Writing for the Web. The web appears to offer a great deal to the writer. Some writers are attracted by the apparent ease of publication and distribution it seems to offer; others by specific web technologies which offer alternatives to, or enhancements of, the text. The enthusiasm of creative writers for the Internet resulted in an explosion of individual and group websites throughout the 1990s – webzines, showcase sites, individual and group web pages, forums for feedback and critique and attempts to exploit the possibilities of sound, image, anima-tion and text effects in poetry and prose. This explosion has shown little sign of diminish-ing in recent years. This chapter will touch only briefly on the topics of social media and recent developments in self-publishing, both of which are covered fully in other chapters.For the reader, it is too easy to feel overwhelmed by the sheer quantity of writing avail-able on the web, while being underwhelmed by the quality of much of that writing. For the writer, it is too easy to proceed from a rush of enthusiasm and a little knowledge to yet another abandoned website gathering virtual dust in an unvisited corner of the web. Above all, the writer seeking to exploit the web needs a strategy, and the strategy requires some understanding of the demands and opportunities of the medium, as well as some clear thinking about how to work most effectively within it.The Internet is not so much a publication system as a distribution system . The London Review of Books has an online version, or whether a particular writer has a website. The search engine (for example, Google) provides the answer and draws readers to the site. For the unknown, or relatively unknown, however, an online reputation must be acquired, and for these, reputation is initially bought with the currency of the literary web – feedback, critique and engagement in the work of other writers. Awareness of one’s existence as a writer can also be achieved by use of social media such as Twitter and Facebook. Writing for the Web Websites require a unique style of writing. Novelists paint a picture with words. Reporters report the news with dramatic flair. Academics explain complex ideas in context with citations. Web content writers share information as succinctly as possible. People consume websites differently than other forms of media: they don’t read; they skim. They will read only about 20 percent of the words on the average page. HOW TO BE A WRITER. Neutral language is easier to read and understand than subjective and boastful text. Be clear and direct. Use the “Inverted Pyramid” style of writing Put the essential and most interesting information at the beginning. Include additional information in order of diminishing importance. Use keywords Use terms that are commonly used to describe your topic. Avoid using proprietary terms and abbreviations as much as is possible. Use headings Break up your text with brief but descriptive headings and subheadings so users can find information faster. Break up different ideas into different paragraphs Long, dense blocks of text are intimidating to readers. Several short paragraphs are preferable to a single long paragraph. Make your text skim-friendly Use bulleted lists in place of long series or text lists. Highlight only as necessary Use bold very sparingly to draw attention to an important point. Use the proper case Sentence case is much easier to read than uppercase. To emphasize an important point, use bold. Here are 7 steps to help you become a writer: 1. Create a solid writing routine 2. Leverage tools to improve your output 3. Take classes to pick up credentials 4. Seek opportunities to publish your work 5. Create a strong portfolio 6. Apply for writing grants 7. Collaborate with professional editors In addition to making it difficult for the reader to find the result, this makes it almost impossible for anyone to prove that the result isn't actually there. Alternatively, instead of referring to the correct paper for a result, refer to an earlier paper, which contains only a weaker result. Especially in long articles or books, number your theorems, propositions, corollaries, definitions, remarks, etc. separately. That way, no reader will have the patience to track down your internal references. Write A==>B==>C==>D when you mean (A==>B)==>(C==>D), or (A==>(B==>C))==>D, or .... Similarly, write "If A, B, C" when you mean "If A, then B and C" or "If A and B, then C", or .... Also, always muddle your quantifiers. Begin and end sentences with symbols wherever possible. Since periods are almost invisible (and may be mistaken for a mathematical symbol), most readers won't even notice that you've started a new sentence. Also, where possible, attach superscripts signalling footnotes to mathematical symbols rather than words. Write "so that" when you mean "such that" and "which" when you mean "that". Always prefer the ambiguous expression to the unambiguous and the imprecise to the precise. It is the readers task to determine what you mean; it is not yours to express it. If all else fails, write in German, Russian, or Turkish (or other language that most mathematicians can't read). Fiction Publishing: With nonfiction, you can sometimes sell a book based on a proposal and maybe some sample chapters. But if you're a first- time novelist, you will generally need a finished manuscript in order to get in the door. It may seem frustrating that you have to do all of the work before you know whether you'll actually get paid for it, but that's the nature of the business. Fiction publishing options When the time comes, what are your publishing options? And what are the steps to follow for each one? 1) Traditional publishing with a major publishing house Most big publishers won't accept manuscripts directly from new authors. You have to submit to them through an agent. Getting a good agent to represent you can be as difficult as getting a publisher. Poets & Writers publishes a list of reputable publishing agents, along with the agent's submission guidelines. These will tell you exactly what information to send to the agent to be considered as a client. Be sure to follow the guidelines exactly. Normally publishing agents are only paid after they sell your book -- they receive a percentage of what you earn. That is why they're so picky about whom they take on as clients. If they aren't confident about your book's earning potential, they won't want to represent it. You shouldn't have to pay anything to an agent in advance. If an agent asks for cash up front, that should set up alarm bells. Research prospective agents carefully before signing anything. Find out who else their agency has represented. The website Writer Beware offers useful advice on choosing an agent and avoiding scams. 2) Traditional publishing with a small press You may not need an agent to publish with a small press. Poets & Writers publishes a list of small press publishers that you can browse. On Writersmarket.com, you can search specifically for small presses or do a general search for publishers that are open to unagented submissions Before submitting to a publishing house, visit their website and check their submission guidelines, then follow them carefully. 3) Self-publishing These days, there are a lot of easy options for self-publishing a printed book and/or an e-book. You can read more about self publishing here. COPYRIGHT. Ms.Shay Humphrey is a graduate of Vassar College and received her J.D. from the University of Florida Law School. She is Special Counsel with the firm and practicing primarily in connection with corporate law (for profit and not-for-profit), healthcare, employment and labor issues and commercial transactions. Ms. Humphrey frequently lectures on current issues in human resource law, including COVID-19 labor law issues and navigating state and federal benefit laws. Her practice also includes intellectual property law, including copyright and trademark registration and licensing agreements. What Is Copyright Infringement? Copyright infringement is the use or production of copyright-protected material without the permission of the copyright holder. Copyright infringement means that the rights afforded to the copyright holder, such as the exclusive use of a work for a set period of time, are being breached by a third party. Music and movies are two of the most well-known forms of entertainment that suffer from significant amounts of copyright infringement. Infringement cases may lead to contingent liabilities, which are amounts set aside in case of a possible lawsuit. KEY TAKEAWAYS Copyright infringement is the use or production of copyright-protected material without the permission of the copyright holder. Individuals and companies who develop new works register for copyright protection to ensure that they can profit from their efforts. Other parties may be granted permission to use those works through licensing arrangements or buy the works from the copyright holder. There is a large body of literature in the field of writing, and its teaching, from which these texts have been drawn as representative of the most relevant issues in the area of teacher and student collaborative writing. Teachers as Writers It is increasingly clear that creative writing is best nurtured in the classroom by teachers who are willing to engage with writing themselves - indeed who see themselves as practising writers. Developing a teacher-writer identity enhances approaches to writing in the classroom. • Writing is profoundly linked with identity. ⚫Teachers can have narrow conceptions about teacher-writer. ⚫Teachers may only see published writing or digital practices as 'writing", so do not recognise their own experience and practices as valuable. Sustained professional development opportunities for teachers as writers can enhance self-assurance as well as expand pedagogical approaches. ⚫The role of teachers as writers can have significant impact on student writers' agency, motivation and engagement in writing. ‘Classroom example’ This draws on evidence from the classroom of one of the teachers involved in the Teachers as Writers project. It could apply to teachers and students in any age range. The roles of teacher as writer Teachers modelling themselves as authentically engaged writers can adopt a range of roles in order to help children develop confidence and competence as young writers. These might include the roles of: ⚫engaged and reflective reader ⚫authentic demonstrator of writing in front of the whole class ⚫scribe for class compositions ⚫fellow writer, writing alongside students in small group contexts ⚫response partner ⚫editor, co-editor and adviser publisher of their own and their students' work ⚫writer in their everyday lives.
