMOG formula!
We’ve chosen to outline Harry McLaughlin’s SMOG formula because it’s one of the most recent formulas proposed and it’s one of the easiest to calculate. However, if you wish to look further into assessing the reading level of your articles, we strongly recommend reviewing the Dale-Chall formula which incorporates a word list of easy words and has been often referred to as the most accurate formula.
How to Assess the Reading Level of Your Articles Using the SMOG Formula
SMOG stands for Simple Measure of Gobbledygook (wordy or generally unintelligible jargon) and is a measure of readability developed in the late 60s to estimate the years of education needed to understand a piece of writing.
It takes a bit of patience, but here’s how SMOG works:
Select a total of 30 sentences in your article.Count the number of syllables for each word in each of the 30 sentences.Count the number of words that contain 3 or more syllables.Determine the nearest perfect square root of the total number of words with 3 or more syllables (use this PDF chart from ClassZone.com if you need a refresher).Add the result to the number 3 (a constant in the formula) and you will have calculated the grade level of your article.For example: Suppose your article has 50 words with 3 or more syllables in the 30 sentences that you reviewed.
3-syllable word count = 50Estimate the nearest square root = 7Add 3 = 1010th-grade reading level or college reading levelDon’t forget: We’d love to hear from you! Please share your feedback regarding the above question (What Reading Level Should You Target?) and feel free to share your writing’s reading level in the comments section below!
Posted by Vanessa, Editorial Manager on October 9, 2013 at 9:00 am | 1,519 viewsThe Original Do’s and Unoriginal Don’ts to Creating Great Content
What Makes Great Content?
Whether it’s articles, social media, video, and more, the “secrets” to creating great content for any medium cannot be packaged in a nice little box. Although there are many factors that make great content great, it really comes down to this: you reap what you sow.
In content marketing (especially in article writing), you cannot throw a handful of articles on the Internet and hope something catches. That’s not a sustainable marketing practice and you’ll wear yourself (and what readership you have) out.
However, if you make content creation a conscious priority by giving it the love and dedication it deserves, it will love you right back.
The Do’s and Don’ts of Content Creation
Why is it that “Do’s” always occur before the “Don’ts”? It’s my belief that you should always end on a good note (“hit me with the bad news first” philosophy), so let’s get those dirty, unoriginal don’ts out of the way so we can savor the good stuff.
Unoriginal Content Creation Don’ts
This list is pretty self-explanatory, so we’ll keep it quick:
Plagiarize other people’s contentImitate other’s people’s contentSpin articlesUse PLR articlesWorks in the Public DomainRepeat yourself by rehashingAdd a few sentences of fluff just to meet the minimum word countBe VagueOver QuoteOriginal Content Creation Do’s
Be a trendsetter. Writing original content isn’t about ensuring your article is word-for-word unique; it’s about being the source for others.Plan (from goal setting to strategic planning) in order to stay organized and focus on your goals.Know your audience! Write based on their needs and keep up with trends to predict upcoming content that will pique their interest.Allow your personality into the article by exhibiting a confidence in your knowledge and experience that you’re sharing with readers.Choose a niche you’re passionate about as well as have relevant personal and professional insights and experiences.Stay classy by properly citing your sources if you do choose to quote.Ensure portfolio variance to keep readers interested in your brand by writing 80% evergreen content and 20% on current topics/trends.Retain the exclusive license for content produced for you by ghost writers (or purchased in any other manner).Get with the times by providing relevant content that relates both to readers and your niche.Aim for a quality user experience with a memorable and motivational take away.Break down your writing process into strategic steps to create quality, original content.Of course, this isn’t a comprehensive list: creativity and writing cannot be wholly boxed and content creation is like a living, breathing entity that is constantly changing. What do’s and don’ts would you add to this list? Let us know – we’d love to hear from you!
PS: Creating great content isn’t easy, but you can make it a LOT easier on yourself by using EzineArticles Article Templates. Designed to give you the ideas and structure you need, these interactive PDFs are easy-to-use, inexpensive, and wonderfully inspirational. Get the original 52 templates here or select from our packages containing 15 unique templates here.
Posted by Vanessa, Editorial Manager on October 23, 2013 at 9:00 am | 1,170 viewsArticle Writing Tips to Retweet: October 2013
Every month @EzineArticles provides hundreds of useful tidbits of information, motivation, and training for over 100,000 followers.
We’ve gathered some of the best ones from the better part of October right here. Retweet any of them for motivation or to share with your Twitter followers.
Just CLICK on 
to Retweet.
Motivational Quotes for Expert Authors
Inspiration and Images to Share With Your Audience
EzineArticles Inside Information
What’s your favorite Tweet from October? Let us know – we’d love to hear from you!
P.S. For more posts like this, check out the Article Writing Tips to Retweet category and don’t forget to follow us on Twitter to stay up-to-date on the latest EzineArticles information and training.
Posted by Penny, Managing Editor on October 28, 2013 at 9:00 am | 358 viewsShort and Sweet: How to Revise Your Articles
“Don’t write something in 1,000 words that could have been said in 600.” – Robin Henry
Have you ever had a friend or relative who seemed to ramble on and on, so much so that you found your mind wandering toward more interesting things like, “Should I make that dentist appointment for next Tuesday or Wednesday?” Or “Is it true if you eat a polar bear’s liver, you will die of a vitamin overdose?”
Don’t be that person … in your articles that is!
So much emphasis is placed on proofreading that many Expert Authors forget a step: Revising. The result may fashion lackluster, boring, rambling, and occasionally confusing articles.
The solution? Guarantee yourself a more powerful message by keeping your articles short and sweet with these tips.
7 Tips to Revising Articles
First, let’s discuss the difference between revising and proofreading, which are often mistaken as the same step in the writing process. Proofreading occurs when you read your article for grammar, punctuation, and formatting errors (often after the revising process). Revising occurs when you reread your article to ensure your message is clear, concise, and logical. Think of it as pumping more “oomph” into your articles.
Ready? Use these tips to get started:
Cut Verbiage: Words like “just,” “really,” and “very” slow down the power of your message. When revising, ask yourself, “Is this wordRemove Redundant Words: “I’ll meet you at
Discard the Inessential: Consider whether the article’s focus is too wide or too narrow based on your user’s needs. Remove sections of inessential text to get to your point faster and add text (as needed) to ensure reader comprehension.
Stay Organized: Check the flow of the article. Does the pattern make sense? Are the transitions smooth? Should one point occur earlier for better readability?
Keep Promises: Did you follow through on promises made to the reader in the article’s title, introduction, or any other part of the article?
Use Active Voice: Rather than the subject receiving the action, ensure the subject acts or performs the action in the sentence. For example, “The mime was waved to by the child” (passive) vs. “The child waved to the mime” (active).
Be Precise: Simplify your verbs by using concise language. For example, replace “He argues for the importance of the idea” with “He defends the idea.”
Have You Tried the Paramedic Method?
Take your revising skills to the next level! Expert Authors can polish their writing skills using Purdue University’s Online Writing Lab. To improve readability, they recommend utilizing Richard Lanham’s Paramedic Method. Here’s how:
Sample Sentence Before Using the Paramedic Method
In this paragraph is a demonstration of the use of good style in the writing of an article.
Circle the prepositions (of, in, about, for, onto, into)(In) this paragraph is a demonstration (of) the use (of) good style (in) the writing (of) an article.
Draw a box around the verb “to be” forms (is, am, are, was, were, been, being).In this paragraph [is] a demonstration of the use of good style in the writing of an article.
Identify the action and convert it into a simple verb.In this paragraph is a demonstration of the use of good style in the writing of an article.
Convert passive text to active by moving the doer into the subject (Who’s kicking whom)In this paragraph is a demonstration of the use of good style in the writing of an article.
Eliminate any unnecessary slow wind-upsIn this paragraph is a demonstration of the use of good style in the writing of an article.
Eliminate any redundanciesIn this paragraph is a demonstration of the use of good style in the writing of an article.
Revised Sentence Using the Paramedic Method
This paragraph demonstrates good style in articles.
How do you keep your articles short and sweet? Do you have additional revising tips you would like to share? Have you tried the Paramedic Method or any other revising method to revive your articles? Let us know – we’d love to hear from you!
Posted by Penny, Managing Editor on October 18, 2013 at 9:20 am | 1,467 viewsWednesday, 23 October 2013
Origami Folks Crease Other's Lives in Animals Out of Paper at Ensemble Theatre
It's true in love as it is in theater: opposites attract. But when you pile up a few too many opposites in one play, the initially interesting friction can lead to some problems.
Such is the case with Animals Out of Paper by Clevelander Rajiv Joseph, now at Ensemble Theatre. Joseph is a particularly adept craftsman of dialogue, and his early scenes are genuinely amusing and at times revealing.
But by featuring three characters who are each a bundle of opposites and then extruding them through a script that has its own bipolar aspects, the finished result is less than a sum of its parts.
As the title indicates (no, it doesn't refer to zoo denizens running short on 50-lb. cover stock), origami is at the center of this tale. It features three paper-folding practitioners of varied abilities.
Ilana is a pro, a middle-aged woman who teaches origami, has written a book on the subject and is currently involved in a medical project to wrap sick hearts with some sort of folded synthetic material.
She's dedicated to the exquisitely exacting art of origami, but she herself is a hot mess, living on take-out Chinese food and surrounded by lots of paper—folded and otherwise. You see, she has recently been devastated due to a divorce and the disappearance of her beloved three-legged dog.
While mired in her misery, she is visited by Andy asking for her dues to the American Origami organization, of which he is the treasurer. But the relentlessly upbeat Andy, an origami wannabe himself, has another mission. He teaches high school and has a student, Suresh, who is apparently a budding origami genius. And Andy wants to know if Ilana will be Suresh's mentor.
To this point, Joseph's play works splendidly well, as the halting dialogue between these two strangers evolves naturally and comically. Andy is played with a goofy, awkward cheerfulness by Geoff Knox that almost always works.
And when Knox reveals his character's penchant for writing down all his blessings from the ridiculous ("I bought a really good rake today") to the sublime, his sunny approach starts cracking Ilana's dark mood. And optimistic Andy starts falling for the surly origami queen.
But by the time Suresh enters to begin his mentoring experience with Ilana, playwright Joseph's game of opposites starts to turn on itself. Suresh is a slouching, rude teen with a short fuse (he angrily tells Ilana to suck his dick a few minutes after meeting her). But then again, he detests household disarray and even reorganizes Ilana's possessions, much to her distress.
Then the neat-freak Suresh tells sloppy Ilana that she's too regimented and needs to "freestyle" her origami creations, giving her an example by improvising rap lyrics on the spot. Okay, he's an origami prodigy and a rap prodigy? Try wrapping your brain around that.
In the second act, the relationships converge when Ilana takes Suresh to an origami conference in Japan, touching and smooching ensues and it all, you know, unfolds. This is when Joseph's play opposes itself, whiplashing from quirky comedy to serious "message" play. And these opposites fail to attract.
As Ilana, Katherine DeBoer has moments of believable angst. But neither she nor her remarkably uncluttered "mess" of an apartment fully express the depths to which Ilana has sunk. This makes her eventual emergence, thanks to both Andy and Suresh, less moving.
Andrew Samtoy is fine when portraying Suresh as an affectless kid. But when the script calls upon him to emote in more complex ways, he just seems cut adrift. Neither he nor the others are helped by speeches in the second act that tell more ("folds leave scars," "listen to your heart") than they show.
Director Celeste Cosentino keeps the early part of the production running smoothly and she shapes a number of telling silences. But on stage, too many silences, like too many opposites, can eventually become an affectation.
And Animals Out of Paper, for all its strong points, is ultimately more affected than affecting.
Also on Stage
A Musical Adventure
Mercury Summer Stock
This production at Mercury Summer Stock, so visually arresting in many respects, has a firm grip on the magical idea of a flying fairy carting off three earth-bound kids to Never Never Land. But there are a number of air pockets in this supposedly soaring show, where this production experiences theatrical turbulence. New tunes by George Stiles (music) and Anthony Drewe (lyrics) are pleasant and tuneful, but not particularly memorable. And the book by Willis Hall is quite matter-of-fact, without the flourishes of humor that could help propel these characters on their most unusual journey. Director and choreographer Pierre-Jacques Brault has added new touches, many of which work splendidly. Instead of actors swinging on cables, the flying Peter Pan and his Darling kids fly on the up-stretched arms of other actors, or ride piggy-back. This is not only cost-effective, it has the charm of children playing that resonates wonderfully with the material. In the title role, Brian Marshall sings his parts with the confidence of a seasoned performer. But his eternal boy is lacking the sense of fun and flashes of impish rascality that he needs. Indeed, Marshall often comes across as a fairly serious sophomore accounting major, rather than a never-growing-up kid who can fly. Of course, the juiciest role in this show, regardless of the authors, is Mr. Darling/Captain Hook. Eric van Baars buckles his swash with spirit as Hook, and provides much of the comedy in a show that desperately needs more of the same. The Mercury crew attacks big musicals like this with passion and youthful professionalism. And that amounts to a fine treat for any summer day.
Through August 17 at Regina Hall, Notre Dame College, 1857 South Green Rd., 216-771-5862, mercurysummerstock.com
On The Line
None Too Fragile Theater
If you'd like to experience ensemble acting that's tighter than Beyonce's bustier, in service of a show that explores blue-collar friendships under stress, then you absolutely have to see On The Line, now at None Too Fragile Theater. This script by Joe Roland is a tight-cornering roller coaster ride, as a trio of production line workers, who've been pals since the first grade, try to maneuver themselves in the adult world of callous company bosses, desperate unions, and a strike that ignites a major meltdown. Set in the mid-1990s, the white and black hats are predictable, with the unseen managers pulling the strings of their hard-working, hard-drinking employees. But thankfully, Roland makes his workers—Dev, Jimmy and Mikey—a conflicted and often comical bunch, as they each react to offers of management positions from the company in different ways. But most notably, the performances under the whip-smart direction of Sean Derry are true, real and dazzling. Mark Mayo, Andrew Narten and Robert Branch mesh like a finely tuned Porsche engine, continually finding new gears as the demands of the script increase. Director Derry paces this work with vigor and precision. The only small wrinkle is relying a bit too much on the dart playing, which doesn't allow the actors to bounce off each other as often as they might. Early in the play, the guys refer to themselves as a miracle alloy, stronger by far than any of the individuals by themselves. And the same can be said for these three actors. It's a performance so free and yet so well controlled, it's a privilege to share the same space with them.
Through August 24 , 1841 Merriman Rd., Akron, 330-671-4563
nonetoofragile.com
Quirk Fest: The Weirdness Piles Up, and Not in a Good Way, During "Nerve" at None Too Fragile Theater
There is one time in life when each of us, even the most stable and well-balanced, acts as if we have significant brain damage. And that is on the dreaded First Date. We choose the wrong words, phrases come out tangled, and we can't even exit the same sentences we entered a couple seconds before. Some of this angst is captured in Nerve by Adam Szymkowicz, now at the None Too Fragile Theater in Akron. The amusing flop-sweat nervousness and spontaneous verbal combustion of this unavoidable dating ritual is all there. Unfortunately, the repetitive script is mated to performances that never grow or evolve, leaving the 80-minute play caught in a trap of its own devising.
Elliot and Susan met online and, after attending a Michael Moore film, they are swigging beers at a local Manhattan pub. Now they actually have a chance to talk with each other, and the audience should have an opportunity to bond with the characters in some way.
Trouble is, the playwright is intent on quickly establishing the quirky personalities of his featured duo. In short order, they are talking about kissing, contentious sparks fly (Elliot says, "I like how you're giving me a hard time."), and she pulls a serious knife out of her purse and stabs it into the middle of their wooden table.
By eliminating the banal small talk that usually accompanies the early part of most first dates, Szymkowicz fails to ground his characters in anything resembling a real context. And he continues to double-down on that approach, as Elliot admits he's sometimes obsessed with people and makes puppets, while Susan packs away her knife and mentions she works at a suicide hotline.
When Elliott excuses himself to get more beers or visit the restroom, Susan finds a small corner where she can dance alone to the choreography she creates in her head. Meanwhile, Elliot mostly just perspires and stammers when he isn't professing his love for Susan. Good thing she doesn't see him in a heated discussion with a puppet he made of his last girlfriend.
In short, there are enough dysfunctions between these two to fuel a dozen other plays. Still, somehow, they eventually start making out for reasons (other than simple desperation) that are not clearly evident.
As directed by Sean Derry, Brian Kenneth Armour as Elliot and Kelly Strand as Susan each have moments that generate a chuckle or two. But each displays a similar, twitchy sort of nervousness that never morphs into anything more interesting. Since neither character presents a veneer that can be gradually stripped away, they are left to top each other with more and more outrageous behaviors and revelations. And that eventually becomes exhausting.
To wit, we learn that Susan was a cutter with bulimia and Elliot has explosive jealousy issues as he notes that, "I don't want to go back to jail." Really? If this play had gone on for another 15 minutes, I suspect she would have confessed to organizing the 9-11 attacks and he might have admitted to being the Zodiac killer.
In fact, that might have been an interesting approach, taking the first date schtick to its absurd extreme. But this play appears to take itself too seriously for that.
Many stories are powered by the engine of dysfunction, as we watch misfits try to integrate their passions and desires into normal society and conventional relationships. But you take the fun out of dysfunction when multiple weird behaviors are just tacked onto characters like so many tails on a paper-thin donkey.
That's why this play, even with its occasional forays of clever dialogue, ends up getting on your last Nerve.
Through a Lens Darkly: A War Photographer Encounters Emotional Firefights at Home in Time Stands Still at Dobama
Photographers are a weird and wonderful breed of human being—especially those who travel to exotic and dangerous locations to snap their pix. And without a doubt, war photographers are the most unusual of all, pointing cameras in situations where everybody else is aiming guns.
This is the profession that is brought into sharp focus in Time Stands Still by Donald Margulies, now at Dobama Theatre. In this exquisitely rendered production, directed by Nathan Motta, we see what drives these adrenaline-junkie shutterbugs, how their job ignites moral quandaries, and the toll their passion can take on personal lives.
Aside from the intricate philosophical issues Margulies explores, the play resonates with remarkable urgency given the current state of world affairs. As the president and Congress decide at this very moment whether to conduct a military action against Syria, the stakes of war and peace could scarcely be higher.
Sarah is an experienced photographer of the world's seemingly endless wars, and is returning home to the Brooklyn loft she shares with her partner James, a war correspondent. But this is no grand homecoming as she has been seriously wounded from face to foot by a bomb that exploded under her vehicle in Iraq.
James has been home for a while, having been traumatized by a particularly awful incident in that same war zone. He is working on a book and now serving as caretaker for his long-term squeeze Sarah.
Soon, they are visited by Sarah's 50-something photo editor Richard, who brings along his new and very young gal pal Mandy. The moment Mandy enters the flat carrying "Welcome Home!" and "Get Well!" helium balloons, Sarah's baleful gaze signals that this recuperation isn't going to proceed smoothly.
And indeed it doesn't as Sarah and James find themselves at odds with each other, and with their chosen journalistic endeavors. James is tired of all the danger and just wants to live comfortably. Sarah still wants to be where the action is, even at personal risk. But she is conflicted, recognizing that, "I live off the suffering of strangers."
While the insertion of the May-December romance between Richard and Mandy seems initially like a predictable comic device, it turns out to be more nuanced. The initially air-headed Mandy actually displays depth under her giggly girlishness, and Llewie Nunez nails this multi-layered role to perfection.
For his part, Richard (a thoroughly believable Peter Aylward) is a man goofily head-over-heels in love with Mandy and completely supportive of Sarah. But he resists James' facile criticism when James learns that a heavy news article of his has been bumped for a frothy feature on Hollywood.
When Richard lays out the commercial realities of the magazine world, it signals the many hard decisions that abound in this play. Those build to the most difficult choices of all: What will James and Sarah do with their jobs and their relationship? This is all worked out in the year or two that the play covers, and while none of the results are surprising they are totally involving.
As James, David Burgher conveys the simple desires of an average guy without coming off as a wimp or a whiner. He just wants a home and a family without simultaneously having to dodge shrapnel, a most relatable wish.
But the play centers on Sarah, and Heather Anderson Boll gives this role every ounce of blood and sinew it requires. She uses her strong, chiseled face to great effect, at times capturing the haunting power of the woman in Dorothea Lange's famous "Migrant Mother" photograph.
Boll is magnificent in a play that never takes the easy way out, making us think about the decisions we make—not to mention those that are being made for us. That's' a heady brew for any play, and this Dobama production delivers it superbly.
Charm Your Socks Off: You Can't Resist the Music and Romance of "She Loves Me" at Beck Center
It's a show that's so adorable you want to pinch its cheeks. It's so charming you want to take it out to the movies and then buy it a big dinner. And its music is so inventive and lyrical you just want to lay back in it like an audio hammock.
Yes, it is none other than She Loves Me, the simply titled but deceivingly complex musical that is now gracing the Beck Center main stage. Performed by an exceptional cast and featuring superb work by director Scott Spence and choreographer Martin Cespedes, this is an old-fashioned musical that scores on almost all counts.
Set in Budapest in the 1930s, the book by Joe Masteroff is a familiar one involving mistaken and hidden identities. Based on the play Parfumerie by Miklos Laszlo, Georg Nowack and Amalia Balash are clerks in a shop where they stock shelves with toilet water (no, not that. It's what they used to call eau de cologne) and cold cream.
Trouble is, Georg can't stand Amalia, and vice versa. So they spend their off hours sending anonymous love notes to pen pals who turn out to be, well, you know who. You don't have to be clairvoyant to suss out this plot, since this story has been adapted into three movies (The Shop Around the Corner, In the Good Old Summertime, and You've Got Mail), in addition to this musical.
What makes this tried and true story stand apart is the music by Jerry Bock and the lyrics by Sheldon Harnick. Swinging smoothly from one European style to another, Bock's score is a constant delight. A reflective waltz gives way to a music box-inspired ditty followed by a zesty tango and then many other forms, all of which are perfectly suited to their content.
And Harnick's lyrics continually surprise, with the amusing split lyrics in "Sounds While Selling" being a prime example. Hearing only snatches of three different customers talking to three different salespeople we hear oddly combined sentences such as, "I would like...an eyebrow...under my chin..."
The humor is always gentle but the wit is sharp, so one never tires of this predictable romantic yarn with the inevitable happy ending.
A huge reason for that success is the cast, led by Rebecca Pitcher as Amalia and Jamie Koeth as Georg. Pitcher prettily pours out the anger towards Georg and she has a crystal clear soprano voice that turns the plain song, "Vanilla Ice Cream," into a showstopper. She is strong throughout, even though she misses some of the acting beat changes in "Will He Like Me?"
Koeth doesn't have half the pipes Pitcher does, with his rendition of the title song going flat a bit too often, but he acts his socks off and keeps pace. He is especially affecting in his dialogue scenes with Pitcher as the two characters dance around their love-hate relationship.
They are supported in fine fashion by the rest of the principal cast who play the other store workers. And each of them have standout moments. Jonathan Kronenberger is sweet as the dutiful employee Sipos, expressing his small dreams (he just wants to stay employed) in "Perspective." As the unlucky-in-love Ilona Ritter, Amiee Collier soars in "A Trip to the Library."
The boss with a heart of gold Mr. Maraczek is played by Matthew Wright with admirable restraint, and Brian Altman gives the hot-to-trot Steven Kodaly a slick yet oddly appealing turn. Even the delivery boy Arpad, played by the eager Brett Harmon Castro, lights up the proceedings with his Act 2 opener "Try Me."
Director Spence makes all this work fluidly in every instance except for an awkward transition into the nightclub scene. But choreographer Cespedes rescues it with the super sexy tango twirls in "A Romantic Atmosphere," which immediately follows.
In short, it's a team effort that turns this She Loves Me into a lovely show that will win your heart without bypassing your brain.
Welcome to Collinwood
If Cleveland is "a laboratory for rethinking how slow-growth cities prosper"—via Cuyahoga Partnership for Arts and Culture (CPAC) — then artists are both its scientists and its lab rats.
In fact Collinwood has become the nucleus or petri dish of a massive experiment at CPAC's culturally attuned hands, one which encourages artists to move to the neighborhood by incentivizing long-term residence and providing funding for creative projects and engagement with the community.
One of the cooler things they've been up to culminated last month, when CPAC and Northeast Shores CDC hosted a dozen artists from around the country. Their goal was to attract them to the region and the neighborhood with an extensive "arts tour." Visiting artists had to get to Cleveland on their own dime. But once they arrived, meals and lodging were largely taken care of.
Northeast Shores executive director Brian Friedman said the weekend exceeded his and everyone's expectations. Seth Beattie, CPAC's strategic initiative director (sweet title) said at least three of the visiting artists broke away from the group to sign leases, or at least registered for the home-ownership course for the $6,500 fixer-uppers available to artists in Collinwood.
You read correctly. Artists can buy a home for $6,500.
"It's really affirming for us, as outsiders to see people have such a positive experience," says Beattie.
Essence Woodard and Chioma Okotiero, two best friends and roommates living in New York City, certainly had a positive experience. They intend to move to Cleveland as soon as possible.
"I'm a die-hard New Yorker," said Woodard over the phone. "I've lived in a lot of places: Miami, L.A., Puerto Rico, but I always come back. Nothing resonates with me in the same way. No place is going to be exactly like NYC, but I think Cleveland is the change I've been looking for."
Why does she need a change at all?
"The rents here are astronomical," Woodard says of NYC. "They keep getting higher and higher, and the pay is not getting any higher. The food is expensive. And you pay more than half your paycheck to live in a tiny box."
Okotieuro agrees. And the arts culture in Cleveland was more dynamic than either of them thought possible.
"In New York, there are street artists, there are museums everywhere; everybody is an artist. You can't even get on the subway without seeing an artist. But in Cleveland, it was like there was even more. And you're surrounded by a great art community. That's important."
The weekend featured neighborhood tours of North Collinwood, Slavic Village, St. Clair Superior, Ohio City, Tremont and Detroit Shoreway, a downtown historic tour, several live performances, a visit to the Cleveland Museum of Art and a musical brunch at the Beachland Ballroom.
Beattie says he isn't sure if there will be more jam-packed "Welcome to Cleveland" weekends in the future —this was sort of the culmination of the two-year pilot program he oversaw.
"We're treating all of this as an experiment to see how we really move forward, but based on the results, we'll certainly be exploring whether or not there's an appetite for more work like this from our partners," Beattie says. (And of course he's always willing to give personal tours).
Dana Oldfather Talks Painting and Critiquing Others' Paintings
It's been a busy year for painter Dana Oldfather, and it's going to get busier.
This spring, Oldfather had her first solo museum show at the Butler Institute of American Art in Canton. Her exhibit Tap, Crack, Bellow allowed her to translate her abstract paintings onto mural-sized canvases, immersing viewers in a world where queues of blue and lilac shapes inspired by both machines and organisms float through cloudy spaces. Earlier this year, the Ohio Arts Council gave her its Individual Excellence Award. Right now she's preparing a commission for the Horseshoe in Cincinnati and pieces for three showcases over the next half-year, including one at Cleveland's own SPACES.
Her accomplishments have propelled her to a state where she's sought out not just for her painting but also for her ideas about painting. Oldfather was tapped to be the juror at Lakeland Community College's Cleveland Connection Juried Exhibition presented by the Cleveland Arts League, which is on display now. She brings to bear on the experience her own countless applications to juried shows. Being on the other side of the judge's table comes with a new set of responsibilities.
However, Oldfather isn't letting all this success ruin her. At Lakeland, she doesn't want her own preferences and idiosyncrasies to dictate her decisions, but wants to wants to reward and encourage promising talents whether or not they adhere to her own artistic ideals.
"It does give you a different view. You want to be objective, but at the same time you want to be encouraging," Oldfather says.
And in her own work, Oldfather still works to internalize criticism from her peers and herself.
"For a long time, I had false ideas about my work, thinking it was better than it was. It's important not to be content. Work can always be better. If you're content, there's something wrong," says Oldfather.
She holds herself to a demanding schedule, painting, other commitments permitting, from 7:30 a.m. to 5 p.m. in her home studio. At any given time, Oldfather is working on four or five paintings, each with its unique content and tone. A guiding principle in Oldfather's work is harmony, both between the spaces she creates and the objects she fills them with. The emotions, colors and forms are meant to invoke that relationship. Depending on what the artist is feeling any given day or hour, she'll try to express it in paint on the appropriate canvas.
However, this regimen has not always been possible. Like most artists in the Rust Belt, Oldfather has worked outside of her studio to make ends meet. But this September, Oldfather is stepping down from her job as webmaster and PR copy writer for the Bonfoey Gallery, where she's worked in various capacities for the last 11 years.
Besides providing money for brushes and oil paints, Bonfoey furnished lessons for Oldfather, the self-taught artist, about what's interesting in painting, and how to attract the attention of curators.
"You need complete art images and information on pricing right up front. When you bring in art, bring all that with you. You can't just drop into the gallery and have them look at art," Oldfather says.
Even after her departure, Bonfoey will still represent her paintings as it does now, but now Oldfather will be able to put in more nine-hour days in at the studio. However, just as her office-work duties are dropping away, a whole new set of responsibilities are approaching: those of parenthood. In October, Oldfather is expecting her first child with her husband, an engineer in the aerospace industry.
She is clearly happy, but her due-date comes just a month after her Bonfoey departure. She is already steeling herself to the effort to maintain her hard-won identity as an artist even as she takes on the vocation of childrearing.
"It's your life first. I want to care for my child, but I don't want to forget who I am first," Oldfather says.
For the foreseeable future, Oldfather sees herself continuing her explorations of "biomechanical" abstract figures, but remains modest about her own ability to analyze or forecast the present and near-future of her career.
"It's hard when you're so close to what you're making," Oldfather says.
Also on Stage
A Musical Adventure
Mercury Summer Stock
This production at Mercury Summer Stock, so visually arresting in many respects, has a firm grip on the magical idea of a flying fairy carting off three earth-bound kids to Never Never Land. But there are a number of air pockets in this supposedly soaring show, where this production experiences theatrical turbulence. New tunes by George Stiles (music) and Anthony Drewe (lyrics) are pleasant and tuneful, but not particularly memorable. And the book by Willis Hall is quite matter-of-fact, without the flourishes of humor that could help propel these characters on their most unusual journey. Director and choreographer Pierre-Jacques Brault has added new touches, many of which work splendidly. Instead of actors swinging on cables, the flying Peter Pan and his Darling kids fly on the up-stretched arms of other actors, or ride piggy-back. This is not only cost-effective, it has the charm of children playing that resonates wonderfully with the material. In the title role, Brian Marshall sings his parts with the confidence of a seasoned performer. But his eternal boy is lacking the sense of fun and flashes of impish rascality that he needs. Indeed, Marshall often comes across as a fairly serious sophomore accounting major, rather than a never-growing-up kid who can fly. Of course, the juiciest role in this show, regardless of the authors, is Mr. Darling/Captain Hook. Eric van Baars buckles his swash with spirit as Hook, and provides much of the comedy in a show that desperately needs more of the same. The Mercury crew attacks big musicals like this with passion and youthful professionalism. And that amounts to a fine treat for any summer day.
Through August 17 at Regina Hall, Notre Dame College, 1857 South Green Rd., 216-771-5862, mercurysummerstock.com
On The Line
None Too Fragile Theater
If you'd like to experience ensemble acting that's tighter than Beyonce's bustier, in service of a show that explores blue-collar friendships under stress, then you absolutely have to see On The Line, now at None Too Fragile Theater. This script by Joe Roland is a tight-cornering roller coaster ride, as a trio of production line workers, who've been pals since the first grade, try to maneuver themselves in the adult world of callous company bosses, desperate unions, and a strike that ignites a major meltdown. Set in the mid-1990s, the white and black hats are predictable, with the unseen managers pulling the strings of their hard-working, hard-drinking employees. But thankfully, Roland makes his workers—Dev, Jimmy and Mikey—a conflicted and often comical bunch, as they each react to offers of management positions from the company in different ways. But most notably, the performances under the whip-smart direction of Sean Derry are true, real and dazzling. Mark Mayo, Andrew Narten and Robert Branch mesh like a finely tuned Porsche engine, continually finding new gears as the demands of the script increase. Director Derry paces this work with vigor and precision. The only small wrinkle is relying a bit too much on the dart playing, which doesn't allow the actors to bounce off each other as often as they might. Early in the play, the guys refer to themselves as a miracle alloy, stronger by far than any of the individuals by themselves. And the same can be said for these three actors. It's a performance so free and yet so well controlled, it's a privilege to share the same space with them.
Through August 24 , 1841 Merriman Rd., Akron, 330-671-4563
nonetoofragile.com
Also on Stage
A Musical Adventure
Mercury Summer Stock
This production at Mercury Summer Stock, so visually arresting in many respects, has a firm grip on the magical idea of a flying fairy carting off three earth-bound kids to Never Never Land. But there are a number of air pockets in this supposedly soaring show, where this production experiences theatrical turbulence. New tunes by George Stiles (music) and Anthony Drewe (lyrics) are pleasant and tuneful, but not particularly memorable. And the book by Willis Hall is quite matter-of-fact, without the flourishes of humor that could help propel these characters on their most unusual journey. Director and choreographer Pierre-Jacques Brault has added new touches, many of which work splendidly. Instead of actors swinging on cables, the flying Peter Pan and his Darling kids fly on the up-stretched arms of other actors, or ride piggy-back. This is not only cost-effective, it has the charm of children playing that resonates wonderfully with the material. In the title role, Brian Marshall sings his parts with the confidence of a seasoned performer. But his eternal boy is lacking the sense of fun and flashes of impish rascality that he needs. Indeed, Marshall often comes across as a fairly serious sophomore accounting major, rather than a never-growing-up kid who can fly. Of course, the juiciest role in this show, regardless of the authors, is Mr. Darling/Captain Hook. Eric van Baars buckles his swash with spirit as Hook, and provides much of the comedy in a show that desperately needs more of the same. The Mercury crew attacks big musicals like this with passion and youthful professionalism. And that amounts to a fine treat for any summer day.
Through August 17 at Regina Hall, Notre Dame College, 1857 South Green Rd., 216-771-5862, mercurysummerstock.com
On The Line
None Too Fragile Theater
If you'd like to experience ensemble acting that's tighter than Beyonce's bustier, in service of a show that explores blue-collar friendships under stress, then you absolutely have to see On The Line, now at None Too Fragile Theater. This script by Joe Roland is a tight-cornering roller coaster ride, as a trio of production line workers, who've been pals since the first grade, try to maneuver themselves in the adult world of callous company bosses, desperate unions, and a strike that ignites a major meltdown. Set in the mid-1990s, the white and black hats are predictable, with the unseen managers pulling the strings of their hard-working, hard-drinking employees. But thankfully, Roland makes his workers—Dev, Jimmy and Mikey—a conflicted and often comical bunch, as they each react to offers of management positions from the company in different ways. But most notably, the performances under the whip-smart direction of Sean Derry are true, real and dazzling. Mark Mayo, Andrew Narten and Robert Branch mesh like a finely tuned Porsche engine, continually finding new gears as the demands of the script increase. Director Derry paces this work with vigor and precision. The only small wrinkle is relying a bit too much on the dart playing, which doesn't allow the actors to bounce off each other as often as they might. Early in the play, the guys refer to themselves as a miracle alloy, stronger by far than any of the individuals by themselves. And the same can be said for these three actors. It's a performance so free and yet so well controlled, it's a privilege to share the same space with them.
Through August 24 , 1841 Merriman Rd., Akron, 330-671-4563
nonetoofragile.com
A Nearly Blind 98-Year-Old Man Creates Stunning Digital Magic with MS Paint
Type "MS Paint" into Google. One of the top results should direct you to the eight-minute documentary, The Pixel Painter. The video profiles 98-year-old nearly blind Rocky River artist Hal Lasko, who creates sprawling but finely detailed landscapes and science-fiction images on Microsoft's rudimentary image-creation software.
Last Friday, August 2, the short film passed a million views. Lasko had not been expecting such sudden and widespread attention to his work.
"I am certainly surprised and amazed. It's wonderful, after all this time," Lasko says. "It's just the realization that after all the time I spent painting, it's gotten some kind of recognition."
He says he's been grateful for feedback on his work, even that of a negative character, which he takes as constructive criticism.
"I like to read compliments, but I even like to hear negative thoughts and why they feel that way. As an artist, I learned early on you're going to get negative comments," Lasko says.
After being introduced to Paint 13 years ago by his grandson Ryan Lasko, Hal has produced enough work to start commercializing his products, selling 16-by-20-inchprints on a family-maintained website. His son, Ron Lasko, says he has displayed work at the Rocky River Senior Center and that they are looking for other exhibition venues. What everyone expected to be a hobby became a vocation and a business venture.
"I showed him Paint and he did more with it than we anticipated," says Ryan.
This isn't the first time Hal Lasko has reinvented himself. He was a self-taught artist whose commercial career began before his service in World War II. Most of his work was as a "lettering man," where he drew the alphabetic characters and punctuation which make up a printer's typeface. A few years after the Allied victory, Hal began working with American Greetings, where he would remain for decades. His years with the company included Jimmy Carter's presidential administration, during which Lasko produced the lettering for the White House's Christmas cards.
Though he made a living on the projects his company assigned, Lasko maintained a drive to create art for art's sake. In the 1950s, he displayed oil and watercolor paintings in the Toledo Museum of Art, and experimented in the 1960s with drip painting techniques made famous by Jackson Pollock.
After the '60s, Lasko says he was only able to paint for himself "sporadically." Even retirement didn't afford as many opportunities for passion projects as he might have hoped. By the end of the 20th century, his eyesight had faded from wet macular degeneration. He has since been declared legally blind.
Lasko thought this could be the end of his artistic career, until the tools of his trade underwent an unexpected upgrade.
Lasko's family gave Grandpa Hal his first desktop computer around 2000, as a present for his 85th birthday. Everyone was getting online at the time, and Lasko's son and grandson thought that even if the computer couldn't keep him more connected, it would at least keep him occupied. The elder Lasko never got onto the Internet, but mastered solitaire.
That might have been the end of his digital career had his grandson Ryan not introduced him to Paint, which allowed him to zoom in on any images. By massively magnifying tiny areas of a painting, Lasko is able to build up a large picture out of the minute details that would otherwise be invisible to his failing eyesight.
Lasko and his son Ron said it took him between six months and a year to be able to command a mouse like a brush. Since then, he's worked nonstop at the patient work of building forests, amusement parks and space highways pixel by pixel.
Around 2011, San Fransisco-based filmmaker and friend of the family Josh Bogdan discussed his fascination with the elder Lasko's late-career reinvention, and thought his story could receive wider appreciation. He interviewed the family for The Pixel Painter, and posted the finished product on July 23 of this year.
The film attracting national media attention including coverage on ABC News, Yahoo! News UK, the New York Daily News, and Gawker Media. Ryan estimates at least 500 unexpected new orders for his grandfather's prints poured in after the video became a hit.
Though much appreciated, it doesn't look as if Hal Lasko will let his newfound notoriety affect his artistic practice. For years he worked in privacy, pouring over reference images in magazines and his monitor, without any expectation of esteem.
"I was used to sitting in my studio doing painting and there was no chance to show anyone. This was a chance to get a public reaction, but that wasn't my primary concern. I would paint by myself anyway," Lasko says.
See Lasko's work and the video at hallasko.com.
Chicks With Balls: An Exhibit of Paintings that Feature Just What the Title Says
Solon painter Judy Takács is displaying 19 portraits of women she knows at Bay Arts. They are the grittiest gals, in her opinion: Chicks with balls, figuratively, and as she displays them literally too.
The show delivers all the cheekiness the title suggests. Takács posed her models topless with various sporting balls clutched to their chests: basketballs, footballs, softballs, big modesty-enhancing exercise balls. However, the strategically placed spheres aren't just there to protect the PG-13 sensibilities of some gallery directors she's dealt with. They are visual representations of the chicks' metaphorical ballsiness. It's a difficult physical task to balance two softballs and a basketball, or an armful of ping pong balls, to your chest. No matter how light their weight, it's an awkward pose which strains balance and muscles quickly. Takács says the struggle to hold multiple balls aloft was meant to reify the multiple crises women must, can and do manage all at once.
"My women are doing big things in small ways," Takács says. "They're dealing with jobs, aging parents, troubled teens, starting fresh after divorces and starting life over."
Takács' youngest model is a collegiate rugger, and her oldest is her own mother, but most of her posers are the artist's fortysomething peers. Some she's known for three-plus decades, others she's met through kids' playgroups.
Though middle age is associated with stagnation and boredom, Takács finds her friends in real life-and-death struggles. She sees them nurturing parents sliding into dementia and decrepitude, guiding their own kids' through the hormonal and existential turmoil of adolescence, all the while trying to hold onto some professional dignity and personal identity. For all their drama, such stories are rarely told.
These chronicles are published at Bay Arts, in essays on her site and also in the paintings themselves. One participating model, "Karin," notes that of all the qualities Takács is willing to flatter, vanity isn't one of them. She lets her women look their age.
"I think that working with Judy, you're not going to come out of it looking like a beauty queen. Not a lot of people hope for a flatter stomach or clearer skin. It's all about character," Karin says.
This character shows through not just in honestly crinkled faces or patches of cellulite, but in overworked hands. Exempting the face, no other region of the body receives so much sharp and fine detail as these extremities. Maybe because of the way they were posed, or maybe because of conscious or unconscious choices by the artist, the hands look disproportionately large in relation to the rest of the body. Not absurdly so, but still noticeably. Being engaged in the work of grasping balls, bones jut, muscles pump, and veins bulge, sometimes snaking halfway up the bicep. They're not always pretty, but they're clever and strong and get things done.
Takács says it was not much of a challenge convincing most of her models to participate, despite the nudity, the promise not the censor imperfections, and even the fact that most of her models do not work in the open-minded art world. They trusted her not to trivialize their act of publically undressing their bodies and biographies, and to assert the truth that living demands resilience, even in suburbia.
Also On Stage
A Musical Adventure
Mercury Summer Stock
This production at Mercury Summer Stock, so visually arresting in many respects, has a firm grip on the magical idea of a flying fairy carting off three earth-bound kids to Never Never Land. But there are a number of air pockets in this supposedly soaring show, where this production experiences theatrical turbulence. New tunes by George Stiles (music) and Anthony Drewe (lyrics) are pleasant and tuneful, but not particularly memorable. And the book by Willis Hall is quite matter-of-fact, without the flourishes of humor that could help propel these characters on their most unusual journey. Director and choreographer Pierre-Jacques Brault has added new touches, many of which work splendidly. Instead of actors swinging on cables, the flying Peter Pan and his Darling kids fly on the up-stretched arms of other actors, or ride piggy-back. This is not only cost-effective, it has the charm of children playing that resonates wonderfully with the material. In the title role, Brian Marshall sings his parts with the confidence of a seasoned performer. But his eternal boy is lacking the sense of fun and flashes of impish rascality that he needs. Indeed, Marshall often comes across as a fairly serious sophomore accounting major, rather than a never-growing-up kid who can fly. Of course, the juiciest role in this show, regardless of the authors, is Mr. Darling/Captain Hook. Eric van Baars buckles his swash with spirit as Hook, and provides much of the comedy in a show that desperately needs more of the same. The Mercury crew attacks big musicals like this with passion and youthful professionalism. And that amounts to a fine treat for any summer day.
Through August 17 at Regina Hall, Notre Dame College, 1857 South Green Rd., 216-771-5862, mercurysummerstock.com
On The Line
None Too Fragile Theater
If you'd like to experience ensemble acting that's tighter than Beyonce's bustier, in service of a show that explores blue-collar friendships under stress, then you absolutely have to see On The Line, now at None Too Fragile Theater. This script by Joe Roland is a tight-cornering roller coaster ride, as a trio of production line workers, who've been pals since the first grade, try to maneuver themselves in the adult world of callous company bosses, desperate unions, and a strike that ignites a major meltdown. Set in the mid-1990s, the white and black hats are predictable, with the unseen managers pulling the strings of their hard-working, hard-drinking employees. But thankfully, Roland makes his workers—Dev, Jimmy and Mikey—a conflicted and often comical bunch, as they each react to offers of management positions from the company in different ways. But most notably, the performances under the whip-smart direction of Sean Derry are true, real and dazzling. Mark Mayo, Andrew Narten and Robert Branch mesh like a finely tuned Porsche engine, continually finding new gears as the demands of the script increase. Director Derry paces this work with vigor and precision. The only small wrinkle is relying a bit too much on the dart playing, which doesn't allow the actors to bounce off each other as often as they might. Early in the play, the guys refer to themselves as a miracle alloy, stronger by far than any of the individuals by themselves. And the same can be said for these three actors. It's a performance so free and yet so well controlled, it's a privilege to share the same space with them.
Through August 24 , 1841 Merriman Rd., Akron, 330-671-4563
nonetoofragile.com
Classical Gas: Beethoven's Music is Overwhelmed by a Bloated Script in Variations at the Beck Center
If you had only a relatively short time to live, what would you want to do in your remaining time? Complete that Elvis paint-by-numbers portrait? Binge-watch The Sopranos one more time?
Perhaps, but none of those are the choices the two principals make in 33 Variations, now at the Beck Center. Written by Moises Kaufman, this play jumps centuries as it tracks two dying people: Ludwig van Beethoven and the fictional American musicologist, Dr. Katherine Brandt.
The premise of the play is intriguing, as these two very different people pursue compulsions that defy logic and upset their respective friends and contemporaries. But a frequently limp and bloated script and some off-kilter performances undermine what could have been an involving intellectual exercise.
Katherine has been diagnosed with ALS, the horrifying degenerative disease. Beset with relationship troubles with her twenty-something daughter Clara, Katherine chooses to spend her waning days looking for an answer to an obscure question: Why did Beethoven devote his own final years to writing 33 variations of a mediocre waltz penned by the music publisher Anton Diabelli?
Her present-day investigation, much of which happens in Bonn, Germany, is intercut with moments from Beethoven's waning life in the early 19th century. The composer, who is going blind and has many ailments, blusters and bellows while he obsesses over these curious compositions.
The script by Kaufman is at once too clever for its own good and not clever enough. Composed of 33 scenes (get it?), the play spends more time than necessary tracing the rather mundane mother-daughter conflicts in the Brandt family. (Mom thinks Clara changes jobs too frequently! Gasp!)
Add to that a mutual attraction shared by Clara and Mike, a hospital nurse she meets when accompanying mom to her ALS check-ups. Trouble is, neither Clara nor Mike is all that interesting and their hesitant, halting romance seems lifted from a 1950s' "what to do on a date" instructional video.
The Beethoven scenes have more bite and benefit from the fact that they're talking about things that matter, such as Beethoven's compositions and work process. As Beethoven, a bloviating Dana Hart bullies his friend and assistant played with amusing forbearance by Trey Gilpin. And a nicely modulated Brian Pedaci adds some grace notes as Diabelli.
The other performances, however, are not entirely on key. In the demanding role of Katherine, Maryann Nagel conveys her character's ever-worsening physical plight with apparent accuracy and compassion.
But we never quite feel the depth of Katherine's monomania for unearthing the answer to the Diabelli Variations conundrum. Indeed, as she plows through documents in the German museum, aided by a German musicologist (played ably by Mary Alice Beck), it often seems like Katherine is dutifully completing a mundane research assignment, not pursuing her Holy Grail.
Kaufman brings out some interesting factoids about Beethoven's composing style, including how researchers use ultraviolet light to detect various drafts of a particular piece. But these pinpoints of insight are few and far between.
Meanwhile, more time is wasted with the subplot involving Clara and Mike. While he has some nice flashes of endearing awkwardness, Matt O'Shea's Mike is not nearly endearing enough. And Debbie Keppler, as Clara, delivers her lines with a tone-deaf hollowness that sounds more like a cold reading than a performance.
Director Sarah May, a pro with immense theatrical talents, here seems flummoxed by the material. Many of the present-day scenes play too slowly, perhaps trying to achieve a spot-on enactment of how ALS actually affects its victims. But this verisimilitude is obtained at the cost of making the show more ponderous than it need be.
Fortunately, there are many snatches of Beethoven's work, played by pianist Stuart Raleigh. These brief bursts of music, short as they are, capture the elusive magic that this 2½ hour (with intermission) production is unfortunately unable to fully grasp.
A True (and Mostly Boring) Story: Sometimes Truth isn't Stranger than Fiction, as this Play at Convergence-Continuum Proves
It's always dangerous to write about your own life, especially when you have a desire to give all the characters (you, your loved ones and your friends) a positive gloss.
This is what playwright Roberto Aguirre-Sacasa does in Based on a Totally True Story, now at convergence-continuum. The central character, Ethan, is just like the playwright: a comic book writer and playwright who is in a gay romantic relationship. He is also dealing with a crisis between his parents, and has a deal brewing for a film of his work in Hollywood.
So, yes, the title appears to be accurate. Trouble is, it's not a particularly interesting or surprising true story. The play is also saddled with structural difficulties (lots of phone conversations, lots of narration and exposition delivered directly to the audience) that director Cory Molner can't fully overcome.
Set on a brightly colored Sunday-comics stage, nerd-geek Ethan is working on a dark play involving a sea monster and two dead children (a play, by the way, that sounds a good deal more engrossing than the one at hand). He's also holding down a day job writing stories for "The Flash," a speedy comic book superhero.
But his life changes when he and his soon-to-be-boyfriend Michael meet cute in a coffee shop. Soon they are doing all sorts of adorably cute New York-ish things like going to see a 1950s French horror movie and sipping coffee at Barnes & Noble. Then they move in together.
Meanwhile a producer in Hollywood, Mary Ellen, is on the horn with Ethan pushing him to make goofy changes to his play so she can sell it to a film company. And then Ethan has to deal with his father, who announces he's fallen out of love with Ethan's mother and is seeing another woman.
On the surface, all this sounds promising. But the script almost defiantly refuses to make any of these scenarios distinctive. Mary Ellen's intrusion on the creative process is a LaLa Land trope we've seen played out a dozen times, and done much funnier. As Mary Ellen, Lisa Wiley never captures the smooth, oleaginous vibe of the hard-charging flick pusher with a heart of gold.
As Ethan's dad, Clyde Simon trots out a befuddled gruffness that works for a while, but the character is so nice one never gets a whiff of the challenging childhood Ethan claims to have endured.
Bobby Coyne plays several small roles and shines in his turn as Tyler, Ethan's energetic comic book editor. But his quick cameos as an Apple store clerk and as a bizarre employee at a video store (remember them?) are overwrought and weird instead of amusing. His final turn as a blond hunk seducing Ethan on a California beach is too abrupt and unfocused to be sexy.
The central relationship is portrayed with skill by Zac Hudak (always a superb dweeb) as Ethan and a sweet and sincere Stuart Hoffman as Michael. But it's a tepid affair with chaste kisses, quick hugs and little emotional depth. Even when there is some tension around Ethan's blossoming career, the friction generates no real sparks, just some damp fizzles.
Aguirre-Sacasa crafts a few effective laugh lines, referring to the company that Ethan works for as owned by a series of corporate entities concluding with Satan. But his play collapses at the end in a welter of aphorisms as the characters sit on stage and provide individual epilogues about how they've grown.
Ultimately the takeaway from this totally true story, which takes place over about 24 months, is that Ethan (and the author) had a totally nice two years, some totally nice relationships and it all turned out totally nice, with everyone still friends.
That's nice. But theatrically, it's not very good.
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