At a time when the world is increasingly complicated and frightening, readers seem to be looking for alternatives to the sex and violence so prevalent in what is frequently offered to the public as entertainment@ today. One of these alternatives is the inspirational anthology, which is typically a collection of short true-to-life stories that carry the reader into a more comforting, nostalgic or spiritual world.
The proliferation of inspirational anthologies in bookstores attests to the popularity that this genre has achieved in recent years. The Chicken Soup, Cup of Comfort, and Chocolate for a Woman’s Soul series are only a few examples. These easy to pick-up and put-down collections fill a need in our fast-paced society for many people who only have time to enjoy a quick read, but they are also favorites of many other readers.
The growing market for anthologies has opened up new opportunities for publishers, editors, and writers. The writers always receive compensation of one kind or another; if not money, at least recognition and building up of credentials.
Five years ago, we decided to put our experience as writers and editors to work on an anthology which turned out to be an exciting, but very challenging, endeavor. Challenging, because we had no specific guidelines to go by; we learned as we went. However, now, as the co-editors of an anthology published by iUniverse in December, 2003, “The Simple Touch of Fate,” we would like to share with you what we have learned about compiling and editing such a collection.
CHOOSING A THEME FOR YOUR ANTHOLOGY
Choose a theme for your anthology by researching the anthologies already on the market. A logical starting point is your local library. Not only will this give you an opportunity to check out and read some anthologies, but you can review Books in Print for a comprehensive listing of anthologies that have been published to date. For a look at the latest anthologies, visit the large book stores in your area. And, of course, your most valuable tool may be the Internet: Amazon.com, Barnes & Noble, and major search engines, such as Google, Yahoo, and Ask Jeeves.
Once you are familiar with what is on the market, it is time to put your creative energies to work to come up with your theme. The three anthologies that we first mentioned above are intended in some way to give the reader renewed faith in humankind. The titles presage the theme inherent in the stories by evoking warm feelings of family and home–the soothing smell and taste of chicken soup prepared by a loving mother, the sharing of a cup of hot tea with a dear friend, the feelings of well-being engendered by the rich taste of chocolate.
Perhaps you have a special interest or hobby that can be the focus of an anthology, such as history, sports, or travel. Our own anthology, “The Simple Touch of Fate,” came about because one of the co-editors, Arlene, who is a professional editor, edited a manuscript that told the story of a young man whose life was saved due to his sister’s premonition. This story made Arlene think about a fateful event where her own life was saved, and led to the idea of an anthology involving Fate.
GOING IT ALONE OR WITH A PARTNER?
Decide whether you prefer to work on your anthology project by yourself, or with a partner.
Maybe you are the type of person who likes to have total control and has the time to do all the necessary work on your own, such as calling for submissions, reviewing the stories you receive, contacting agents and publishers, and one of the most time-consuming tasks of all, editing and final proofreading the stories you choose for your collection. On the other hand, as we found out, it can be more emotionally satisfying to share the workload, the frustrations, and the successes with another person.
WHICH COMES FROM — THE PUBLISHER OR THE ANTHOLOGY?
Unless you are a well-known author or have a track record, such as the Chicken Soup series or spin-offs, you will need to prepare at least a proposal and sample stories, and possibly a complete manuscript, to get the attention of an agent or publisher. Of course, if you are self-publishing, this is not an issue.
WHO WILL WRITE THE STORIES– THE EDITORS OF THE CONTRIBUTORS?
Are you going to write the stories, edit the stories written by contributors, or a combination of both? For the most part, in “The Simple Touch of Fate,” we used stories by other writers, but we also wrote stories based upon our own experiences and as told to us.
HOW AND WHERE TO SUBMIT SUBMISSIONS
We found that the best way to solicit submissions is through writers’ newsletters and web sites on the Internet. The newsletters allowed us to post our calls for submissions at a nominal, or even no, charge. We also actively pursued stories by word of mouth, and by following up on current news stories that had a fate theme, either to reprint them (with permission, of course), or to interview the principals, and then write our own stories. We interviewed Jacob Herbst from Israel who missed American Airlines Flight 11 from Boston on 9/11 and Larry Hicks who saved the life of NASCAR celebrity Jack Roush, and they were happy to cooperate with us in presenting their stories in our book.
KEEPING TRACK OF YOUR CONTRIBUTORS
E-mail addresses change; so be sure your contributors give you their home and work addresses and telephone numbers, and additionally, a back-up contact, in case you have problems finding them. Emphatically remind contributors to advise you if any of their contact information changes.
PROVISIONS TO INCLUDE IN THE CONTRACT WITH THE CONTRIBUTORS
Among other things, you must decide what story rights you will ask for, and what payment you will offer to contributors. We are aware of payment by the best selling anthologies of as much as $300 or more; others run contests for stories; new anthologies may pay with a copy of the book and a bio, which is an accepted practice. Many fine writers are willing to allow a one-time use of their work simply because they are interested in the theme of the book. New writers may be seeking the writing credentials provided by having a story in print. There may be other money-making opportunities for contributors even if the anthology is nonpaying; e.g., the sale of reprint rights, speaking engagements, or other writing assignments as a result of the exposure.
We required our contributors to represent in writing that their stories were true and that they had the right to offer them to us for publication without violating contract or copyright laws. We also required that they give us the right to edit their work and change the title. You should consult with an attorney about your contract once you have determined the basics to be included. He or she may have additional suggestions, such as adding a choice of state law and forum selection clause to the contract.
PUTTING TOGETHER THE ANTHOLGOY
If you are representing your stories as true, you must decide whether you will fact check the stories, or take the authors’ word for it. In our case, we did as much fact checking as we found to be reasonably possible, such as dates and places. We lost some stories in the process! The Internet is a valuable resource for fact finding, and also for editing. Reference librarians on the web answer difficult editorial questions free of charge.
Trouble areas to look out for; e.g., proper permission for reprints, intellectual property rights, invasion of privacy. Many anthologies include some reprints of stories that have appeared elsewhere, as does ours. Be sure that you get permission from the owner of the copyright, in writing, to reprint the story, and that they understand exactly the use to which it will be put. Some of these sources require that the publisher (not the editor) seek permission for reprinting the item, and may require payment, sometimes based upon the number of books you publish. Be aware that owners zealously guard their trademarks and copyrights.
In our case, we contacted the trademark owner for permission to use the name of a well-known game in one of our stories. We were told that we could use it with certain changes to the story, which we decided not to make because these changes would have taken away from the effectiveness of the story. We solved the problem by having the author use a generic term instead of the trademark name for the game. Different legal standards apply to invasion of privacy issues for private individuals as opposed to those in the public eye; and you need to be particularly wary when dealing with a private person, even though public personalities can still have their privacy invaded. The Internet is a valuable source of information on these issues. However, if you cannot resolve them on your own, consult with an attorney.
CONCLUSION
Assembling an anthology is hard work, but it can also be very rewarding work. We had the good Fate to receive stories from all over the world from people in various walks of life, as they told about their personal brushes with Fate. And, we were fortunate to have become Internet friends with many of the contributors to our book. We are looking forward to a sequel.
Arlene Uslander and Brenda Warneka are co-editors of “The Simple Touch of Fate.” Uslander is the author of 14 non-fiction books and is an award-winning journalist. Warneka is a practicing attorney who writes on legal topics, travel, and human interest. They each wrote several stories for the anthology.
Please visit our website: http://www.thefatesite.com and if you have a true Fate story of your own, you may submit it through the Fate website.
The book can be ordered by by calling the publisher’s toll free number 800-288-4677international orders 00-1-402-323-7800) or through Amazon.com and other online bookstores.
?2004, Arlene Uslander and Brenda Warneka

From our deconstruction of hundreds of Hollywood blockbusters at www.managing-creativity.com/
The Hero’s Journey is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. In fact, ALL of the Hollywood movies we have deconstructed are based on this template.
Understanding this template is a priority for story or screenwriters.
The Hero’s Journey:
a) Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.
b) Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.
c) Interpreted metaphorically, laterally and symbolically, allows an infinite number of varied stories to be created.
and more…
Sample Movie Deconstructed: Thelma and Louise (1991)
FADE IN: Context: Road; Middle America;
Meeting the Mentor in her Ordinary World: Louise in the cafe.
Symbol of the Transformation: smoking lessens your sex drive.
Transformed Mentor / Romantic Challenge: Louise smokes like a pro.
Meeting the Hero: Thelma in her Ordinary World: Thelma at home cooking.
Hero’s Inner Challenge: I have to ask Daryl for permission.
Meeting the Interdictor: Darryl.
Developing the Interdictor: Darryl in regional manager; having an affair; asshole.
Foreshadow of the Journey: hey Thelma, when are you going to run away with me? She’s running away with me.
Breaking the Interdiction: what time are you picking me up.
Time Pressure: 2 o’clock.
Hero seeks guidance from the Mentor: what kind of stuff shall I bring?
Mentor’s Magic Carpet: Louise gets into her car.
Preparing fro the Journey: Thelma and Louise packing.
Developing Characters: the way both Thelma and Louise pack.
Mentor’s Romantic Challenge: Jimmy’s not home.
Mentor’s Guidance: Thelma wants to bring the lantern etc; you don’t need to bring al that.
Loop: Pre Transformation State: the joint photo.
Magic Gift / Foreshadow of the Physical Separation: the gun.
Developing the Interdiction and Interdictor: he’s gonna kill you.
Leaving the Old World: in the car, leaving town.
Fish out of Water: New Self: Thelma smoking clumsily.
Threshold Marker: stopping at the intersection.
Hero pushing to the First Threshold: can’t we stop for a minute.
Mentor resisting the First Threshold: no, it’ll be dark soon.
Mentor pushed to the First Threshold: OK, but it’s gonna be a quick stop.
Border of the First Threshold: driving to the bar.
New Creatures in the New World: people in the bar.
Mentor’s Road Travelled: It’s been years since I was in a place like this.
Threshold Guardian: the waitress.
Pushing to the Outer Cave: Thelma ordering some wild drinks; I’ve had it up to here with sedate.
Mentor Accompanies Hero: I’ve changed my mind, I’ll have a Margarita etc.
Pushed to the Middle Cave: Harlan hits on Thelma.
Resisting the Middle Cave: Louise tells Harlan to take a hike.
Pushing to the Middle Cave: Thelma insists on having a good time.
Remembering the Old World: Thelma references Darryl and Thelma references Jimmy.
Pushed to the Middle Cave: more drinks arrive.
Pushing to the Middle Cave: lets have some fun.
Middle Cave: Thelma dances with Harlan; gets intimate and drunk with Harlan.
Resisting the Inner Cave: Louise sits down; I’m going to the girls room and then we’re out of here.
Pushed to the Inner Cave: Harlan takes Thelma outside for some fresh air.
Inner Cave: Harlan tries to rape Thelma.
Resisting the [Death] Trial: Louise pulls a gun; walks away.
Pushed to the [Death] Trial: Harlan calls Louise a bitch.
[Death] Trial: Louise shoots Harlan.
Foreboding: oh my God.
Transformation Proceeds: Thelma takes the driving seat.
Forced out of the First Threshold: Thelma and Louise rush from the scene of the crime.
Obstacle to the Escape: the truck; f*cking asshole.
No Way Back: who’s going to believe us if we go to the police.
Foreboding: Louise sick; Thelma crying.
Border of the World of the Transformation: arriving at the caf?.
Resisting the Transformation / Developing Characters and Relationships / Conflict: so this is all my fault is it?
Wishing For / Pulled Back to the Old World: Thelma rings home; Darryl out.
Meeting the Antagonism: Hal inspects Harlan’s body and questions the waitress.
Antagonism dissuaded from the Journey: neither of those two was the murdering type Hal.
Mentor’s Romantic Challenge: Jimmy still not in.
Physical Change: Louise notices a mark on her face.
Pushing to the Transformation: come on, Louise, where are we going?
On the Road to / Pulled to the World of the Transformation: driving on the freeway.
Fish out of Water: Thelma loses some money; shit, $41.
Resisting the World of the Transformation: arguing in the hotel room.
Pushing toward the Trials: Louise calls Jimmy and asks him to wire $6700.
Forced to the World of the Transformation: Thelma! Get in the car!
Developing the Antagonism: an APB on Thelma and Louise; letting the Bureau in on this.
Transformation Progressing: Thelma realises that she should be mad at Darryl.
Foreshadow of the Conscious Decision: Louise is going to Mexico; are you with me Thelma?
Learning of Trial 1: Jimmy tells Louise where to go to collect the money.
Transformation Progressing: Thelma buys some drinks.
Creatures of the World of the Transformation: what are you looking at?
Pushed back to the Old World: Louise tells Thelma to call home.
Refusing the Old World: Thelma tells Darryl to f*ck himself.
Meeting the Shape Shifter: Thelma bumps into JD.
Resisting the Shape Shifter: Louise doesn’t want JD to come along.
Conscious Decision: How long before we’re in Mexico?
Developing the Antagonism: Hal doing a search in his office.
Shape Shifter’s Necessity: did you see his butt?
Resisting the Shape Shifter: Louise is not in the mood for company.
World of the Transformation: I need you to find all the secondary roads to Mexico.
Mentor’s Backstory: I don’t want to have to go through Texas.
Developing the Antagonism: Hal searches in Louise’s apartment.
Marker of the Road of Trials: crossing the train track.
Celebrating the Crossing into the Road of Trials: Thelma and Louise singing in the car.
Developing the Antagonism: Hal arrives at Louise’s work – the caf?.
Shape Shifter joins the Journey: Thelma begs.
Developing Characters and Relationships: Hal questions Darryl.
Hero’s Romantic Challenge: Thelma talks to JD in the car; she has not slept with anyone but Darryl.
Foreshadow of the Resolution: Louise avoids the cops; JD realises that the girls are avoiding the police.
Developing the Antagonism: Hal phones in to his boss; relates what they’ve known so far.
Resisting Trial 1: you two better say your goodbyes.
Pushed toward the Trial: Jimmy turns up at the hotel in Oklahoma.
Resisting Trial 1: Jimmy forces JD to leave.
Pushed toward the Trial: the girls get a room
Trial 1: [the hotel sequence]
Louise counts the money and gives it to Thelma.
Thelma talks about her relationship with Jimmy:
Louise tells Thelma to guard the money.
Thelma won’t tell Jimmy what’s going on.
Jimmy gives Louise a ring.
JD knocks on Thelma’s door.
Transforming: Louise tells Jimmy to let go.
JD gets tactile.
JD relates how he robs liquor stores and kisses her.
Louise asks Jimmy if he remembers how they met.
Transforming: Thelma sleeps with JD.
Transformed: Louise didn’t sleep with Jimmy (she let go).
Transformed: Jimmy says all the right stuff at breakfast.
Louise keeps the ring.
Goodbye to the Old Self: Louise gives Jimmy a kiss goodbye.
Waitress: it’s a good thing he left when he did, we thought we were going to have to put out a fire.
Transformed: Thelma walks into the caf?; you look different?
Oh my God Thelma, where’s the money.
JD has taken the money.
Pushed to Trial 2: Louise cries.
Transformed: Thelma tells Louise not to worry about it; takes charge.
Developing the Antagonism: Darryl is going to help entrap Thelma.
Trial 2: [robbing the store]:
Stopping outside the liquor store.
Creatures in the World of Trial 2: the old lady looking out of the window.
Thelma robs the liquor store.
Escaping the World of Trial 2: driving away.
Developing the Antagonism: Hal watches the footage of the robbery.
Resisting Trial 3: hey Louise, slow down a little bit.
Foreshadow of the Atonement: the truck driver gets dirty.
Developing the Antagonism: the police catch Jimmy returning.
Washing off the Old Self: Louise washes herself.
Creatures of this World: The old man.
Losing the Old Self: Louise gives the old man her jewellery.
Resisting going back to the Old World: Louise tells Thelma they won’t believe what they say.
Mentor’s Backstory: how do you know about this stuff anyway?
Transformed: where did you get this? I stole it.
Threshold Marker: the biker passing; the road.
Shape Shifter Revealed: JD pulled in and interrogated by Hal.
Developing Characters and Relationships / Conflict between Old and New Mentors: JD provokes Darryl.
Trial 3: Thelma calls home; they’re tapping the phone; Louise speaks to Hal.
Forced to Transform: Hal knows they’re going to Mexico; JD told them; you gotta stop being so open, Thelma.
Developing the Antagonism: Hal et al watching Darryl’s TV.
Developing Characters and Relationships: Thelma always wanted to travel; in the car.
Rest Break: just driving in the car.
Rest Break: appreciating the silence and the crickets.
Foreshadow of the Atonement: they meet the truck driver again.
Comedic Catharsis: Thelma thinking of Harlan’s face.
Mentor’s Backstory: Thelma realises that Louise was raped in Texas.
Meeting the Oracle: State Police officer pulls the girls over.
Seizing the Sword: Thelma pulls a gun on the officer; take the belt and the glasses.
Transformed: Thelma tells Louise to blow up the radio; no the police radio!
Transformed: Thelma takes the driving seat.
Developing the Antagonism: Hal says that their luck will run out.
Reward: Thelma happy that they made the decision they made; having more fun; not sorry.
Near Death Experience:
They’re going to have to charge them with murder; Hal et al have got their location.
Hal wants to make sure they don’t get shot; he knows what happened to Louise in Texas.
Louise tells Thelma she’s not making any deals; Jimmy’s not an option; Thelma can’t go back.
They’ve got to figure out if they want to come in dead or alive.
Reward:
New World: it’s green out there now.
I feel awake; I don’t remember feeling this awake; we could change our names; change our jobs.
Atonement with the Father:
They meet the truck driver; you girls about ready to get serious.
I think so; follow us; going off road.
The truck driver doesn’t apologise; Thelma and Louise blow up the truck.
The mountain bike rider finds the state police officer.
Apotheosis:
Hal et al find the truck; Thelma and Louise now classified armed and dangerous; serious threat.
Pushed toward the Resolution: They have to get off the freeway.
Magic Flight: The police pursue.
Ultimate Boon: they lose some of the cops.
Refusal: I know this whole thing was my fault.
Foreboding: silent and dark towards the unknown.
Completely Transformed: Thelma lights a cigarette like an expert.
Foreshadow of the Master of Two Worlds: you’re a great friend.
Rescue from Without: the Grand Canyon brings them to a dead halt.
Hal’s ‘copter confronts them.
The State Police block their way back.
Final Antagonism: the police arm themselves.
Master of the Two Worlds:
Hal begs Max et al to restrain themselves.
Max restrains Hal
Freedom to Live: lets not get caught; lets just keep going.
They jump.
Hal runs after them.
Loop: when they took the photo of themselves.
Learn more?
The Complete 188 stage Hero’s Journey and other story structure templates can be found at http://www.managing-creativity.com/
You can also receive a regular, free newsletter by entering your email address at this site.
Kal Bishop, MBA
**********************************
You are free to reproduce this article as long as no changes are made and the author’s name and site URL are retained.
Kal Bishop is a management consultant based in London, UK. His specialities include Knowledge Management and Creativity and Innovation Management. He has consulted in the visual media and software industries and for clients such as Toshiba and Transport for London. He has led Improv, creativity and innovation workshops, exhibited artwork in San Francisco, Los Angeles and London and written a number of screenplays. He is a passionate traveller. He can be reached at http://managing-creativity.com/

From our deconstruction of hundreds of Hollywood blockbusters at www.managing-creativity.com/
The Hero’s Journey is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. In fact, ALL of the Hollywood movies we have deconstructed are based on this template.
Understanding this template is a priority for story or screenwriters.
The Hero’s Journey:
a) Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.
b) Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.
c) Interpreted metaphorically, laterally and symbolically, allows an infinite number of varied stories to be created.
and more…
Syriana (2005) deconstructed
An incredibly complicated structure, primarily because there are four heroes and lots of intercutting.
FADE IN: Hero 1′s Ordinary World: Arash struggles to find and keep work; Pakistanis fighting in an Arab country.
Hero 2′s Ordinary World: Bob negotiating the arms deal with the Iranians.
Inciting Incident / Call to Adventure: Bob sells the bombs; the bomb is given to an unknown; Bob follows the bomb behind the curtain.
Hero 3′s Ordinary World: Bennett Holiday is told what to do by Dean Whiting.
Meeting the Supernatural Aids and Heralds: Jimmy from Connex explains that Connex wants to buy Killen; Bennett ‘s boss introduces him.
Call to Adventure: Bennett ‘s boss tells him to solve any problem; keep chaos in the Middle East.
Meeting Hero 4 in his Ordinary World: Bryan at home with his wife and kid.
Context: the newsreel and the press interviews explaining the merger.
Developing Hero 4 and Allies: Bryan at work in front of the cameras; on the phone with his wife.
Call to Adventure: Bryan told to meet the Emir by his boss.
Refusal: Bryan doesn’t want to go.
Pushed Forward / Overcoming Refusal: Bryan forced to go by his boss.
Inciting Incident / First Threshold: Arash and his Dad are sacked.
Supernatural Aid: Arash with his Dad.
Hero 1′s Ordinary World developed: in the Pakistani compound.
Supernatural Aids / New World: Langley; Bob’s bosses discuss him.
Interdiction: Bob is told not to bring up the missing missile.
Overcoming Interdiction: Bob can’t help himself at the meeting.
Inner Challenge: Bob with his son at Princeton.
First Threshold: Bryan arrives in Marbella.
Creatures of the First Threshold: the hookers; the kids playing.
Supernatural Aid: the Emir and his son; thanking the Chinese.
Developing Hero 4 and Allies: Bryan with his wife.
Foreshadow of the Physical Separation: Bryan worried about his son.
Threshold Guardian: Arash asks Farooq to introduce him.
Threshold Guardian: Bryan talks to the stranger whilst waiting for the Emir.
The Emir’s people hear his proposition in the lobby.
Forced from the First Threshold: Bryan’s son dies in the pool.
New World: Bennett arrives home.
Supernatural Aid: Bennett ‘s Dad.
Inner Challenge: Bennett ‘s Dad tries to tell him to stay away from the corrupt life.
First Threshold: Arash asks the Arab for a job.
Belly of the Whale / Pushed to the Physical Separation: the Islamic school is mentioned in the conversation on the bunk beds.
Physically Separation: Arash gets beaten up by the guards.
Belly of the Whale: Bryan’s son’s burial.
Belly of the Whale: Bryan, his wife and other son awake at night.
Pushed to the Trials: Bryan told that Prince Nasir called again.
Outer Cave/ Trial: Bennett interviewed at the Dept. of Justice.
Middle Cave/ Trial: Bennett thinks he can bribe the Dept. of Justice man; playing squash with his boss.
Inner Cave/ Trial: Bennett meets Whiting and his boss; they’ve greased the Dept. of Justice’s man.
New World of the Transformation: Bryan arrives in the Emir’s World.
Bryan Transforming: “..you sound strange?”
Transformation 1: Arash eating and being taught in the Islamic School.
Foreshadow of the Resolution: Whiting bribes the Emir’s son.
Pushed to the Road of Trials: Bob told to go to Beirut; not to mention the missing missile.
Foreshadow of the Resolution: the competition between the two sons is made explicit.
Trial: Bryan meets Prince Nasir; gains his trust; draws his idea in the sand.
Trial: Bennett meets Jimmy on his ranch.
Romantic Challenge: Bob at the bar discussing his soon-to-be divorced wife.
Warning / Meeting the Mentor: Bob asks Stan if it’s safe.
Journey to the World of the Transformation: Bob arrives in Beirut.
Trial / Outer Cave: Bob is searched; is taken to meet the Hezbollah head.
Trial / Middle Cave: Bob in the waiting room.
Trial / Inner Cave: Bob gets an audience with the Hezbollah head.
Transformation 2: Arash playing football with his pals; discussing the teachings.
Transformation 3: talking with the Sheik Agiza in the school.
Trial / Outer Cave: Bob meets Mussawi by the ocean.
Trial: Bryan gets a call on his cell phone whilst the Prince speaks.
Trial / Middle Cave: Bob watching the Prince; Bob gets in the lift with the Prince and Bryan.
Trial / Inner Cave: Bob watches the Prince from his room.
Trial / Outer Cave: Mussawi’s men capture Bob.
Meeting the Oracle: Bennett in front of his computer.
Journey to the Sword: Bennett told to pick something up.
Seizing the Sword: Bennett gets the note.
Trial / Middle Cave: Bob gets tortured by Mussawi.
Seizing the Sword: Sheik Agiza shows Arash et al the bomb.
Trial / Inner Cave: Bob wakes up after the torture.
Meeting the Oracle: Bob’s bosses told that Damascus thinks Bob was sent to assassinate Prince Nasir.
Journey to the Sword: Bob’s CIA bosses told to distance themselves.
Seizing the Sword: Bob is interviewed by the CIA; turns his passports over.
Near Death Experience: Bennett uncovers the Killen bribe.
Seizing the Sword / Outer Cave: Prince Nasir is refused an audience with his father.
Seizing the Sword / Middle Cave: Nasir asks Bryan what his father and brother are thinking.
Seizing the Sword / Inner Cave: Nasir wants to create a better country; but he can’t get past his father and the US President.
Near Death Experience: Julie not happy that he’s profiting from the death of their son; Julie’s going back to the States.
Rebirth through Death Experience: Arash listens to the videoed wishes of the suicide bomber.
Reward: Bennett is given the lecture about corruption; corruption is why we win.
Atonement with the Father: Bob can’t get to see his bosses.
Apotheosis: the State Dept. guy won’t intefere.
Atonement with the Father: Bennett confronts his Dad.
Seizing the Sword: Bob realises he’s being watched.
Apotheosis: Bob’s bosses disown him.
Atonement with the Father: Arash doubts his suicide mission.
Atonement with the Father: Prince Nasir told that he won’t inherit the throne.
Apotheosis: Prince Nasir drums up support in the circle meeting.
Ultimate Boon: Bob meets with Stan.
Red Herring: Whiting gets the call from security while asleep.
Goodbye to the Old Self: Arash says goodbye to his Father.
Apotheosis: Bennett needs the illusion of Due Diligence; Jimmy gives him someone higher up.
Magic Flight: Bob arrives in the Arab country; in the car.
Apotheosis: Nasir has the support of the generals for the coup.
Ultimate Boon: the CIA are given Nasir’s car description; they track it.
Foreshadow of the Final Conflict: Bennett in the lift with his boss.
Ultimate Boon: Bennett meets Leland.
Magic Flight: Bryan driving with the Prince delayed by the goats.
Final Conflict: Bennett defies his boss.
Foreshadow of the Resolution: the meeting at the opening of the pipeline.
Obstacles / Refusal / Resistance: Bob searching for Nasir’s car.
Crossing the Return Threshold: Bryan lets Nasir and his wife ride together.
Leland celebrates the merger.
Rescue for Without: Bob sees Nasir’s convoy.
Crossing the Return Threshold: Bob crosses the desert to the other road.
Master of Two Worlds: Bob stops the Prince’s convoy.
The CIA fire the missile.
Master of Two Worlds: Nasir recognises Bob.
Resolution: Prince Nasir and Bob killed.
Master of Two Worlds: Jimmy et al congratulate Bennett; the new Emir is present at the merger celebration.
Freedom to Live: Bryan walks away.
Apotheosis: Arash completes his suicide mission.
Ultimate Boon: Arash’s video.
Freedom to Live: Bryan returns home.
Bob’s pictures are removed.
Freedom to Live: Bennett returns home.
Kal Bishop
**********************************
You are free to reproduce this article as long as no changes are made and the author’s name and site URL are retained.
Kal Bishop is a management consultant based in London, UK. His specialities include Knowledge Management and Creativity and Innovation Management. He has consulted in the visual media and software industries and for clients such as Toshiba and Transport for London. He has led Improv, creativity and innovation workshops, exhibited artwork in San Francisco, Los Angeles and London and written a number of screenplays. He is a passionate traveller. He can be reached at http://managing-creativity.com/
The Complete 188 stage Hero’s Journey and other story structure templates can be found at http://www.managing-creativity.com/
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This is one of the most important questions that you need to answer if you are looking for a job. Being young and having just graduated from school or just being tired of the job you have at the moment, you will start the job hunt which means that you absolutely must know how to write a cover letter.

In case you have not heard the phrase cover letter before, this is the time to find out. There are two terms that are essential for the job hunt. One is the resume or CV and the other is the cover letter. The cover letter is a small composition that you write in order to introduce yourself. Perhaps more important than that, because the information about you is also included in the resume, is to explain in the cover letter why you are interested in the job. In addition, the cover letter should state why you are the person they are looking for. The cover letter is basically the space where you advertise yourself so the company where you want to work will hire you.

Now that you know what the cover letter is, you should also know when it will be useful to you. Usually, you will send your cover letter when you apply for the job. The companies may ask for a certain type of cover letter. You must also pay attention to that at this stage in your job hunt. You will send in your cover letter together with a resume. The companies will make a first selection on the basis of the CV. In the second round they will read the cover letter for those candidates they have already selected.

While you take the CV with you to the interview, you might not have to take the cover letter. The interviewer will not have time to read the cover letter at this point. They hopefully have read it before and that is the reason why you made it to this stage in the hiring process. The interviewer may take a look at your CV to know what questions they can ask. However, you may be better off if you take all the papers you have with you to the interview, including CV and cover letter.

While using the cover letter might be easy, the difficult question comes before that. How to write a cover letter is the problem that bothers most future employees. Do not be scared by the concept of cover letter, even if there are many rules and norms to be taken into consideration, but be careful what you write because it may make a big difference in your future career. There are many places where you can look for advice if you have reached the point of writing it. There are numerous websites on the topic of how to write a cover letter. There are even classes taken in college about how to write a cover letter. Also, if you are a student in a college that has a writing center, you can go there for advice on how to write a cover letter.

The thing to know when you start writing is what kind of cover letter the company you apply for wants to see. Maybe they want you to focus on yourself, to describe your characteristics and your merits. They may want you to focus on the job that you are applying for to prove how interesting you find it and how you will make the most of it. Maybe they want you to be formal or they may want you to be original. There are many possibilities.

You can get a sense on how to write a cover letter by merely looking at the profile of the company. You may talk to people who work there to see what kind of cover letter has been successful for them, but this kind of search may just be too complicated. The company will probably have some information on their website about how to write a cover letter for them and, if this happens, it is probably indicated to take a look at it.

Once you have finished this preparatory stage in the job search, you are ready to submit the materials you have so hard work for. You can either send them by regular mail or by email depending on what the company wants. You may even be able to fax the papers, in which case you may want to let the company know that you are doing that. It is always good to also keep a direct contact with the company, a verbal one, apart from the paperwork. Your interest will surely be noticed.

If you pass the first stage, the company will get to read the cover letter you have worked so much for. If they like both this cover letter and the resume, the company will call you for an interview. You may have a phone interview at first. These can be interesting because they may catch you off guard. People can give phone interviews while out with friends or while on the bus. If you cannot really talk because you are with other people or traveling it is better to inform the employer of your current situation rather than have a bad interview and not get hired.

Now if you have also had a successful phone interview, you are ready for the grand finale which is the face to face interview. This may be the stage that makes you most nervous. This is the stage for which you have to prepare even the smallest details, like your clothing and haircut and even the way you pose your body. Once you have gone through this, all you have to do is wait until they call you.

So, you see, knowing how to write a cover letter can be very important for the future steps in your quest to find a job. Without a proper cover letter, the situation can change and you might not even get to the next steps and the next worries, but let’s not think negative and deal with first things first.

Several years ago, when I was working for an agency, I was fired from an account. What that means is the client didn’t want me writing for him anymore.
Another writer, a friend of mine, got the account and life went on.
Of course, I was pretty upset by the situation. I had completed several writing projects already for that client, which had seemed to go well, and had just finished a press release when I got the boot.
My writer friend told me later her “secret” for making this client happy. Basically, what she did was rewrite the press release so it focused solely on the client and the client’s business.
I said: “But what you’ve written isn’t that newsworthy. I don’t think the newspaper will accept it.”
She said: “That’s not what the client wants. Therefore, I don’t worry about it.”
And she was right. (She kept the account after all.) The client wanted an “I’m so great” press release. He didn’t want something that might actually result in coverage for him. He wanted something that would make him feel good when he read it.
In the world of public relations, press releases are the explorers. They travel far and wide, visiting media outlets everywhere, and presenting information about your products and services. Media people decide whether or not to cover your business based in large part on those hard-working press releases.
So, there’s a lot riding on them. Therefore, it pays to take a little extra time to make sure they’re outfitted correctly for the job.
When you get an idea for a press release, ask yourself this question: “Is this something someone else would be interested in or is this something only I (and maybe my mother) would want to read?”
Sounds easy, right? Well, if it was that easy, there wouldn’t be so many “Look at me — I’m so great” press releases running amuck out there.
Unfortunately, the “I’m so great” press releases are seductive. They sound so good when you read them. They whisper things like: “Of course the editors will want to write about me. I would make a wonderful human interest/special feature/business feature story. Didn’t I just see a story like this about my competitor/another business last week?”
You need to be on your guard when one of these ideas shows up. Question them. Interrogate them if you must. “Why will the media like you? What do you offer that’s different than any other press release? What’s so special about you? Why will someone want to read more about you?” Don’t allow their pretty words to influence you. You must get to the truth. Chances are what seduces you probably won’t seduce the media.
Remember, media people are looking for an angle or a story that would interest their readers. They want to know things like: “What’s in it for my readers? Why will my readers care about this piece of information?”
If you can answer those questions correctly, then you have an excellent chance of getting the coverage you’re looking for.
Creativity Exercises — Write a newsworthy press release
The only way to get better at recognizing a good press release is to practice writing them.
Start by writing what you think is a good press release. Put it away for at least 24 hours. Don’t look at it. Don’t even think about it.
After the 24 hours is up, pull it out and read it. Ask yourself this question:
“Is this something someone else would be interested in or is this something only I (and maybe my mother) would want to read?”
Really ponder the question. Don’t let yourself answer it too quickly.
Still feel like it’s newsworthy? Then try this exercise. Replace all the references to you and your product with another business and product. I recommend inserting a business that is not one of your competitors. Use the Find/Replace function on your word processing software to make this a quick and easy process.
Put your release away again. If you can wait another 24 hours, all the better. But even moving on to a different project and coming back a few hours later will help it sound “fresh” to you.
Read it again. Do you still find it interesting now that it’s about someone else?
It’s tough to view your business objectively. Fortunately, this is a skill that will get easier the more you do it.
Michele Pariza Wacek owns Creative Concepts and Copywriting, a writing, marketing and creativity agency. She offers two free e-newsletters that help subscribers combine their creativity with hard-hitting marketing and copywriting principles to become more successful at attracting new clients, selling products and services and boosting business. She can be reached at http://www.writingusa.com
Copyright 2005 Michele Pariza Wacek