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Congratulations!

By deciding to investigate the benefits of television advertising, you are taking the first step to more sales and faster profits. More businesses owners than ever are turning to television as a powerful tool to grow their profits. And it’s not the traditional “deep pockets” crowd either. Small and medium sized businesses are flocking to television advertising like never before. Some are coming away battered and bruised. But many are smiling ear to ear because they have unlocked the secrets to television advertising success – on a print or radio budget.

The Golden Rule?

Don’t let the tail wag the dog. You need to take control of your journey into television advertising so that it pays off.

Does that mean you have to be an expert?

No. But you do need to know how the industry and the medium work in order to end up with a cost-effective television advertising campaign.

Which is exactly why we prepared “An Insider Guide To Crossing Over To TV Advertising… On A Print Or Radio Budget..And Making Plenty Of Profit!”

It’s your GPS to an affordable and profitable TV Advertising experience.

Now is the best time in history for small business owners to use television advertising to explode their sales! Airtime and commercial and television production rates are the most affordable they’ve ever been! Specialty channels let you laser target your ideal sales prospect.

Television adds a level of credibility to you and your business like no other medium can do.

There’s a reason you’re seeing video pop up just about everywhere as more and more business owners come to the realization that the more senses you can appeal to, the more likely it is that you can gain a foothold in the most crowded place anywhere – your prospect’s mind.

Need any proof? Just look at the absolute astounding success of You Tube. People are attracted to watching video.

Isn’t it time you jumped on board and gave it a try?

The 5 secrets revealed below will help you leverage the power of television advertising in your business.

Secret #1 Have A Clear Unique Selling Message

This applies to all your marketing but is especially true when it comes to TV advertising.

You need to provide your prospects with a compelling reason to want to learn more about your product or service.

And, if you’re using a 30 or 60 second commercial to achieve this objective, you need to make sure your message is equipped to get your prospect to take the next step in your sales process.

That’s why you must have a very clear message.

What is the main benefit, promise or solution you want your prospect to walk away with?

Or, put another way, what is your unique selling proposition (USP)?

It’s important to have one otherwise you will have trouble differentiating your offer from those of your competitors.

Not sure how to boil it down to a simple clear message?

You can start by asking and answering the following questions:

• Why do people buy from you? Why do people NOT buy from you? Really give this some thought and make a list.
• What benefits do clients gain from doing business with you? People buy to gain benefits. What does your product or services DO for them
• What emotional appeal does your product or service have? Does it provide a sense of relief? Make your clients feel a sense of pride? Television provides the perfect forum for hitting your prospect’s emotional hot buttons.
• What problem do you solve or what need do you fulfill?

Another way to gather ideas for your USP is to survey your current clients.

Ask them WHY they bought from you. Find out what problem you solved for them why did they pick you over the competition? You may be surprised by the answers. People buy for different reasons.

In developing your USP, what you want to do is figure out the most common reason people decided to buy your product or service and then use that insight to create a powerful selling message that makes you stand out.

Don’t forget to check out your competitors. Many times what is obvious to you and your competitors, isn’t obvious to your potential clients. And you can use that differentiate yourself from the rest of the pack. Here’s an example… Years ago, Folgers coffee decided they needed to increase sales. Competition was everywhere. So what did they do? They started promoting the fact that Folger’s was mountain grown and stamped “Mountain Grown” on their coffee cans. Sales exploded. After all, coffee grown on a mountain simply had to be special. Right? What the average coffee drinker was unaware of is that fact that MOST coffee is mountain grown. Folger’s simply used this little known fact to make itself stand out. The more finely tuned your USP is, the more effective your television campaign will be – and all of your marketing for that matter.

Secret #2 Know Your Ideal Client

Your ability to generate sales leads from your television ad campaign will be greatly enhanced if you have a clear understanding of who your best prospects are and why they buy from you.

Otherwise it’s virtually impossible to create an effective television commercial.

This vital knowledge allows you to create a script that speaks to the specific needs of the people most likely to buy your offering and present your unique selling proposition in a compelling way.

Your message resonates and creates a natural attraction. But let’s say you’re not exactly sure who your ideal client is? Or why they buy? How do you go about finding out?

Well, a quick effective way to do it is to take a look at your current clients. Especially those you really enjoy working with. What do they have in common? Do they share a number of similar characteristics? You may already have a target market and just don’t realize it.

Here are just a few “target market” criteria you can use to define your niche.

• Age – try to narrow the age group range of your best prospects
• Gender – who makes the decision to purchase your products or services? Who might influence it? This is important to know so you can make the right appeal.
• Marital status (single, married, divorced)
• Household Income. Do your best to estimate the income of your target customer.
• Occupation – are your best prospects white collar construction, sales people, entrepreneurs, retired • Geographical region. (ex: Toronto, warm climate, people who live near water)
• Lifestyle (professional, conservative, risk-takers)
• Company size (self-employed professionals, Fortune 500, companies with $10 Million + in sales)
• Industry specific (a marketing consultant who focuses on solo-professionals)
• Leisure Time Activities – what do your customers do to relax and have fun? Hobbies? Pastimes? Once you complete your research – combining the information you have about your existing clients along with additional characteristics – you will be able to build your ideal target customer profile. This will give you will have a clearer understanding of the language and tone you should use in your script and what type of information your target market will be looking for.

And it will help pinpoint the type of audience your television commercial should be presented to in order to produce maximum sales results.

Secret #3 Be Involved In the Process

Many small and medium sized companies that shy away from television advertising quickly latch on to the “perceived” high cost (more about this in Secret #5) as a reason they have been reluctant to give it a try.

But there’s often another factor lurking in the background that keeps many businesses from enjoying the success a professionally created television commercial can create.

Simply put: for some, making the leap to the world of television advertising can be intimidating.

In print, you write your ad and the publication runs it. In radio, you record your commercial and the station plays it.

With television, there are a lot pieces that need to be pulled together to produce a successful advertising campaign and for those who haven’t been through the process before, it can be a real leap of faith.

You need to be a kind of project manager for your television advertising experience. Do you need to be an expert? No. But you do need a sense of what the process involves so you can add to the experience where applicable.

To help you understand the elements that provide the foundation for a successful TV advertising campaign, here is a checklist:

• Budget – Many small and medium sized businesses don’t realize that the money they are currently investing in radio or print ad campaigns could be used to create an effective television advertising campaign – provided you know the secret (we reveal it in Secret#5) to avoiding one of the major hidden costs TV advertising. Production costs and airtime will be the two main components of your budget.
• Script - The script is your ad in words. This is your core selling message. The script dictates who says what, the tone and expressions used, what is seen on screen, who moves when and where. A script will be necessary for your commercial.
• Talent – This includes on-camera talent and voiceover talent. The more well-known and in-demand the talent, the more you pay. For many advertisers, local and regional talent will produce a professional result.
• Production Elements – You need to decide what kind of graphics, audio, or music you want – along with any other special effects..
• Length – Typically, TV commercial spots run 30 seconds. You can also run in 15-second and 60-second increments. An “infomercial” often runs 30 – 60 minutes and costs more to produce and to run.

At the end of the process, your TV commercial should answer one very important question for the viewer:

‘What’s in it for me?’

The way to answer that question so that both you and your prospect end up with a positive outcome is to make sure your commercial is focused on how the viewer can benefit from your product or service.

No one can sell your offering better than you.

You must use every bit of selling information you can to gain favorable attention immediately with the viewer! Otherwise the viewer will click away and your investment will be wasted.

And last, but definitely not least…

Tell the viewer what you want him/her to do next!

It’s incredible how many new TV advertisers (and some longtime veterans) fail to ask the viewer to take the next step in their selling process make this mistake. Do you want them to visit your web site? Pick up a phone and call? Come into your store? You need to lead them to where you want them to go next. Now, let’s move on to one of the costliest mistakes television advertisers make along with tips on how you can avoid it.

Secret #4 Be “Marketing Ready” For Your Prospect

Most businesses today use advertising and marketing as a way of initiating a relationship with a prospect. The same is true of television advertising.

After all, a 30 second spot on TV isn’t going to answer every question.

If your commercial has done its job, the next step is to invite your prospect to learn more about you can benefit him/her.

This could involve an invitation to visit your web site, pick up a phone and call you or drop by your location.

It’s critical to make sure that whatever you ask your prospect to do that you’re equipped to keep your prospect moving toward a sale.

This is where many TV advertisers drop the ball and end up wasting their valuable marketing dollars..

Let’s use a visit to your web site as an example. We’ll assume your prospect has watched your commercial and is shown your web site URL on the screen as it finishes.

Your commercial piqued his curiosity and made him want to know more about you and your offering.

Congratulations. You’re past the first hurdle – getting the prospect to take the next step in your selling process.

But that’s all you’ve accomplished at this point.

Now you’re moving on to the all-important “conversion” part of the sales process. Tons of visitors to your site won’t feed your family, pay your mortgage or let you lie around on the beach in Cabo San Lucas.

For that, you need to convert your prospects initial interest into a sale.

And a web site that doesn’t clearly pick up where your television commercial left off by immediately reminding your visitor ‘what’s in it for him’ and presenting your sales story in a compelling way is going to bring a selling opportunity to a grinding halt.

What’s the point of tempting a bunch of hungry prospects only to have them arrive and you’ve nothing to feed them?

Same thing holds true if you want them to call you. Every member of your team who has public contact must be ready to keep the momentum going.

The job of your TV commercial is to attract the fish. The rest of the job – hooking the prospect (in an ethical way, of course) and getting him into the boat and converting him into a lifelong profitable client is the job of your marketing.

You need to make sure your marketing message is consistent throughout ALL your marketing. Otherwise you won’t get the ROI you should.

Secret #5 Don’t Let Tail Wag The Dog

Television advertising can be rewarding, but you need an experienced hand guiding you past the pitfalls so you can produce a profitable result. So far, we’ve armed you with the knowledge you need to make sure your television advertising efforts position you for a successful outcome. Now it’s time to introduce the key thread that ties it all together. Making sure you partner with an industry professional who knows the ropes. The first place many small and medium size businesses turn for assistance is an advertising agency. A very expensive mistake.

Here’s why: Many ad agencies focus on “institutional” type or branding type messaging. They are image builders. While having a professional image is important, most of the businesses flocking to TV advertising these days need sales. You’re probably the same. You want viewers to watch your commercial and take the next step in your selling process. Maybe a visit to your web site or a phone call. For that, you need direct response television advertising. And many advertising agencies simply aren’t equipped for that. Nor do they know how to “convert” an interested prospect into a profitable lifetime client.

But here’s the dirty little secret they hope you won’t find out about: Many don’t have in-house resources to write your script. Or television production facilities so they can shoot your commercial. Or an editing booth where they can edit your footage. Here’s what that means to you… If the ad agencies don’t have the resources themselves, they have to go outside, cobble together a team of industry professionals who can and pay them. Guess who gets stuck with all the middleman mark-ups? But this ‘don’t worry, the client will pay for it’ old school mentality doesn’t stop there. Once your commercial is ready to air, you need a TV program to run it on. For looking in a book and phoning up to schedule your spots, the ad agency will charge you 15% of your media budget. Is that how you want to spend your valuable media dollars? Having someone round up a bunch of people who can and charge you for doing it? Thought so. Here’s an alternative… Creative Bube Tube is a full-service, one source expert at producing direct response television advertising and corporate videos. We work with small and medium size business to help them generate profitable sales. Many of our clients are newbies. But we’ve opened the eyes of more than a few savvy veterans along the way.

Here are four pillars we’ve built our business model on:

• One Source – Every aspect of your television advertising is handled in-house by our team. This means you avoid the unnecessary added cost mark ups, delays and finger-pointing caused by too many fingers in the pie.
• Expertise – We are television advertising experts. Period. It’s all we do. And we know how to sell. To you, that means campaigns that not only look professional, they send you a steady stream of qualified prospects.
• Cost Efficient – Because we know our craft, we understand how and where to use your budget efficiently – without having to grease the palm of a number of disconnected middlemen. That way, every dollar you invest is working to increase your sales. The media relationships we have built through the years provide you with red carpet access to your target market – for a fraction of the cost you would pay otherwise – with no hidden fees.
• Process – The key to effective affordable television advertising is sales driven creative, efficient production, proper planning and organization. That requires precise communication. Everything we do is in-house. We don’t outsource your creative to a production company that has no marketing background. Then send the footage after filming to a post-production house. Then hire a media buyer who has likely never even seen any of the creative. Then sit back and watch the confusion, as your budget gets chewed up in a sea of disorganization and chaos. Everyone on our team intimately is involved in your project – from beginning to end.

Creative Bube Tube makes television advertising effective and efficient – for both newbies and long-time television advertisers who are tired of wasting valuable marketing dollars propping up old-school practices. If you’ve been thinking about trying television advertising but have been holding off because you were concerned it was very expensive, we’d behappy to show you not only how you can afford it, but also how you can use it to skyrocket your sales results. Please call us today at 1-855 BUBE TUBE or visit our web site at http://www.creativebubetube.com and learn more about how we can help you generate a stream of profitable lifetime clients.

2011 Creative Bube Tube

About The Author: As the President of Creative Bube Tube, Jenny Munford has been directly involved in hundreds of television advertising campaigns and corporate video productions. She created Creative Bube Tube in response to a need she saw for someone in the industry to make television advertising affordable and effective for small and medium sized businesses who felt they were tied to print and radio to market their products and services. By creating a one-source shop that can handle all of a client’s needs, Jenny is able to provide clients with cost efficiency by eliminating one of the biggest costs of TV advertising – middleman markups. To learn more about how Creative Bube Tube can help you sell more of your product or service, please visit http://www.creativebubetube.com or call us at 1-855 BUBE TUBE.

Fifty million home-based businesses will be in operation by 1997, according to Link Resource’s National Work-at Home Survey. All around the country, people who want more control over their lives are starting home businesses In New Orleans, Rick Hart’s home based cajun Cargo ships seafood nation wide. In Palatine, Illinois, Stephaine Heavey works from home designing and selling original patterns for fabric dolls. And in Dallas, Lisa McElya published the Dallas Party & Event Planners Guidebook from the entire first floor of her two-story home. These three people are living the new American dream of owning a business, but avoiding the high overhead and start-up costs of a commercial location. If the idea of working from home is appealing, but you don’t know where to begin, here is a step-by-step guide. STEP #1 DECIDE WHAT PART OF THE HOUSE TO USE Select an area away from family activity. The perfect space is a separate room (or perhaps the garage), but any area will do, if it can hold all the business supplies and equipment, and also provide enough work space for desks, tables, or counters. STEP #2 DETERMINE HOW MUCH TIME YOU CAN SPEND ON THE BUSINESS Many people start a home business on a part-time basis while raising children or working outside the home. Others start full-time when family and finances allow. However you begin, figure out how may hours per week you can devote to the business Make a weekly chart of your activities, examine it, and determine where the business fits. Don’t assume you have time and find out later you don’t. STEP #3 DECIDE ON THE TYPE OF BUSINESS Make a list of things you like to do, your work and volunteer experience, and items you own that can be used in a business. Look over this line-up, and using ideas from it, list possible businesses to start. Eliminate any business that isn’t appealing or doesn’t fill a need people have. For ideas on different types of businesses, consult the end of this article. Other ideas can be found in the source material listed at the end of this article. STEP #4 CHOOSE A LEGAL FORM The three basic legal forms are sole proprietorship, partnership, and corporation. The most common is the sole proprietorship. As its name implies, a sole proprietorship is owned by one individual. It is the oldest form of business, the easiest to start, and the least complicated to dissolve. Here are some of the advantages of this business form: 1. You own all the profits

2. Your business is easy and cheap to organize. You don’t need any government approval, although you may be required to carry a city, state or county license. Your only other obligation is to notify the Internal revenue Service (IRS) for the purposes of sales tax.

3. You’re the boss

4. You enjoy certain tax savings. You must pay regular individual taxes on your income, property, and payroll, but these are not levied as special taxes, as with a corporation. You will also have to pay sales tax which you have received from your customers.

5. Greater personal incentive and satisfaction. Since you have your investment to lose if your business is not successful, you should be more willing to put time, thought, and energy into the business. And when your business is successful, you enjoy maximum sense of accomplishment since you know its success was dependent upon your decisions about your management ability alone. For more information about this and other forms of business, send for the U.S. Small Business Administration (SBA) Publication MP25. Selecting the Legal Structure for Your BUsiness (50 cents). It outlines the advantages and disadvantages of each legal type of structure. If after reading it you are still uncertain what form of the business should take, consult an attorney. STEP #5 DETERMINE WHERE THE MONEY WILL COME FROM There are three ways to finance start-up costs: use your own money, obtain a loan, or find investors. If possible, it is better to start small, use your savings, and not worry about repaying a debt. also keep in mind that since you are a home-based, chances of qualifying for a loan or finding investors are slim until the success of your idea is proven. STEP #6 GATHER INFORMATION Spend a few weeks researching home-based businesses. A library or bookstore can provide numerous books on business basics, and on the specific type of business that interest you. Homemade Money by Barbara Brabee (see sources) is an excellent book to start with. If you are considering a computer business, get in touch with the association of Electronics; Cottagers, P.O. Box 1738, Davis, CA 95617-1738. To keep informed of what is happening in home business world, contact National Home Business report, P.O. Box 2137, Naperville, IL 60566, for subscription information; and Mothers Home Business Network, P.O. Box 423, East Meadow, NY 11554 (send SASE for free information). STEP #7 CHECK ON ZONING RESTRICTIONS Find out how your property is zoned, the call City Hall and ask what regulations apply to home businesses in that zone. Also, if you rent or live in a condominium, check the lease or homeowner’s association rules to be certain a home business is allowed. Generally, if you do not annoy your neighbors with excess noise, odors, and traffic, you will not be deterred from running a business at home. The neighbors may not even be aware of the business, but it is necessary to know exactly what you can and can’t do before you start. This is important should any problems or questions arise later. STEP #8 PICK A BUSINESS NAME AND REGISTER IT If the business you choose is different form your name, file an assumed (or fictitious) name certificate with the county. You are notified if another business already has that name, so you can select a new one. Do this before investing in expensive stationery and brochures. It costs only a few dollars to file, and it protects the business name from being used by someone else in the county. STEP #9 WRITE A BUSINESS PLAN A good business plan clarifies your ideas and establishes a plan of action. A good business plan should include a description of what you are selling, your background and qualifications, who the prospective customers are and where they can be found, what is needed to build the business, how you plan to promote, and how much money is need for start-up costs. SBA Publication #M925, The Business Plan for Home-Based Business ($1) is helpful. STEP #10 GET AN IDENTIFYING NUMBER If you are the sole proprietor of the business and have no employees, you may either use your Social Security number or an Employee Identification Number (EIN) as the business number on official forms. If you have employees, or the business is set up as a partnership or corporation, you must obtain an EIN. To do this, complete IRS Form SS-4 (Application for Employer Identification Number) and file it with the nearest IRS Center. STEP #11 OBTAIN A SALES TAX PERMIT If the product or service you sell is taxable, you need a state sales tax permit. Call the local tax agency, explain the type of business you have and what you sell, and ask if you need to collect sales tax. If you do, they will send you the necessary information and forms to complete. You also use this tax number when your purchase items for resale. STEP #12 OBTAIN LICENSES & PERMITS It’s very important not to overlook any necessary license or permit. For example, some cities and counties require a general business license, and most have special laws regarding the preparation and sale of food. Call City Hall to find out what is need for your particular business. In addition, Chamber of Commerce provide information on city, county and state licenses and permits. STEP #13 SELECT BUSINESS CARDS, STATIONERY, BROCHURES Spend time on the color, design and paper for these items. They make a definite impression-good or bad- on the people who receive them. If you are not certain what is most suitable and effective, consult a graphics designer or a creative printer whose work you like. STEP #14 OPEN A BUSINESS CHECKING ACCOUNT Call several banks to find out what services they offer, and what minimum balance, if any, must be maintained to avoid paying a service charge. Also ask about credit card if you plan to offer this convenience to your customers. Bank fees can be significant, so shop around for the best deal. If your personal checking account is with a credit union, see if it can also provide a separate business account. when you open your account, you may need to show the assumed name certificate and business license. Finally, investigate obtaining a credit card in the business’s name. If this is not possible, set aside a personal credit card to use for business expenses. STEP #15 SET UP RECORD-KEEPING SYSTEMS Put together a simple and effective bookkeeping system with an 8 1/2 x 11″ three-ring binder, columnar pad sheets and twelve pocket dividers from the office supply store. For each month, set up columnar sheets for income and expenses. Use a pocket divider for each month’s receipts, bank statement, deposit tickets, and canceled checks. In addition, an automobile log for business mileage, and filing system for correspondence, invoices, supplier catalogs, client records, etc. are two other useful tools. For more information on record-keeping, see IRS publication #583, Information for Business taxpayers. STEP #16 CHECK IRS REQUIREMENTS If you comply with basic IRS guidelines, you can deduct a percentage of normal household expenses (mortgage, interest, taxes, insurance, utilities, repairs, etc.) as a business expense. see the box accompanying this article and, for more detailed information, IRS publication #587, Business Use of the Home. Also become familiar with these IRS forms: Schedule SE (compensation of Social Security Self-Employment Tax) and Schedule 1040 ES (estimated Tax for Individuals). Depending on circumstances, you may have to file them. STEP #17 OUTFIT THE BUSINESS Make a list of everything needed to start the business, but before you buy anything, look around the house for things you already own that are usable. When you are ready to start purchasing, check the classified ads and garage sales. Both are good, inexpensive sources for office furniture, typewriters, computers, answering machines, etc. But only what is absolutely necessary for start-up, and wait until the business is off the ground to get the extras. STEP #18 DECIDE ON TELEPHONE REQUIREMENTS Call the telephone company to find out the cost of a business phone in your area. If you cannot afford a separate business line, investigate the telephone company’s regulations on using your personal phone in a business. It may be possible to do this if you follow certain guidelines. Keep a record of long distance business calls as they are a deductible expense. Finally, consider the benefits of an answering machine to catch calls when you are out. STEP #19 CHECK OUT THE POST OFFICE & UPS Using a post office box as the business address down plays the fact you are home-based. It also prevents customers from dropping in at all hours. While looking into box rental, ask for information on the various postal rates, particularly bulk rate, if you plan to do large or specialized mailings. If you mail many packages, check out United Parcel Service (UPS), as it is less expensive than the Post Office. STEP #20 PURCHASE THE NECESSARY INSURANCE Check with your homeowners insurance agent about a rider for your existing policy or the need for a separate business policy. Also make sure you have adequate personal and product liability coverage. Shop around, as each company has different rules regarding home businesses To save money on medical insurance, join an association and participate in their group plan. One such body is The National association for the Self-Employed: they can be reached at 800-527-5504. STEP #21 ORGANIZE THE HOUSE & YOURSELF To have more time for business, organize and simplify household routines. Start by holding a garage sale to get rid of unnecessary possessions. Next, have a family conference and divide household duties, making sure each person does his or her part. The, set up a planning notebook to keep track of appointments, things to do, calls to make, errands to run, shopping, etc. Finally, set up a work schedule so you won’t get sidetracked by TV, neighbor’s visits, snacking, and telephone calls. Creating and operating a home business is a wonderful and rewarding challenge. The satisfaction is not only in the money earned, but in doing what makes you happy.

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Julia Tang publishes Smart Online Business Tips, a fresh
and informative newsletter dedicated to supporting people
like you! To find out the best online business opportunities,
and to discover hundreds more proven and practical internet
marketing secrets, plus FREE internet marketing products
worth over $200, visit: http://www.best-internet-businesses.com
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Note: Feel free to publish it with the resource box and content unchanged

This article answers some of the questions asked

by car owners or would be Do It Yourselfers on Do It

Yourself Auto Repair.

What is DIY or Do It Yourself Auto Repair:

This is a maintenance system where a vehicle owner carry

out specific repair works on his/her car. The repair

work can be major or minor.

Can anybody carry out Do It Yourself Auto

Repair: Yes, anybody old enough to own a car, and

calm – headed enough to follow some sets of repair

instructions can successfully carry out Do It Yourself

Auto Repair.

It does not require deep knowledge of engineering

or mechanism, just the ability to believe in yourself

and follow instructions.

What are the requirements for Do it yourself auto

repair: The following are the basic requirements,

which may be more, depending on the repair job to be

done.

• A good auto repair manual.
• Set of tools.
• Auto parts for replacement.
• Calmness and determination.
• Time.

From manual you can get all the requirements and the

procedures.

Where Can Do It Yourself Auto Repair be carried out:

Anywhere there is space. preferably in a place where

there is privacy and where you are shielded from

sun, rain, etc.

Can I get help for Do It Yourself Auto Repair jobs when

I needed one: Yes you can get a real life help if you

register with a good auto repair site and/or auto repair

forum for car owners.

There you meet car owners like yourself sharing their

experiences in Do It Yourself Auto Repair job and their

failures too, you learn a lot and avoid many pitfalls.

What are the benefits of Do It Yourself Auto Repair: you

stand to gain a lot in Do it Yourself Auto Repair, Some

benefits includes:

1. Reduction in repair and maintenance cost.
2. Self Satisfaction in carrying out your repair works.
3. Better understanding of your car system and operations.
4. Opportunity to meet/chart with other car owners,
   share ideas and gain from their experiences.
5. Ability to gain total control over your car.

The total benefit of Do it Yourself Auto Repair cannot

be generalized it depends on where an individual is

starting from and his background knowledge. You really

see it when you start.

What is the rate of success in Do It Yourself Auto

Repair: The rate of success figure is not constant, for

it depends on individual knowledge and what he has

committed to it.

But a lot of people have been recording

success, this you can find out in DIY forum sites. even

people that started as a complete novice.

The important things to hold to record success is,

having the right tools equipment and starting/doing your

Do it Yourself Auto Repair jobs rightly. This I can show

you.

You may have many more questions not answered here, but

you don’t need to know all answers before you start,

just a step-by-step guide. if others have been doing it

then you can do it.

Why not start right now.

Tope Olawumi is a seasoned auto – infopreneur. His site at

http://www.all-about-auto-part.com/Do-It-Yourself-Auto-Repair.html shows you all the information you need to do your Do It Yourself Auto Repair right. For your right manual visit;

http://www.all-about-auto-part.com/Do-It-Yourself-Auto-Repair-Manual.html.

What Are Movie Download Services?

Movie download services are exactly what they sound like: a service that allows you to download movies from the Internet onto your hard drive or a DVD. Though this isn’t a new concept, it is relatively new to the legal world of consumerism. Though ‘pirates’ have been making free download of movies available for quite some time, movie studios are now getting in on the action and offering access to their movies for download the day they hit the stores in DVD format – for a fee, of course.

Who’s Who In Movie Download Services?

In the relatively new world of legitimate movie download services, there are surprisingly many players, but only a few of them are major. There’s Movielink and Sony’s CinemaNow which offer old and new movies for purchase or 24 hour rental. Rental fees are comparable to the local video store but purchase is more expensive than if you were to buy the DVD. ClickStar, backed by Danny DeVito among other big names in Hollywood, is another up and comer in the world of movie download services, but this one’s draw is that it will offer movies for download while they are still showing in the theater. It will also feature a streaming channel devoted to documentaries.

AT&T is teaming up with Vongo, another movie downloading site, to offer its DSL service in concert and duo promotions. Different from Movielink and CinemaNow, Vongo is a subscription service offered for a monthly fee which allows its members unlimited access to movies, videos, and a streaming Starz channel. Pay per view movies are available as well for an additional fee.

Movie Download Services: The Nitty Gritty

• Price – Ranging anywhere from $10-$20, the irony is downloading movies legally isn’t cheap. In order to appease the retailers who make big bucks on DVDs released in stores, the online downloading services are keeping their fees in the clouds. Which of course, doesn’t hurt their pocketbook, either.
• Availability – It depends. Different services have different deals with different movie studios. As for old movies, those are being added all the time. But the nice thing is, if they have it, you can get it – instantly.
• Space – You will need between 1200 and 2000 MBs of free space to store your movie. Depending on your system, this may be a lot or a little. Some services may allow you to burn your download to a DVD, but only if you’re buying the movie and even then, most won’t.
• Download Time – This is no time for dial-up, that’s for sure. Anything DSL and faster should get you your movie in under an hour with an average of 35 to 40 minutes, and that’s if you want it fast and grainy. If you’re willing to wait a little longer, say, up to two hours, you can download a higher quality version. A nice feature that some services offer is the ability to start watching the movie while it’s still downloading.
• Technical Requirements – At least Windows Media Player 10, fast Internet connection, Internet Explorer 6.0, Windows XP. You might be able to get away with older versions, but it isn’t recommended. And yes, did you note – it’s all PC and no Mac. That’s right. PC users only, please.
• Computer Viewing Only – Currently, that’s the state of things. That is, unless you choose a service that allows you to download it to some other electronic handheld device of your choosing, like PSP or iPod. Of course, you could always use an S-video jack to hook your computer to your TV and watch it on the big screen. Some services allow limited DVD burning, but they may restrict the DVD to playing only in the computer to which the movie was downloaded, allowing your fancy DVD player to gather dust.
• Buy Versus Rent – It’s a strange situation at this point, but different studios offer different services different licenses to different movies. So, you may only be able to rent a title through one service that another is offering for sale. Other services may not have any access to certain titles while others do. There’s no standard just yet, so it’s a bit of a crap shoot.

What’s the Benefit of Movie Download Services?

Convenience! Forget long lines at the theater, the video store being out of a new release, or waiting in virtual queue to get your mailed DVD through a subscription service. No more concern about court cases and legal fees for downloading movies illegally or spyware from file sharing applications that will slow down your computer if not cripple it beyond repair. Then, of course, there’s the fact that you can watch the newest movies as many times as you like on your personal computer and instantly upon purchase – no waiting and no driving to the store.

What’s the Downside of Movie Download Services?

At the moment, cost and restricted viewing access. You may not necessarily want to watch a movie on your computer when you just invested $2000 in a big screen HDTV. And you may not want to invest $20 in a movie that you can’t even resell online if you don’t like it. If you have a slow internet connection, the download time may be a bummer, too, especially if you’re trying to use your computer for other things while the process slows your computer to a painful snail pace. And if you use a Mac, well, obviously, the downside is that movie download services simply don’t exist. Then, what if a virus infects the computer where all your movies are stored? Yup. Have to buy them all over again.

Movie Download Services – Yay or Nay?

The state of affairs being what they are – that is, in their ugly braces and zits prepubescent stage – probably nay. Remember the first BETA machines? Or the $700 CD players back in the ’80s? When movie download service lowers their prices and speed up the technology, allow for actual DVD burnings that include the extras and TV viewings as well as access to films that are still in theaters, then yay! In the meantime, sticking with higher quality DVDs that don’t discriminate against Mac users and big screen television sets and allow for resale later on. Unless you have to see the movie This Very Second, movie download services are not yet the incredible service they have the potential to be in the future.

Madison Lockwood is a customer relations associate for ApolloHosting.com. She brings years of experience as a small business consultant to helping prospective clients understand the ways in which a website may benefit them both personally and professionally. Apollo Hosting provides website hosting [http://www.apollohosting.com], ecommerce hosting [http://www.apollohosting.com/e-commerce], vps hosting, and web design services to a wide range of customers. Established in 1999, Apollo prides itself on the highest levels of customer support.

When discussing tennis technique in general, we normally refer to top players in the tennis. The important question is: Should a amateur tennis player attempt to copy the tennis technique of the pros?

The answer is a cautious Yes if the tennis player is looking to improve their tennis technique and tennis strokes. The takeaway from watching professional players is that something can be learned everytime you watch the pros practice.

World class tennis players usually always share commonalities in their tennis technique that you should model.

It’s a bad idea to try to copy little nuisances and rituals of professional players. Things like John McEnroe’s exaggerated rock back and forth swing before he serves, or Maria Sharapova’s complex ritual before every point may look cute – - but it’s far from what the average tennis needs to incorporate if he or she wants to play better tennis

When watching the pros and attempting to model their tennis technique, it’s important to know what to look for in their tennis strokes and what is a matter of personal preference. Replicating important fundamentals of their tennis technique is the most vital – - and key to improving your own tennis technique.

For the forehand, a good model is Roger Federer, Andre Agassi and Justine Henin Hardenne. All three of these players have exceptional forehand tennis technique and at the same time are the most efficient and clean forehands in tennis for the average tennis player to model. They are great models because their forehands are top of the game while still staying relatively simple.

Attempting to model Rafael Nadal’s Forehand, or Andy Roddick’s serve are two very complicated tennis swings. The reason these two tennis shots are not ideal models to copy is simple – - it contains very advanced elements that recreational and club players may not be capable of reproducing without a firm understanding of the fundamental tennis technique behind the strokes.

Nadal’s Forehand is a powerful tennis stroke, with a massive topspin forehand. Not a bad forehand by any standards, but one that average player should steer clear of trying to copy until they have mastered the basic elements of a sound forehand. Looking at Nadal’s Forehand, we see that his tennis forehand technique is technically sound, but very complex. His wrists, arm and racket goes through several stages just in the preparation phase of the forehand.

Andy Roddick’s serve is another difficult tennis stroke to master. It is a tennis stroke that is only possible by first mastering the basic elements of a more classical serve and having exceptional throwing mechanics. The motion itself requires a great deal of upper body and arm strength, as well as athleticism.

Andy Roddick achieves his world class serve through a rapid abbreviated serve motion where the arm flies in and out of the trophy position faster than any other professional tennis player. The ability of his arm to load prior to contact in such a short burst is responsible for his tennis serve being more explosive than any other player on tour. The external rotation Andy Roddick’s serve achieves is exceptional This tennis technique requires the player to stretch the body to it’s upper limits. It’s a serve that only advanced tennis players should attempt, and even so with caution.

Keys of Modeling Tennis Technique

In looking to model the tennis technique of the pros, it’s important to look for the basic fundamentals behind the tennis technique. Avoid trying to copy any extreme elements and instead aim for simplicity when trying to emulate the tennis technique of the pros. Try to find a good model to base your tennis strokes off of and then let your natural technique emerge while sticking to the fundamentals of proper technique.

Visualize the correct technique you wish to solidify in your game and observe the strokes of the pros. By watching the pros execute their strokes, an unconscious process in your brain will develop, therefore burning the “perfect image” into your mind. This will help you ingrain the technique, because the brain will have a clear file on the correct technique.

Coach Ed is a former nationally ranked tennis player and coach. Optimum Tennis offers tennis instruction, tennis tips and tennis tips at Optimum Tennis

Click here to find out How to Play Better Tennis

When you talk about hiking, it does not mean you have to go for something as outlandish or extreme as the Appalachian Trail. It can be as simple as taking a walk through a forest or up a hill in your neighborhood’s vicinity. For the most part, hiking will cost you nothing to very little and is a great stress reliever. Indeed, the mental and physical benefits you can get from hiking ensure you can live a more fruitful and fulfilled life.

But even though hiking can be fun, there are also a number of precautions and survival tips one must take into consideration to avoid danger and stay safe. Among the more important tips is for one to hike in a group. It is much safer for one to hike in a group especially if it is on a nature trail you are unaccustomed to.

Hiking with Friends

The support and motivation obtained from the group will help you in those times when you might think of packing up leaving. Actually, even when you are hiking on trail you are used to, it does not hurt to bring at least one person along as this is a natural deterrent to anyone along the trail that may be lurking with ill intent.

You also must take precautions when hiking up and down a hill. On the ascent, you should loosely lace your boots around your ankles to provide ample room for movement. When going downhill, you need to avoid jamming your toes by placing your heels in the back of the boots and tightly tying your laces around the ankles while leaving them loose at the toes.

Use a hiking stick or trekking pole. These sticks help with balance and stability when going up or down an incline. They also provide an additional support to your legs, reduce the knee pressure and help you support the upper body especially when you embark on a long trek.

Carry Water

Always carry your own water. If you are sure there will be water at your destination, carry just slightly more than sufficient water to last until you arrive. Water is of greater importance than food to your survival. Always filter any water you find along the trail and that you are in need of using – unless the water is from a natural spring. If you can fix a long drinking straw to the water bottle so you can drink as you move, the better.

Dress in layers in order to ensure you maintain the proper body temperature with changes in weather. The weather can change drastically when you are out on a long hike and you need to be prepared for all type of weather conditions. Avoid cotton clothing because it holds moisture for long periods. Use polypropylene and other synthetic materials. Make sure you wear dark clothing because they dry faster. Wear light colored clothing if you’re hiking in areas known for their tick infestation.

It’s also important that one watch out for sunstroke when hiking in the hot sun. If you plan on hiking in the summer then you must be aware that the exposure to high temperature can cause excessive fluid loss which may lead to heat exhaustion, or in serious cases even to a heat stroke. Wear a hat that is broad rimmed and that has a strap. It gives better protection from hot wind and direct sunlight.

Hiking Boots and Equipment

Of all the hiking gear and equipment you need, your hiking boots are probably the most important. Good boots give you traction and support throughout the hike. A good pair of boots need not be overly expensive even though you should not compromise on quality in the name of lower overall cost. It is advisable that you purchase your boots from a dealer who is conversant with the standards required of outdoor wear. Boots vary from lightweight for light hiking to heavy boots that are more durable and support the feet and ankles. The features you need to look out for when buying your hiking boots include water resistance, weight of the boot, the price, the toe groove for crampons, the width of toe box and the gusseted tongue.

Apart from your hiking boots, there are other forms of equipment needed for you hike. If you plan on embarking on a day hike, you will need hiking socks, water purifying tablets (if you are not carrying your own water), a back pack, walking stick, traction devices, rescue beacons, signaling gear, Avalanche probes (if you will be on snow covered hilly terrain), jackets, binoculars, first aid kit, a compass, sunscreen and food. For an overnight hike, you will require a tent, sleeping bag, camp stoves, rain gear, matches, a Swiss army knife, and a flashlight.

Get a map of the route you plan on taking. If you plan to hike alone or with one another person, notify your family (or a ranger if you are hiking through a park) on the place where you will be and the time you expect to return. That way, someone can come looking for you if you are in trouble or just simply lost.

Bob Fisher is an author for American Equipage an online retailer of American hiking gear including the well known Belleville boots popular among Americans for hiking, hunting and outdoor activities and used by the US military since World War I.

Many people start to look into why their lawnmower, snow blower, or chainsaw doesn’t start or run properly only to fail and curse in frustration. There is a reason for this that anyone can overcome just by avoiding these 5 common errors.

1. They have no plan of attack. If you were to decide to put a garden in your backyard or to build a garage to work out of you wouldn’t just start cutting wood and nailing it together. You would in fact purchase a design or create one yourself. If you are going to resolve the issues with your small engine equipment, you must have a plan of attack to avoid repetition and to ensure you cover all the bases.

2. They never check the basics. There are a few simple things that every internal combustion engine must have to operate properly whether it’s on your boat, car, lawnmower, or trimmer. These are: Compression, Spark, and a Proper Fuel/Air Mixture. You cannot attempt to resolve your small engine problems without knowing if these things exist at acceptable levels in your unit.

3. They don’t check things properly. The biggest thing I see on the internet in forums and blogs about small engines is that they claim to have spark coming to their sparkplug but the engine won’t fire and fuel pours out the exhaust or the plug is wet. Spark performs differently under compression then it does without it. You cannot accurately test for spark by resting your sparkplug against the engine and cranking it over. If your ignition module or sparkplug are weak and not providing sufficient output (about 12KV or more) you may in fact see spark when tested without compression but as soon as you try to run the unit the spark disappears.

4. They never move ahead to the next possible issue. Someone once told me that the definition of insanity is doing the same thing over and over again expecting a different result. If you have no spark, for example, cleaning your sparkplug and retesting and retesting isn’t going to get you spark. You need to know how the ignition system on your engine works and properly fault find the issue at hand moving ahead and systematically removing what could be causing the issue.

5. They don’t seek professional assistance. Sometimes a problem is bigger than you can handle, or maybe you need to learn some things to resolve a specific small engine problem. Going to your neighbour who tuned up his lawnmower at the start of the year, or your local automotive repairman won’t get you what you need. Automotive isn’t what it used to be and unless your mechanic was wrenching in the 1970s then he probably doesn’t really understand your small engine. This is because they are designed and operate differently. Cars and trucks have computers and modules that are tested using a code reader whereas your snow blower does not. If you don’t know how a small engine operates exactly, then you probably will never solve your problem. I don’t ask my dentist why my back hurts and I doubt you do either.

So if you’re trying to resolve an issue with your lawnmower, snow blower, or riding mower, remember these simple mistakes and avoid them. Seek out a reliably trained and experienced Small Engine Technician and ask his advice. Learn to do simple trouble shooting and fault finding techniques that are proven and work every time because they follow the basic principle of how small engines work.

Best regards,

Al

P.S. You can download a free checklist that will work with any small engine running problem here.

Al Smith

[http://www.theglobalsmallenginecommunity.com/]

Stihl Master Service Technician, Husqvarna University qualified, Kohler & Briggs certifed, Toro, Lawnboy, MTD and many other qualifications and experience.

I used to be the service manager for a large local small engine shop and now am exploring online options for business as well as servicing select customers equipment to maintain and repair them. They include all kinds of small engine powered units from trimmers and chainsaws to riding mowers and zero-turn units. I have been a mechanic both as a hobbyist and as a professional since 1987, served 20 years in the Canadian Air force, and have rebuilt Motorcycles, Trucks, Snowmobiles, and anything else I could get my hands on.

I am highly respected in my local community and believe that anyone can do anything provided they have the desire to learn and the resources available to them. My online goal is to provide quality information at reasonable costs (free if possible) on small engine maintenance and repair to assist the person with the desire.

You can see me on different posts as TheAlSmith and providing answers as an expert at AnswerGem in their small engine forum.

When a car breaks down or does not perform up to par, if it makes strange sounds while running or comes away from the scene of an accident with dents and scratches, a responsible owner will perform a thorough check of its parts and systems. If the vehicle is beyond the simplest troubleshooting techniques, it is best that you seek advice from the experts. Visit an auto shop that you trust so professionals can examine your car, identify the problem and fix it.

Commercial auto repairs can be defined as the kind of auto repair services that an auto shop offers. This kind of auto repair helps keep your vehicle in tiptop shape. Experts who provide auto repair services commercially have mastered the automotive sciences’ they know what is best for your car.

When you bring in your vehicle to the auto shop or when you use the services of a mechanic, the first thing that your car will receive is a look-over. Much like a consultation at the doctor’s, a look-over allows the mechanic to examine your vehicle extensively. A good mechanic will ask you some questions regarding your experiences with the car. He will most likely get your opinion on what you think is wrong with it. He will then conduct a series of tests to identify the damaged or malfunctioning parts. When he has completed his evaluation of your car, he will explain what exactly needs to be done. After he gets your approval, he will undertake the necessary repairs.

Of course, there is always a price to pay when you bring your vehicle in for commercial auto repairs. You have to pay a premium to get all the necessary work done, along with the additional charges for the auto parts or auto body parts that need to be replaced. For most owners, it can be well worth their money if their vehicles look and perform better in the end.

Auto Repair provides detailed information on Auto Repair, Auto Glass Repair, Online Auto Repair, Auto Body Repair and more. Auto Repair is affiliated with Discount Auto Parts.

Africa has been marked by a dearth of books, especially picture story books for younger children reflecting an African environment both in textual context and illustration. Problems militating against a rapid growth in writing and publishing for children in Africa include the following:

(1) The bulk of reading matters available to the African child are textbooks rather than books for pleasure and enjoyment.

(2) Most children’s books are still imported. Such imported works are mostly insensitive to local culture, and unreflective of the social realities of the African child and his aspirations.

(3) Not enough African published children’s books are available.

(4) If they are available the illustrations in them are either

(a) of poor quality

(b) not in full colour

(c) Do not have beautiful dust jackets.

(5) And if they are in full colour, and of good quality, they are either much too expensive or for an elitist few and well beyond the reach of most African children, especially those in the rural areas.

(6) Most serious African authors do not bother to write for children since it is not accorded the same status as writing for adults.

Africa has very little concern for written literature. Even Nigeria which is rich in award-winning authors is marked by neglect of her authors. Writers are seldom as honoured.as footballers are. Hardly any foundations exist to boost the creativity of African writers. Prizes for literature are also in short supply. Book Development Councils seem to be either non-existent or collapsing except in Ghana. In Sierra Leone and the Gambia its absence is still being bemoaned. Whereas in Nigeria where one was once set up to develop indigenous book publishing, it hardly made any impact until it was swallowed up by the Nigerian Educational Research and Development Council. In Africa generally adults seldom read children’s books – not even parents. Compared to the over 2,000 titles published every year for children in Britain, the output in Nigeria is hardly up to 60.

In spite of the over 100 publishers in Nigeria the situation remains bleak for children’s literature. This is due mainly to their textbook orientation which makes them lazily rely on a captive school market. It has been proven that if only African children had access to more books they would read outside the classroom. An illustration of this fact could be seen from the 1985 Ife Book Fair where the Children’s Literature Association of Nigeria (CLAN) held a special exhibition of books

Visitors to that stand were fascinated by the colourful poster illustrations of folktales decorating the wall, the top and back of shelves. Some even wanted to buy the poster-sized illustrations made by a very gifted woman artist from the Nigerian television authority. The festive air given to the stand by the balloons decorating it along with the colourful posters attracted many children. There was the astonishing sight of three children of varying ages reading one picture book at the same time, visibly very fascinated by this picture book entitled No Bread for Eze by Ifeoma Okoye and published by Fourth Dimension in Enugu. It was one of those picture books where both story and illustrations were ideally integrated. It was about a young boy Eze who loved bread and could not eat enough of it. He wanted bread all the time. So his exasperated parents made him eat nothing but bread. Eze was at first very happy. Nobody was pressurizing him to eat nourishing food. But he soon grew tired of eating bread all the time and pleaded with his parents to give him other types of food. But they would not relent. So Eze became tired of bread and stopped eating. He grew hungry and weak and could not even play football with his friends. In the end his parents relented and Eze began to enjoy a balanced diet, having learnt that boys shall not live by bread alone. This emphasizes the importance of illustrations in children’s books, for those children were fascinated not only by the story of Eze but also by the imaginative and sometimes humorously drawn pictures. If children are to acquire the reading habit, they must be given attractive books which also mean well-illustrated books. Even a two-year old baby can enjoy looking at a picture book. Picture books could indeed be expensive to some extent if one insists on printing in four colours which is ideal as could be seen in the lavishly illustrated folktale The Drum specially written for children by Chinua Achebe. But even line and wash drawings could be so well drawn that they too could be captivating.

Half-tone illustrations as in Adagbonyin’s The Singing Ashes (1981) can also be effective due to the masterly shading of the artist. Even one-colour children’s books could infectiously hold young readers as does Just in Case (1983) By Sandra Slater, illustrated by A.L. Satti.

Other good picture books include the colourful Amina the Milkmaid (1988) by Fatima Pam illustrated by K. Ofori Pam, a Ghanaian, The First Coin (1989) by Mabel Segun illustrated by the same artist and How the Leopard Got His Claws (1982) by Chinua Achebe and John Iroaganachi. This has two illustrated versions, the one in full colour being by Adrienne Kennaway.

Although Nigeria has a few good illustrators, most of the good illustrations there have been done by expatriates. It appears that many Nigerian illustrators cannot draw children’s faces and have problems with interpreting texts. In order to remedy these defects, CLAN has run two illustrators’ training workshops with UNESCO funding and published a book on Illustrating For Children (1988) edited by Mabel Segun.

But this problem can only be solved permanently by integrating text and illustrations, a feat best accomplished by an author illustrator The cost of publishing in full-colour could even be reduced through co-publishing with, a number of publishers working together to increase print runs and reduce the unit cost of books. Sometimes a book is published with texts in different languages using the same colour illustrations. In Nairobi, five publishers across Africa including Nigeria’s Daystar Press came together in 1983 under the auspices of the World Association for Christian Community (WACC) and co-published a number of children’s books in full colour under the imprint DUCCA.

The dearth of good children’s authors is also militating against the publishing of children’s literature in Africa. For, writing for children, is much more difficult than writing for adults, for not many adults can either enter into the child’s world and interact with him with understanding and lack of condescension whilst adapting the contents and language of her writing to the child’s age, experience and background… A good writer for children must understand a child’s psychology for the story not to ring false. Good children’s literature arouses a child’s imagination and extends his horizon giving him a knowledge of the past in relation to the present and imbuing him ideals and values necessary for national development. Work ethics. selflessness, loving relationships, acceptance of responsibility are amongst the values which can be so taught, not in a didactic, off-putting manner but with subtlety so that children can be mobilized towards national and international development. Good children’s literature develops a child’s creativity and inventiveness without which a people cannot hope to move into the technological age.

Good literature can also give a child personal identity in a continent which has been subjected to cultural imperialism through mass importation of foreign literature. Achebe does this through his well-written folktales such as The Flute, The Drum and the earlier How the Leopard Got His Claws co-authored with John Iroaganachi and published in 1972 by Nwamife Publishers. The latter was one of the first children’s picture story books published in Nigeria and remains one of the best and most successful ones, with an East African Publishing House. Chinua Achebe is quoted as saying it.. ‘Is one of the best things I have ever done.’ Mabel Segun does this through character-building books such as Olu and the Broken Statue (1985).

In neighbouring Ghana many other problems including the country’s balance of payments difficulties which cause constant short supplies of essential raw materials and

spare parts to repair defective printing equipments. Amongst The Ghana Publishing Corporations’ substantial number of children’s books published, one of the earliest and most attractive was Mesheck Asare’s picture story book, Tawia Goes to Sea published in 1970. This was probably the first African-published children’s book to gain world-wide recognition and it was also the first book from an African publisher to be translated into Japanese. Better still was the welcome news that a Ghanaian children’s book was the winner of the 1982 Noma Award. This $3,000 prize went to Mesheck Asare, for his engaging picture story book The Brassman’s Secret published by Educational Press and Manufacturers United of Kumasi in 1981.The jury in selecting it were impressed by its’ exciting and unusual children’s story, beautifully and imaginatively illustrated by the author, himself an artist, to bring out important aspects of his Asante culture. They also thought it remarkable that a book of such high quality was produced under such difficult conditions then prevalent in Ghana. Asare has like Achebe been rehabilitating the African child’s mind through literature designed to reveal to him his cultural heritage through all these fantasies as well as the adventure book Chipo and the Bird on the Hill and his more recent Sosu’s Call

Another G.P.C. item Mercy Owusu-Nimoh’s The Walking Calabash published in 1977 was singled out for ‘Honourable mention’ in the first Noma Award for Publishing in Africa competition

Inspite of its many problems Ghana manages to maintain a lively and enterprising local book industry. Firms such as Aframs Publications, Adwinsa Publishers and the Wielerville Publishing House are among those whose list includes occasional children’s books.

In East Africa, the bulk of the children’s book publishing output is from Kenya. The East African Publishing House in Nairobi in particular, has an extensive list of picture-story books illustrated in full colours, as well as readers, and traditional stories and folklore. Especially appealing is their series called ‘Lioncubs.’ Charity Waciuma, Pamela Kola, Asenath Odaga and Cynthia Hunter are amongst the most prolific authors in the EAPH list. Another prolific children’s writer is Barbara Kimenye who publishes with the East African branch of Oxford University Press, some titles one of which is Martha the Millipede recounting the story of Martha who fed up with getting sore feet decided it was about time to get herself some shoes.

The Kenyan Literature Bureau taking over from the East African Literature Bureau has produced a few children’s books among which is Ray Prather’s A is for Africa A Colouring Book for Africa which contains forty full-page drawings depicting the various people of Africa, accompanied by small maps showing their geographical locations.

Foremost Kenyan writer, Ngugi Wa’Thiongo has joined his Nigerian counterpart, Achebe, in writing and publishing his first children’s book but unlike Achebe in his native Gikuyu language but later translating it as The Great Hero and the Flying Bus.

In Southern Africa, Zimbabwe Publishing House have already built up a most impressive collection. A government supported private commercial undertaking, it publishes books on education, politics, literature and creative writing, Zimbabwean history but with books for children featuring prominently. It sponsored a splendid magazine for children ANTS started by a panel of Zimbabwean children but which I have learnt with much regret has stopped publishing more than 15 years now.

Other publishers catering for children here are Mamba Press and the Zimbabwe Literature Bureau, the latter having a wide range of materials in Shona and Ndebele comprising novels, poetry, short story booklets, children’s comics and material for literacy development.

In Malawi another firm actively developing children’s books in the indigenous languages publishes the popular publications of Limbe.

In Lesotho the church-sponsored Mazenod Book Centre similarly has a substantial list of books for children in African Languages,

In Zambia and in Tanzania some children’s material is coming from the National Educational Company of Zambia and the Tanzania Publishing House.

In South Africa initially the small local market did not make it feasible to publish local children’s books in English. English children’s books written with a South African background or by a South African were usually published in England. Jock of the Bushveld (1907) written by Sir Percy FitzPatrick, is generally regarded as the first English South African children’s book. .This was published in South Africa during the second half of the twentieth century. Only during the 1970s did local publishers realize the need for indigenous children’s books in English and start exploiting the market. This change was brought about single handedly by the writer Marguerite Poland with her Mantis and the Moon which was published in 1979. The rise in price of imported children’s books made the publication of indigenous material more competitive. The political changes during the 1980s then brought improvement of the quality of education of African children and the decision that they could receive tuition in English. This created a large potential market for English children’s books in which some publishers specialize. At the end of the 1980s English children’s books were prominent in dealing with the political and socio-economic conditions in the country. The English children’s book was more explicit with regard to criticism of apartheid. with authors like Lesley Beake, Dianne Case and Lawrence Bransby taking the lead.

As a result of the small local market, few original books with full colour illustrations are published. Collaboration with overseas publishers and the simultaneous publication in various indigenous languages is often the only way to make a publication viable. Also, publishers of children’s books concentrate on the publishing series, beginner and second language readers.

The change in government in the country and the elevation of the African languages to official status, one should have expected would have led to the development of children’s literature in the African languages, but for several reasons this has not yet occurred. The rise of African consciousness and nationalism in the battle against apartheid has rather led to the identification of English as the language for education and freedom. For many African children prefer to read in English, and many African authors prefer to write in this language. Also only a small minority amongst African children read for recreation. Some publishers nevertheless try to publish children’s books of a high quality in African languages, but due to a shortage of indigenous writers most books are translations from English or Afrikaans.

This suggests the problem of language as another factor hindering the rapid development of children’s literature in Africa. The language problem posed by writers being forced to write in foreign languages which they have not really mastered raises the issue of writers being trained to write in their indigenous languages. But then this creates yet another problem as some of the authors of books written in African languages cannot distinguish between concepts for adults and concepts outside the experience of children. Similarly they use an off-putting adult language.

There is also an imbalanced attention to the various ages of childhood. For far more books are being written for the middle-aged (8-12) while very young children remain largely neglected. Very few books for adolescents have been written. One is Angi Ossai’s Tolulope (1979). Another is Joined by Love by Joy Ikede. The Kenyan Asenath Odaga’s work Jande’s Ambition is about choice of career which should be a prime concern at that age. Macmillan’s Pacesetter Series also appeals to young adults but their works are said to be of varying quality, featuring crime, espionage and love tangles.

There is in addition the chronic absence of children’s magazines in most parts of Africa. In Sierra Leone the attempt by The Sierra Leone Writers and Illustrators to establish one did not survive its second issue. But the invaluable role they could play in inculcating the reading habit in the child because of their wide variety of subjects, the form of presentation and the fact that children love to read what their peers have written and thus start having similar creative impulses is recognized.

Most parts of Africa are not book-friendly for there are few if any bookshops where the African child can buy books. Neither is his access to libraries especially so in rural areas easy. School libraries are a phenomenon of a distant past. Where public libraries are still available and functioning their children’s sections are poorly housed, poorly furnished, poorly ventilated, poorly equipped, poorly staffed and poorly sited. There is therefore an obvious need for thorough overhauling of library services in Africa. And efforts should be made to make it an essential public service from the central on to local government levels so as to give every community the opportunity of accessing and growing on books. Similarly every school should have a library that is well stocked and well-equipped.

The distribution of books is another area of difficulties. For this is usually left to private enterprise although some governments purchase textbooks in bulk to distribute to schools. Wholesale bookselling is best handled by private entrepreneurs trained in the discipline. But the main problem hindering this is that the book distributors tend to restrict themselves to using distribution methods more suited to countries with a high level of literacy where the wider citizenry is already converted to books. In Africa, publishers and book distributors cannot afford to wait for buyers to come to them. They must rather take their products to the people wherever they are. In Tanzania, therefore, enterprising publishers take books to the local markets. There shoppers mingle with books and enjoy lively discussions with the publishers on all aspects of books. The huge sales at these exhibitions have proved the usefulness of such innovative activities. This kind of promotion will no doubt create in adults an awareness of the need for literature.

Efforts made to promote and sell books in the West could be extended with adaptations, if necessary, to intra-African book distribution so that print runs will be longer for the prohibitive costs of books to be brought down. Why cannot children in Nairobi, for instance, read literature published by an indigenous publisher in Nigeria? Much is lost through the compartmentalization of African children’s literature. In 1976 an attempt to sell African books from all parts of the continent at the Second Pan African Trade Fair in Algiers collapsed when 4,000 such books had to be brought back because the Algerian government’s imposition of a 120% tax on the books had made them too expensive. Such tariffs need to be removed with communication and transport systems improved to facilitate trans-African movement of books.

The situation however seems poised for major changes with the intervention of a series of bodies and institutions thus complementing the efforts of others such as UNESCO that had been working assiduously in the field. There is a wide network of organizations geared towards supporting the growth of publishing in Africa. One of them is APNET which network exists to help strengthen book publishing by Africans in Africa. APNET has been working closely with the Association for the Development of Education in Africa (ADEA) and has been supported by Bellagio. The Bellagio Group of donors has been exploring ways of improving support for a number of cultural industries, which it is hoped will eventually include African books for African children as there is now recognition among policy makers that culture of which books are an integral part is much of a key to development.

Book Fairs in Africa have been fastly becoming established institutions with a concerted series of initiatives to redressing the otherwise parlous state of books in Africa. The Pan African Children’s Book Fair (PACBF) started in Nairobi, Kenya in 1991 through the initiative of the Foundation for the Promotion of Children’s Science Publications in Africa (GHISCI). The fair has been trying to stimulate a learning environment that captures and nurtures the African child’s inherent qualities of imagination, curiosity and creativity. It has created a dynamic atmosphere to enhance the preciousness of books in the learning life of the child. Through a variety of activities such as art, toys, fun with science, debates, quizzes, creative writing, story-telling, and reading aloud, Kenyan children have come to love and comfortably identify with this event with increasing numbers thronging it every year. In 1994 a children’s library introduced within the fair further whet the children’s appetite by enabling children who could not buy books to have the opportunity to read a couple of books at the fair. Since 1994 the Reading Tent has been a major attraction to all children visiting the fair. This has resulted in other African book fairs widely emulating this innovation. Exhibitors also have been steadily improving their marketing skills thus reaching out to the children in more proactive ways, engaging them into books with new titles introduced. The 1998 PACBK had a spectacular advance with each stand becoming a mini library. Yet another innovation – A Children’s Home Library Campaign – was launched with children responding with tremendous enthusiasm, buying books and promising to start their own home libraries.

The Zimbabwe International Book Fair has been another important stimulant for the development of the book industry in Africa.The1998 fair was of especial significance because its theme and that of the accompanying Indaba was ‘BOOKS AND CHILDREN’

At the sessions of the inaugural Indaba it was emphasized that up to the 1990’s book production for children has been weak if not non-existent in some countries. But since 1987 spectacular growth in children’s publishing, in both European and African languages have been reported. In Kenya, Uganda and Nigeria production has notably increased in the last ten to twenty years. Print runs have also increased significantly averaging 3,000 to 5,000 copies per title with possibilities of frequent reprinting.

This progress has been attributed to the following:

1. The creativity of African publishers enabling them to produce well-made children’s books in terms of content, production quality and price.

2. Continuing increases in state purchases of books for schools and libraries.

3. Appreciable support being provided to publishing and book acquisitions by development agencies, international organizations and N.GO’S.

4. Noticeable increases in sales resulting from efforts publishers are making to promote their books nationally and internationally.

5. Co-operation between publishers and distributors enabling the development of export sales.

But in spite of this difficulties still remain or have been created in the following areas:

1 Wide differences between countries. The situation in South Africa, Nigeria, Zimbabwe, Kenya and Tanzania is very much better than in other countries in their regions. In francophone West Africa, Ivory Coast, Senegal, Mali and Togo stand out clearly.

2 Difficulties in finding good authors and illustrators still persist.

3 Readership is not sufficiently developed, given the level of illiteracy and the lack of a reading culture or habit.

4 Even where a readership exists, its purchasing power is limited. For books is not as high a basic priority as basic needs.

5 The library network is not developed, especially in the rural areas.

6 The distribution network is not developed.

7 The intense political situation in Zimbabwe has negatively affected the most favorable climate created there for the growth of books not only there but the whole of Africa and has robbed The Zimbabwe International Book Fair of its international flavour.

Arthur Edgar E. Smith was born, grew up and was schooled in Freetown, Sierra Leone.. He has taught English since 1977 at Prince of Wales School and, Milton Margai College of Education. He is now at Fourah Bay Collegewhere he has been lecturing English, Literature, as well as Creative Writing for the past seven years rising to the rank of Senior Lecturer.

Mr Smith is widely published both locally as well as internationally with his writings appearing in local newspapers as well as in West Africa Magazine, Index on Censorship,Focus on Library and Information Work amongst others .

He was one of 17 international visitors who participated in a seminar on contemporary American Literature sponsored by the U.S.State Department from June to August 2006. His growing thoughts and reflections on this trip which took him to various US sights and sounds inLouisville,, San Francisco, Cincinnatti and Washington D.C. could be read at http://www.lisnews.org

A tractors is a farm machinery that is used in the preparation of land and during planting. Buying a tractor can be quite challenging if you do not know how to get a good one. A good tractor is that has high performance and can last for a long time. Here are some of the considerations you should put in mind before buying a tractor.

Tractor type

It is important for you to know the make of the tractors you want to buy or purchase before searching it on the internet. There are different models of tractors. This ranges from Massey Ferguson, John Deere, Ford, and New Holland, Same etc. Different tractors have different performance depending on the make. So to avoid regretting in the future you must keep in mind the model you know it is of high performance. You should consider reading the manual of the different types to be exact on a model of your choice.

The condition of the tractor

When buying a used tractor online, make sure you are well conversant on the condition of it. Some used tractors might have been exhausted or have been used to an extent that its no longer worthy to perform in the farm. You should ensure that the tractor is not damage either from water, fire or has been involved in an accident. Check the tires if they are in good condition, the battery and the lights. Make sure that the engine has no problem since it is what makes the tractor move. A well condition tractor is the one which whenever you start the engine it takes less time and produces a clear smoke.

Age of the tractor

Make sure you know the day when the tractor was made. This will help you in knowing the number of years the tractor has been on the farm. If you buy a tractor that is no longer in the market, you may have a problem in finding its spare parts. It is advisable to know the new models that are currently in the market. The tractor should not be too new such that you don’t know its performance. Tractors brake down quite often, thus replacing these parts should be done on a regular basis.

The price of the tractor

Consider the amount of money you have before entering into a deal of buying a tractor. Make sure the tractor you are buying is worth the price you intent to pay. You may buy an expensive tractor that will not bear any return when you are using. Also, when the price of the tractor is too cheap, take caution because cheap is expensive.

General performance of the tractor

Some tractor models are designed to perform light works whereas others can do virtually everything. If you are buying a tractor to mow the compound, for example, you should consider buying a small one that will be efficient and effective to the type of work it is meant to perform. Large tractors normally are meant for working in plantations where the general performance is considered to be high.

Robert Tate – Region Sales Manager of Mascus UK. Mascus is an electronic marketplace for new tractors, used tractors and used trucks. Mascus makes trading in used machines and trucks quicker and more efficient by collecting all information about supply and demand in one place. All dealers, producers and end users are welcome to offer their used machines and trucks for sale via the marketplace.

Decide Use of Garden Tractors Or Lawn Tractors

When you have a small garden the question of using the garden tractor seems like a waste of money. When a smaller lawn tractor will do your work equally well, why spend more money in buying the garden tractor? Well, there are some points in favor of both the ideas and we will take look at both sides of the coin.

Garden Tractor Vs Lawn Tractors

Lawn tractors: Smaller gardens with an area of less than 2 to 3 acres can make do with smaller tractors better known as lawn tractors. Essentially these are used for lawn mowing and no other work. If your garden is small and has only the lawn, you may continue to use the lawn tractor. Small lawn tractors have a capacity of about 4 to 6 HP.

However, if you do some gardening and have some agricultural produce, it makes sense to buy a garden tractor. The agricultural work involves loading and unloading of the agricultural inputs and outputs and it is difficult for lawn tractors to handle such loads. The attachments that can be attached to a lawn tractor are limited and it cannot definitely take the front end loader attachment that can be required for leveling the ground or flattening it.

The garden tractors are also useful to you in saving time for the other work. With lawn tractor, the time required for the same work will be much higher than the time required for equivalent work for a garden tractor. Since agricultural work is not the main business of a small landholder, it makes sense to have a tractor that can do the work quickly and get on with other jobs that you have in hand.

With a garden tractor, you can do many things that are impossible for the lawn mower to do with or without attachments. For example, you cannot use your lawn tractor for aerating the field, leveling the driveway, or hauling the firewood from far corners of your garden.

With a larger machine like a garden tractor, you can do many things that are unthinkable with small lawn tractors. The removal of stones in your garden or shifting of the stones for beautification of the garden are impossible to be done with small lawn tractor but it can be easily done with a small garden tractor and you can save lot of money in doing this.

Granted that the lawn tractor costs less money for purchase, but think of other jobs that you will be outsourcing in developing your garden and if you buy the garden tractor right at the start of your work, it will be economical to you in the longer run. If later you find it not being used completely, remember that it has saved you enough money to pay for itself and is still saving your time. Remember the wise old saying that ‘time is money’ and now you can save time and utilize it in higher yield business that you are in now.

The idle investment garden tractor can also make money for you if you rent it. If you are not the kind of person, who likes to rent his/her equipments, just remember that the garden tractor has done its work for you during the development stage of your garden and allow the garden tractor the well earned rest in your garden

So in the final analysis you will agree that using the tractor in a garden is a wise decision.

The writer Andrew Caxton publishes quite often new articles to [http://www.lawn-mowers-and-garden-tractors.com], an online magazine specialized in lawn tractors and lawnmowers. Andrew helps people to find the best solutions for different types of gardens. Reach further information on garden tractors [http://www.lawn-mowers-and-garden-tractors.com/garden-tractors.html]

Many people believe that writing for children is easy, that anyone can do it. Having children doesn’t make a person qualified to write for children either. For example, just because I have a heart doesn’t mean I can do open heart surgery. Writing of any kind takes training, starting with reading the type of literature to be written, studying how to write and for a certain audience. In fact writing for children is harder than writing for adults because the length of a children’s story is shorter: the plot, characters, conflict, and action has to be concise and precise. Also a child’s attention span is shorter.

So how can a person learn to write for children? One way is to attend conferences and workshops about writing for children. Which brings us to today.

Hopefully you have a few children’s books with you to examine as we discuss what is needed to write successful stories (which hopefully can become books) for children.

Let’s look at some suggestions for writing successful children’s stories:

1. Learn how to write. Children’s stories should be well written, but they can’t be if the author hasn’t mastered how to write. Ways to learn include taking courses, reading books, joining a writing group that has discussions and/or workshops to help a person improve writing skills (there are online courses and conferences, too). Chasing a publishing contract comes at the end of a long journey.

Some people believe that writings for children can be about anything, written any kind of way, not necessarily of high quality. If anything, works for children should be of the highest quality.

2. Write a good story with a fast-paced plot. Write from the child’s perspective. Action is an important part of any story, but action close to the beginning of a children’s book is a must to grab attention and keep it. A plot is important for any story or book, and one should be included in any child’s story/book. A fast-paced plot with action hold a child’s attention.

In other words, a children’s book should have well-developed characters, plot, conflict, dialogue, a climax to the conflict, and resolution – all written for the audience’s perspective and maturity level. The younger the audience, the less likely an author should have sub-plots. The real difference between a story written for children and one written for adults is the interest level, the focus, and the perspective.

I’ve read stories and books written about children, but for adults. A child’s story should be written from the child’s perspective. We need to approach our writing from the reader’s frame of reference. We need to put ourselves into the mind of a child the age of our audience.

3. Use correct grammar, spelling, sentence structure. Too many “writers” believe that they do not have to be concerned about grammar because that’s the editor’s job. Wrong. If a manuscript has grammar, spelling, or verb tense problems, whatever, most times an editor will not read much more than a paragraph at most before discarding the writing. So what do editors consider problem areas? Let’s look at the handout, which includes a sampling of problem areas.

Avoid using all capitals. If a character shouts, show that with words and how they are said.

Then the use of exclamation points is a troublesome area in writing anything. They should be used sparingly and then only in dialogue.

Italics should be used to show a character’s thoughts.

Spelling words correctly and using the correct word are necessary. Computer spell check will find misspelled words but not homophones: their/they’re/there, to/too/two, our/hour, your/you’re, for example.

Since we don’t have time to do a complete English grammar lesson and if you’re not good with grammar and punctuation, use a good online grammar site, find a book about grammar that you find understandable, ask an English teacher. One website that is a source of easy to grasp grammar help is http://www.grammarnow.com/#resources.

4. Active voice and action verbs and show, don’t tell. Using active voice rather than passive was mentioned briefly in the handout, but action verbs need to be used more than state-of-being verbs. The stories need to have lots of action, and using active voice and action verbs helps develop action.

One way that action decreases is when a writer uses expository dialogue. Dialogue is need, in fact required, to write a good story of any kind, but it needs to move the story, the plot along. Expository uses dialogue to “tell” what is happening rather than “showing” what happens. When a character explains his actions or someone else’s actions to the reader, the author is telling, not showing. For example, if the character walks down the street muttering to himself, “I don’t know where I am. I’ve never been in this part of the city before. I think I’ll walk to the corner and turn left. Maybe I’ll see someone to ask for directions. It sure is cold tonight.” That’s expository dialogue.

But if the same scene is written as follows:

Josh looked at the unfamiliar buildings. “Where are all the people?” he asked himself. “Maybe I can find someone around the corner who can help me.” He blew on his hands, trying to warm them. “Mom told me to wear my coat. I hate it when she’s right.”

Using active voice and action verbs also helps an author show rather than tell. When reading scenes in a story, the reader should be able to see the action in his/her mind. The expository example is also an example of telling, or lecturing. The second example shows us what was happening.

Showing is good in writing. Telling, except in few instances, is not good writing.

5. Vocabulary. According to “experts,” a few challenging words in a story is fine. Picture books are often read to a young child, and the reader can explain what a word means. This increases the child’s vocabulary. Also when a child starts reading for himself, a few challenging words, especially if context can help the child understand the meaning.

However, the author should not use vocabulary that is too far above the reader’s understanding.

6. Insert humor, well-defined characters, and avoid clichés. Let’s start with humor. Making a child laugh helps build a pleasant association with reading. Therefore, where possible, a writer should use humor to help a child, especially a reluctant reader, want to read or hear more. Humor in picture books is broad and very visual. Easy readers (and some picture books for ages 6 and up) begin to introduce verbal humor. Chapter books start to work in jokes needing a setup and payoff played out over several scenes. Dialogue, how characters react to one another, or the situation in which a character finds himself may be humorous.

Well-defined characters are a must for any story. Many children want to identify with the characters in books. No mater how the character appears on the outside, the character needs to deal with situations that the reader can relate to or understand. Book characters should be rounded, have multi-dimensional personalities, not be caricatures or one sided. They should have strengths and weaknesses as people really do so that the reader will care about them and want to finish the whole story. To make children in a story realistic, observe children the age of the characters: note how they talk, act, react.

Clichés weaken any type of writing. Using them is lazy writing and avoids showing the story in a way that the reader “sees” what is happening. The brainy boy who can never attract the pretty girl but somehow saves her is a cliché. The idea that a blond is dumb or an athlete is, both are clichés. Use originality to make a story entertaining and characters believable.

7. Story should translate into illustrations. A story for a picture book should be written with paragraphs that translates into illustrations. This idea goes along with the show, don’t tell idea, too. Only paragraphs with action can be “translated” into illustrations.

8. Morals or lessons should not be “preachy.” A writer’s job is to entertain. If a story has a message, the author should tell it through the plot and characters, not by attaching a moral at the end.

9. Stories should be relevant to the age group. The text should be relevant with plot, approach, and language. Books for children don’t necessarily have a little kid in them. In fact, most children prefer characters to be a bit older than they rather than younger. The plot should be one that the reader can understand and follow without someone having to explain.

Children shouldn’t be “talked down to.” If a writer is condescending or patronizing, children will not want to read the story.

We want children to enjoy our books, not be frightened or exposed to ideas too mature for them, not should they be expected to read things that are stupid. Many children find bodily functions funny, but that doesn’t mean such functions make good topics for children’s literature.

10. The story shouldn’t be too long or wordy. Every word, every sentence should be needed for the story. Avoiding wordiness equals tight writing. If a description or narrative doesn’t move the plot along or isn’t necessary to the story, it should be deleted.. Extra words that add nothing to the story makes listening or reading boring.

Also remember, a child’s attention span depends on the child, but most the age of those listening to or reading picture books will not be interested in a long story.

11. Alliteration, meter, and rhyme must be used well or not at all. Many publishers no longer accept children’s books written in poetry or with alliteration. The reason is too many authors do not know how to use them well.

Alliteration tickles children’s ears, and they like the sounds. However, too much of even a good thing is too much.

Many who try to write stories in poetry form convolute wording to “force” a rhyme. The result is confusion for the one listening or reading.

12. Use talking animals carefully. Animal characters must be as well developed as a human character. They should have strengths and weaknesses, three-dimensional with quirks, failings, motivations, and personalities.

Many times a novice writer incorporates animals as characters in a story resulting in clichés: the ugly duckling that turns into a swan; shy creatures that suddenly become bold enough to save the day; apparently moral-filled stories that show it’s okay to be different.

According to Write4Kids.com, using talking animals isn’t all bad. “What’s important is that your animals have completely developed, unique personalities and characteristics.” Children will not be drawn to characters that are stereotypes, even if they are animals.

13. Use serious and/or controversial subjects appropriately. Children are bombarded with serious subjects every day, many times without understanding them. Television and video games, as well as web sites surfed, smoother kids with tragedy, even if death and violence hasn’t touched them personally. A story that introduces topics such as death and handles the subject in a realistic, sensitive way actually help children cope with the realities of the world. Often the plot of a book will open the door for parents to answer questions that disturb their children.

In one of my children’s story, the main character, Louie the Duck, doesn’t understand why Gus Goose has to live with his grandparents. Mrs. Goose tries to explain that hunters were allowed at the lake where Gus and his parents lived. Louie doesn’t completely understand, but he gets the message that hunters did something that left Gus alone.

14. Research material for a children’s book. Imagination gives some leeway in writing fiction; however, a writer needs to literally to have his facts straight when writing about anything factual. False information in a children’s story is as bad, if not worse, than if in a story or book written for adults.

15. Adults should not “carry the day.” Plots need to empower the young protagonist. Of course adults are needed, and their help may be required. However, the solution shouldn’t be an adult making a miraculous save, but the character or characters solving problems.

16. Use a large dose of imagination.

17. Illustrations. An author, unless a professional quality illustrator or artist, should not try to illustrate his own book. In fact, most publishers require that one of their illustrators do the work unless the author is a professional artist.

By using the tips and suggestions presented, a person can write a better children’s story/book.

After teaching composition for years and becoming an author on http://www.Writing.Com/ a site for Poetry, Vivian Gilbert Zabel produced Hidden Lies and Other Stores, Walking the Earth:, The Base Stealers Club, and Case of the Missing Coach, found on Amazon.com.

Georgia health insurance offers medical benefits that cover the cost of treatment incurred in a hospital. The coverage provided is comprehensive which includes doctor visits, hospital stays, emergency, prescription, dental care, and mental health care. It serves families, students, kids, employees, workers, self employed, small and large businesses, and retirees.

For the citizens of Georgia, a wide variety of health insurance plans are available to choose from. Each one varies significantly based on the size of deductible and the benefits covered. Individual health insurance, family health insurance, group health insurance, student health insurance, affordable health insurance, health insurance for children only, and temporary health insurance are some of the insurance plans available in Georgia.

In Georgia, health insurance laws and regulations regarding individual health insurance is different from other US states. The law allows insurers to deny the request for individual health insurance based on pre-existing medical condition and current health conditions.

The state of Georgia has moderate insurance regulation which protects both insurance consumers as well as the insurance company. According to “guaranteed renewability provision”, a health insurance policy regulation, an insurance owner is allowed to renew a policy without considering his/her health status.

In Georgia there is no limit on the premiums that the companies can charge for a health plan. Also, the law restricts that an insurer cannot cancel one?s insurance policy based on their health condition or age. In certain states, children of unemployed parents are denied from getting health insurance policy. Through a plan called Peach Care, Georgia State provides opportunity for such children to be insured.

Before purchasing health insurance, it is necessary to compare the different health insurance quotes. An insurance agent or an insurance broker is the right person to help you in finding a health insurance policy that best suits your requirement. Blue Cross Blue Shield of Georgia, Kaiser Permanente, Assurant Health, Celtic Insurance Company, Time Insurance Company, and United Healthcare of Georgia are some of the leading companies that provide excellent health insurance coverage for the citizens of Georgia.

Health Insurance provides detailed information on Health Insurance, Health Insurance Quotes, Affordable Health Insurance, Health Insurance Plans and more. Health Insurance is affiliated with Health Insurance Company Ratings.