When it comes to writing your press release, it can be a lot easier to write than you would think. Just remember these simple tips:

Keep it simple. Potential customers aren’t interested in every detail of your site; they just want to know how it applies to them. If you go into every detail, your message will be lost and you won’t get any new viewers. On the other hand, if you show why the site should interest them, then you should be gain a number of new customers.

Summarize. If there is something that you need to go into detail with, summarize. People do a lot of reading for their jobs and so dislike reading when they don’t need to, especially when it comes to advertising. If you have a lot of unnecessary verbage, it is unlikely that your entire message will be read before it gets deleted.

5W1H. You need the basic information, so don’t forget the basics: Who is this going to benefit? What will do for them? When will it be effective? Where is this information found (i.e., what is the website’s URL?)? Why does it work? How will it help me? Answer those questions, and your press release will be effective.

Let it rest. When you have finished it, put it away for at least two hours, and then come back and re-read it. Don’t be afraid to re-write it, even completely. The professionals do it; why shouldn’t you?

Writing a press release can be difficult the first time, but it gets easier. Just remember to have some fun with the writing, and it should go fine!

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There are only 3 main uses for the apostrophe, yet using the apostrophe properly is a confusing task. This article describes the proper uses and improper uses, to help people improve their writing.

The beloved apostrophe is intended to do three main things: to show possession, to show omission, and to make plurals in rare, special cases.

apostrophes are excellent indicators of possession. There is an example of this at the beginning of this sentence. If I want to say I own the shoes, while my husband pays the bill, I would call them Angela’s shoes and Joe’s Manolo Blahnik bill.

In most cases, the apostrophe is placed right after the name of the person, place, or thing (a.k.a. noun) that owns it, and before the “s” that shows possession. Because the English language can describe various types of possession in glorious profusion, here are some helpful tips for common possession scenarios:

Your word already ends in “s”. Don’t add another ’s’! Just let the apostrophe hang out there at the end of the word. For example: the horses’ bridles, a party at the Edwards’.

Two nouns own one thing. Give the apostrophe to the last noun. For example: Joe and Angela’s herb garden.

Two nouns own two things. Give each noun an apostrophe. For example: Jenny’s and Jessie’s dresses.

You use a pronoun that owns something. Please, don’t add an apostrophe. Just leave it alone. For example: We gave the cat its shots; the idea was yours.

apostrophes show where letters have been removed in a word or words. This is the easiest part to remember - if you’ve lost letters, put an apostrophe where the letters should have been! For example: Cannot becomes can’t; Four of the clock becomes four o’clock; 2007 becomes ‘07.

in some rare, very special cases, the apostrophe can show a plural. Use an apostrophe if you are talking about plurals of numbers or letters. For example: 1990’s; Ph.D.’s.

You can also add an apostrophe if you’re using words as words, where leaving out an apostrophe would cause confusion. For example: Rules are a list of do’s and don’ts (if there was no apostrophe after “do’s”, people might confuse it with the disk operating system acronym DOS).

apostrophes can also be used as a symbol for measurement in feet. Also, the apostrophe can be used to indicate a quote inside a quote. For example: She said, “The pastor told me, ‘Jesus wasn’t white’, and I was surprised!”

Understanding the proper rules for using the apostrophe will add a level of professionalism to your communications. Proper punctuation is a must for all writers. Still confused? Pearl Writing Services is a freelance writing business that can polish your writing and get your communications noticed!

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The alphabet has developed over many centuries and has been developed for a number of mutual and competing needs.

In the 5th century BC, an inscription in the form of a stele (inscribed column) is created in northwest Arabia, in Tema. This system eventually evolves one thousand years later as Arabic script. The Nabataeans, a Semitic language speaking people, developed this script in the 1st century BC to document and record their prosperity on caravan treks. In the 7th century AD, it became necessary to accurately record the words of God for the Qur’an in Arabic. This becomes another world standard through the religious dispersion of Islam.

In 2002 and 2006 Olmec stelae were uncovered dating to 650 BC and 900 BC, respectively. The early civilization of Olmecs in central America developed a written calendar. The Zapotecs were previously attributed as being the first central American civilization with a system of inscriptions dating to 500 BC. Mayans had the most sophisticated system of writing, inscribing on ceremonial stelae with hieroglyphs in Tikal dated to 292 AD. There are some phonetic elements to this writing system and the interpretation of this language is not entirely understood. What is known is that the Mayans used these inscriptions to record calculations associated with astronomy, the calendar, listings of rulers, their conquests and dynasties. These central American civilizations were not literate societies, only priests and palace officials were deemed estimable for the privilege of literacy.

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The Indus script, written by officials of the Indus valley, was used mainly to assist the bureaucrats in administration. These seals were carved in soapstone or steatite, the center of which depicts an animal or yogic-like postured huma form above and around it formal symbols, short lines or other animal forms. The significance and interpretations of these thousands of seals are unknown but the supposition is for trade and accounting purposes. These seals have also been mass-produced from molds on religious and ritual objects.

Ancient Chinese script evolved independently from other early civilizations with a profound set of characters, still in use today. Chinese script is non-phonetic, making it possible for officials from different areas of the vast empire able to communicate with each other through writing, although their speech is not understood. Japanese script was devised from ancient Chinese characters.

The Phoenicians are credited with the development of a system of writing that can be written without vast knowledge and memorization of symbolic characters. This phonetic writing developed in the 2nd millennium BC creating the possibility of a literate community. The Semitic language, adopted by Phoenicians and Palestinians and includes examples in Aramaic and Hebrew. This system of writing consonants and leaving out vowels is still in use today in the Semitic language of Arabic. The Greeks added vowels to their writing system in the 8th century BC and developed an alphabet of twenty-four letters. The Greek word ‘alphabet’ comes from ‘alpha’ and ‘beta’, the first two letters of the Phoenician alphabet. The Romans developed Latin from the Greek alphabet, used throughout the Roman Empire, spreading throughout Europe and becomes the standard for many systems of writing. Because of the simplicity of this system of writing and the more portable materials papyrus, leaves and wooden tablature, written correspondence is initiated into everyday life.

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They say you learn from your mistakes. But sometimes you learn from what you did right. You shake your head and you wonder what happened. And sometimes you can figure it out.

Like the time a tiny little girl taught me a great big lesson about making a story-or a play, or a movie, or even an essay-come to life.

Thirty-some-odd years ago, I sat in a bedroom at my grandparents’ house with a tape recorder. Out in the living room, three or four generations of my father’s family were enjoying themselves at the top of their lungs (Sanders parties are seldom quiet). From time to time a cousin or an uncle or aunt would come through the door to tell my sister the latest gossip, and to let her know they missed her.

It was the first Christmas my sister Diane had to spend away from home. My father had decided to tape-record the family parties for her. And as the only “artsy” Sanders (they’ve often wondered about me…), I had appointed myself emcee and narrator. So far I’d done pretty well, if I do say so myself. But now the bedroom door opened and my final exam slipped in.

Karron may have been the youngest of the grandchildren just then. She was certainly in the running for “shyest child in family history”. But here she was, of her own free will, approaching the recorder as if it were a dragon that MIGHT be friendly. All ready to wish her cousin merry Christmas. And who was I to argue?

So I pressed “Play” and “Record” together. And-of course-she looked at the microphone, and looked at me, and closed her mouth tight.

It was the cutest case of mike-fright I ever saw. But the situation didn’t call for “cute mike fright.” And yet I’ve never cared much for the “What do you say, Karron? Karron said ‘hi’! Isn’t that cute?” method for getting around the problem.

So I tried to draw her out. And it ended up sounding something like this:

ME And here’s Karron. Did you want to tell Diane something?

KARRON (silence)

ME She can’t hear a smile.

KARRON (giggles)

ME That’s better. So. What do you want to say to her?

KARRON (long pause, then) I…LOVE…H-I-I-M-M-M!

—–

When Dad had started taping, the kids were ready to grab their presents. I’d started my career as Tape Tyrant by insisting that we open them one at a time, and tell everybody (including Diane) what we’d gotten. I’d pretty much done it without thinking. And it had worked.

And now here was Karron, showing me why.

I got my share of presents that year, but this little story is the only thing I managed to keep. The story and the lesson.

Think about your audience.

Everybody says that, of course-know who your audience is, and what they want, and how they talk and think and feel. Speak their language, give them what they need.

But after you’ve thought about all that–or maybe before–think about them another way. Read-or watch-or listen to-your work the way they will.

Curl up on your sofa with the book in your hand.

Sit just below the projector.

Or row twenty-five, stage left.

Or lean back in your comfy chair, your hand resting next to the “play” button you just pressed. Your eyes closed. Listening.

—–

Let’s stick with that last example for a moment-I’ve done a fair bit of radio drama. Our hero has ridden up to a cliff overlooking a lovely river valley. You can hear the horse nicker, the wind in the pines, the distant sound of running water.

What do you see?

Nothing.

—–

Let’s go back to the movie theater. The hero is staring across a valley, his brow furrowed, his mind full of dark thoughts.

What are they?

You don’t know.

—–

All right, let’s watch the play. The heroine watches the hero stare out over the valley.

She turns away and bites her lip. There! Did you see it?

Not from the back row, you didn’t.

—–

Pick up the book. The book they adapted to make the movie. And the play. And the radio show. He’s still looking out over that valley.

What does it look like, exactly?

You’ll have to guess. Unless they included a photo.

—–

And getting back to that party-what would Diane have heard?

Ripping sounds. Laughter. Shouts and squeals. Maybe an occasional “Thanks, Uncle Billy” or the like. And no clue what most of it meant.

Not acceptable. And if I’d just told her what was happening we might as well have written a letter. The trick was to tell her enough that the sounds she heard could tell her the rest.

If we’d had a video camera my job would have been very different. Not harder or easier–different.

Every medium is strong. Every medium is weak. Use the strengths. Work around the weaknesses. And to find those strengths, those weaknesses, take your place beside your audience. See what they see, hear what they hear, know what they know.

Or don’t know.

And with every line of dialog, every paragraph of description, every stage direction or camera angle, remember the difference between what you see and what they see.

They can’t follow a car chase on a dinner theater stage.

They can’t read a movie character’s mind.

They can’t describe every leaf on that tree in Chapter Six.

And they can’t hear a smile.

Karron’s Law. Thanks, cousin.

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